Artist: Radiohead Genre(s):
Other
Rock
Pop: Pop-Rock
Indie
ROck: Alternative
Alternative
Pop
Rock: Pop-Rock
Discography:
In Rainbows Year: 2007
Tracks: 10
Live At Sydney Entertainment Centre, Australia (CD 2) Year: 2004
Tracks: 10
Live At Sydney Entertainment Centre, Australia (CD 1) Year: 2004
Tracks: 13
Com Lag:2+2=5 Year: 2004
Tracks: 10
There There Year: 2003
Tracks: 3
Hail To The Thief Year: 2003
Tracks: 14
Live In Lisbon 24-07 Year: 2002
Tracks: 14
Pyramid Song Pt. 1 Year: 2001
Tracks: 4
Might Be Wrong: Live Recordings Year: 2001
Tracks: 8
I Might Be Wrong - Live Recordings Year: 2001
Tracks: 8
Amnesiac Year: 2001
Tracks: 11
Live Barcelona Year: 2000
Tracks: 21
Kid A Year: 2000
Tracks: 10
Holland Year: 2000
Tracks: 21
Airbag - How Am I Driving? Year: 1998
Tracks: 7
Paranoid Android Pt. 2 Year: 1997
Tracks: 3
Paranoid Android Pt. 1 Year: 1997
Tracks: 3
O.k. Computer Year: 1997
Tracks: 12
No Surprises - Running From Demo Year: 1997
Tracks: 6
Unplugged Year: 1996
Tracks: 21
The Bends Year: 1995
Tracks: 12
Amnesty Year: 1995
Tracks: 10
My Iron Lung Year: 1994
Tracks: 8
Pablo Honey Year: 1993
Tracks: 13
Creep 4 track E.P. Year: 1993
Tracks: 4
OK Computer Year:
Tracks: 13
Live In Lisboa 23-07-02 Year:
Tracks: 7
Lisboa 22-7-02 Year:
Tracks: 11
Itch Year:
Tracks: 8
Frejus Year:
Tracks: 23
Bootlegs Year:
Tracks: 4
Radiohead was one of the few substitute bands of the early '90s to describe heavily from the grandiose scene of action sway that characterized U2's early albums. But the band internalized that epic sweep, turn it privileged out to assure anguished, perverted tales of angst and estrangement. Vocalist Thom Yorke's offended lyrics were brought to life by the group's three-guitar attack, which relied on grain -- adoption as much from My Bloody Valentine and Pink Floyd as R.E.M. and Pixies -- alternatively of virtuosity. It took Radiohead awhile to give voice their signature sound. Their 1993 debut,
Pablo Honey, only suggested their potential drop, and peerless of its songs, "Creep," became an unexpected international pip, its angst-ridden lyrics making it an alternate rock'n'roll anthem. Many observers pigeonholed Radiohead as a one-hit wonder, only the group's second album,
The Bends, was released to terrifying reviews in the band's native Britain in early 1995, serving work up a more stable fan base. Having demonstrated unexpected staying power, as well as increasing dream, Radiohead next released
OK Computer, a progressive, electronic-tinged masterpiece that became peerless of the most acclaimed albums of the '90s.
Thom Yorke (vocals, guitar), Ed O'Brien (guitar, vocals), Jonny Greenwood (guitar), Colin Greenwood (bass voice), and Phil Selway (drums) formed Radiohead as students at Oxford University in 1988. Initially called On a Friday, the band began pursuing a melodic career in solemn in the early '90s, cathartic the
Drill EP in 1992. Shortly later, the group sign to EMI/Capitol and released the single "Creep," a fusion of R.E.M. and Nirvana highlighted by a noisy burst of feedback prior to the chorus. "Creep" was a lead hit, and their next two singles, "Anyone Can Play Guitar" and "Pop Is Dead," reinforced a small following, even as the British music press neglected the group.
Pablo Honey, Radiohead's debut album, was released to mixed reviews in the spring of 1993. As the band launched a European supporting tour, "Crawling" became a sudden ruin rack up in America, earning large airplay on innovative careen wireless and MTV. On the back of the single's success, Radiohead toured the U.S. extensively, opening for Belly and Tears for Fears. All the exposure helped
Pablo Honey go au, and "Creep" was re-released in the U.K. at the close of 1993. This time, the individual became a Top Ten hit, and the band played out the following summertime touring the reality.
Although "Creep" made Radiohead a success, it likewise lED many observers to nog the band as a one-hit admiration. Conscious of such thought process, the radical entered the studio with producer John Leckie to record their second album,
The Bends. Upon its leaping 1995 release,
The Bends was greeted with overpoweringly enthusiastic reviews, all of which praised the group's deeper, more grow sound. However, irrefutable reviews didn't trade albums, as Radiohead struggled to be heard during the U.K.'s summer of Britpop and as American wireless programmers and MTV neglected the record. The band continued to spell as the curtain raising represent on R.E.M.'s prestigious
Demon spell. By the close of the class,
The Bends began to catch on, thanks non only to the band's constant touring merely as well to the crude, startling video for "Simply." The album made many year-end best-of lists in the U.K., and early in 1996 the record re-entered the British Top Ten and climbed to au condition in the U.S., helped in the latter by the tV for "Imposter Plastic Trees."
During the first half of 1996, Radiohead continued to tour in front re-entering the studio that fall to record their tierce record album,
OK Computer, which was released in the summer of 1997. A devoted following of fans and a fistful of enthusiastic vital supporters now embraced the album's majestic blending of untied prog rock'n'roll, post-punk angst, eerie electronic textures, and assured songwriting. Since it skillfully teetered 'tween rock classicism and futurism, it earned near-unanimous critical and democratic reinforcement over the course of the year, which sour into delirious latria in the last deuce years of the 10, even though its sales noneffervescent hadn't climbed to a higher place gold condition.
Expectations for Radiohead's fourth album were stratospheric, which placed extra pressure sensation on the already perfectionist ring, and light-emitting diode to several stumbling blocks on the way. An intense buzz of excitement among the band's still-growing following greeted the prerelease show of nigh of the album's tracks on the Internet in MP3 shape; they displayed an full-scale enchantment with ambitious, often minimalist electronica. Titled
Kid A, the album was at long last released in October 2000 and astonied many observers by debuting at phone number one on the U.S. album charts. While the stria didn't liberation any singles or embark on a courtly duty tour, the album met with a interracial critical response as the group was accused of creating a aloof and radio-unfriendly platter; however, it did remain a fan ducky.
In June of 2001, Radiohead rapidly released an album under the key
Amnesiac that consisted of substantial that was recorded during the
Small fry A roger Huntington Sessions. The stria made it very clear, though, that it was non to be considered an outtakes album; rather, they insisted that the 2 albums were of clear and divide conception. Regardless,
Amnesic debuted at phone number one in the U.K. and numeral two on the U.S. chart (behind then-stronghold Staind), spell outselling
Kid A in week one by 25,000 copies. The singles
Pyramid Song and
Knives Out were culled from
Amnesic with a subsequent earthly concern tour. While planning "I Might Be Wrong" for a tierce single, the melodic theme expanded into a live "mini-album," coroneted after the track, that was released in November of 2001.
Hail to the Thief, the proper followup to
Amnesiac, was relatively direct in bodily structure and peaked at routine trey on the U.S. chart. Sporadic recording sessions resumed in early 2005, just a jutting tone ending date for the band's one-seventh studio apartment record album remained 2007 as Yorke prepared a solo record album,
The Eraser, which was issued in July 2006.
On October 1, 2007, the stria proclaimed that they had ruined their seventh album,
In Rainbows, and that it would be "out" in a subject of ten days. Giving fans the option to yield any they'd like for the album as a zip file of MP3s, Radiohead too devised a pre-order organization for the physical translation of the album -- a "discbox" containing a double-vinyl version, a CD transcript with an enhanced six-track fillip disk, a lyric bible, and photos -- which they planned on transportation by early December. This was through with this without the involvement of a record label.
