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OK Computer

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This is an old revision of this page, as edited by 217.155.206.150 (talk) at 06:26, 8 October 2008 (→‎Legacy: Removed mention of muse, as they not only have not said they were inspired by radiohead, but also claim not to listen to them. The given reference also says something to this effect.). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

Untitled

OK Computer is the third album by English alternative rock band Radiohead, released on 16 June 1997. Co-producing the album with producer Nigel Godrich, Radiohead recorded the album in rural Oxfordshire and Bath, England during 1996 and early 1997. Although it is dominated by guitar, OK Computer's expansive sound and wide range of influences set it apart from many of the Britpop and alternative rock bands popular at the time, and laid the groundwork for Radiohead's later, more experimental work.[1] The album is considered a concept album; its lyrics and artwork emphasised themes such as consumerism, social disconnection, political stagnation and modern malaise.[2]

OK Computer reached number one on the UK Albums Chart and marked Radiohead's highest entry into the American market at the time, debuting there at number twenty-one. The album expanded the band's worldwide popularity, and as of 2007, has been certified triple platinum in the UK and double platinum in the US.[3][4] OK Computer received considerable critical acclaim and has been listed by critics and listener polls as one of the best albums of all time.

Background

After the success of Radiohead's second album, The Bends (1995), the band decided to produce their third album themselves, although a number of producers, including Scott Litt, were offered a position to work on the album.[5] They were encouraged by recording sessions with engineer Nigel Godrich, who had assisted John Leckie in producing The Bends and had produced several Radiohead B-sides.[6] Bassist Colin Greenwood said that, "the only concept that we had for this album was that we wanted to record it away from the city and that we wanted to record it ourselves."[7] The band prepared for the recording sessions by buying their own recording equipment. The group asked Godrich for advice on what to acquire; Godrich eventually outgrew this role and became co-producer on the album.[8]

After the stressful tour in support of The Bends, the band took a break in January 1996 and expressed a desire to change their musical and lyrical style from that of their previous album.[9] Drummer Phil Selway said that "The Bends was an introspective album… There was an awful lot of soul searching. To do that again on another album would be excruciatingly boring."[10] Singer Thom Yorke said that "The big thing for me is that we could really fall back on just doing another miserable, morbid and negative record lyrically, but I don't really want to, at all."[11]

Recording

In early 1996, Radiohead started rehearsing and recording OK Computer in the Canned Applause studio, a converted shed near Didcot, Oxfordshire. It was the band's first attempt to work outside a conventional studio environment. Colin Greenwood said, "We had this mobile-studio type of thing going where we could take it all into studios to capture those environments. We recorded about 35% of the album in our rehearsal space. You had to piss around the corner because there were no toilets or no running water. It was in the middle of the countryside. You had to drive to town to find something to eat."[7]

In order to avoid the tension that accompanied the recording sessions for The Bends, EMI did not impose a production deadline on the band.[12] The band still ran into problems however, which according to Phil Selway, were mainly due to their choice to produce the album themselves. All five members had differing opinions and equal production roles, with Yorke having "the loudest voice", according to guitarist Ed O'Brien. The band eventually decided that Canned Applause was an unsatisfactory recording location, which Yorke attributed to its proximity to the band members' homes, and which Jonny Greenwood attributed to its lack of dining and bathroom facilities.[13] In spite of these difficulties, by this time the band had nearly completed recording four songs: "Electioneering", "No Surprises", "Subterranean Homesick Alien", and "The Tourist".[14]

The band took a break from recording to embark on a 13-date American tour, opening for Alanis Morissette, where they performed early versions of several of their new songs. During summer 1996, one of the new songs, "Paranoid Android" evolved from a 14 minute song featuring long organ solos, to a version closer to that on OK Computer.[15] Radiohead resumed their recording sessions in September 1996 at St Catherine's Court, a historic mansion near Bath owned by Jane Seymour.[16] They made much use of the different rooms and atmospheres throughout the house; the vocals on "Exit Music (For a Film)" featured an echo effect achieved by recording on a stone staircase, and "Let Down" was recorded at 3 AM in a ballroom.[17] The isolation from the outside world allowed the band to work at a different pace, with more flexible and spontaneous working hours. O'Brien said that "the biggest pressure was actually completing [the recording]. We weren't given any deadlines and we had complete freedom to do what we wanted. We were delaying it because we were a bit frightened of actually finishing stuff".[18] Yorke was ultimately satisfied with the quality of the recordings made at the house, and later stated "In a big country house, you don't have that dreadful '80s 'separation'. [...] There wasn't a desire for everything to be completely steady and each instrument recorded separately." O'Brien was similarly pleased with the recordings, estimating that "80%" of the album was recorded live and noted "I hate doing overdubs, because it just doesn't feel natural. [...] Something special happens when you're playing live; a lot of it is just looking at one another and knowing there are four other people making it happen."[19]

Radiohead returned to Canned Applause in October for rehearsals,[20] and completed most of the album during further sessions at St. Catherine's Court. By Christmas, they had narrowed down the tracklisting to 14 songs.[21] The album's string parts were recorded at Abbey Road Studios in London in January 1997. The album was mastered at the same location, with mixing taking place over the next two months at various studios around the city.[22]

Musical style and themes

Sound and influences

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According to Thom Yorke, Radiohead stopped listening to pop music while making OK Computer. Instead, he described the "incredibly dense and terrifying sound" of Bitches Brew by jazz composer Miles Davis as his starting point.[23] The band also drew influence from the film soundtrack composer Ennio Morricone and modern classical composer Krzysztof Penderecki,[24][2] whose music Yorke described as "atmospheric, atonal, weird stuff".[23] Yorke described the sound the band hoped to achieve from the album as "an atmosphere that's perhaps a bit shocking when you first hear it, but only as shocking as the atmosphere on [the Beach Boys'] Pet Sounds".[23]

The album's production style was similar to Phil Spector's wall of sound technique,[24] resulting in a completely different musical texture from the band's earlier albums, and a maturation from the style that Radiohead projected with their debut single, "Creep".[original research?] OK Computer was compared by the press to Pink Floyd's 1973 album Dark Side of the Moon.[citation needed]

Lyrics

Yorke described a change in his lyrics since 1995's more personal The Bends: "On this album, the outside world became all there was… I'm just taking Polaroids of things around me moving too fast".[23] He has cited Noam Chomsky's writings as the main inspiration on "Electioneering",[25] William Shakespeare on the lyrics for "Exit Music (For a Film)",[26] and Douglas Adams's The Hitchhiker's Guide to the Galaxy on "Paranoid Android".[26] Although "Paranoid Android" was compared to Queen's "Bohemian Rhapsody" in terms of its three-part musical structure, Jonny Greenwood said, "It's not actually complex enough to be 'Bohemian Rhapsody'."[26] Yorke described "Fitter Happier" as a "checklist" of slogans for the 1990s.[citation needed] Its lyrics are spoken by the default voice of the MacinTalk Pro speech synthesizer software.[citation needed] Although Yorke originally planned to sing the lyrics himself, he found the effect was strangely more emotional when he tried having them "read" by the computer.[26]

Yorke said, "Loads of the music on OK Computer is extremely uplifting. It's only when you read the words that you'd think otherwise."[27] Radiohead have stated that although the songs have common themes of technology, globalization, and modern life in the UK, any clear story is unintentional and they do not deem OK Computer to be a concept album.[2] Yorke also said that OK Computer was not a strictly personal album and that each song on the album was a "polaroid" from the viewpoint of a different person, even inspiring him to vary his vocal style in each song.[28] However, the band stated that the album was meant to be heard as a whole. O'Brien said, "We spent two weeks track-listing the album. The context of each song is really important… It's not a concept album but there is a continuity there."[2]

Packaging

Yorke explained the title's meaning: "We did this promo trip recently to Japan, and on the last day, we were in a record shop and this one kid shouted at the top of his voice, 'OK COMPUTER!', really, really loud. Then he had 500 people chant it all at once...I got it on tape. It sounds amazing. It reminds me of when Coca-Cola did 'I'd Like to Teach the World to Sing', that amazing advert in '70...The idea of every race and every nation drinking this soft drink...it's actually a really resigned, terrified phrase..."[25]

The album's cover design is a collage of images and text by Stanley Donwood, who is credited with design on several Radiohead covers, along with Yorke. Some of the art is computer-made collages, created by Yorke; other art is hand-drawn work by Donwood. Some of the text is hidden, including several phrases in Esperanto.[citation needed] Yorke explained the artwork's theme, saying, "Someone's being sold something they don't really want, and someone's being friendly because they're trying to sell something. That's what it means to me. It's quite sad, and quite funny as well. All the artwork and so on...we chose to pursue it after we [finished the album]...It was all the things that I hadn't said in the songs."[18]

Release

According to Selway, "When we first delivered the album to Capitol, their first reaction was, more or less, 'commercial suicide'. They weren't really into it. At that point, we got The Fear. How is this going to be received?"[10] O'Brien said that aside from the band's British label (which he said was "unanimous in thinking it was a fantastic album"), other labels around the world downsized their initial sales estimates after listening to the record.[29] Capitol Records, the band's American label, lowered its sales estimates from two million to 500,000 copies.[30] O'Brien said the label "didn't hear anything on OK Computer that sounded even remotely like a potential single, let alone like 'Creep'".[23]

Parlophone undertook an unorthodox advertising campaign for the album, taking out full-page advertisements in high-profile British newspapers and tube stations. The advertisements featured the lyrics for "Fitter Happier" written in large black letters on a white background.[10] In America, Capitol sent 1000 cassette players to select members of the press and music industry with a cassette copy of the album permanently bonded inside.[31] Capitol president Gary Gersh, when asked about the campaign after the album's release, said "We won't let up until they are the biggest band in the world".[23]

Radiohead chose "Paranoid Android" as the lead single from OK Computer. Despite a lack of radio play, the song charted at number three in the United Kingdom, giving Radiohead their highest singles chart position.[32] The album was released on 16 June 1997 in the United Kingdom; the American release followed on 1 July.[33] The album debuted at number one on the British album charts, where it stayed for two weeks. The album stayed in the Top 10 for weeks, and became the country's eighth best-selling record of the year.[34] Two additional singles, "Karma Police" and "No Surprises", were released from the album.

Reception

Upon its release, OK Computer received almost unanimously positive reviews. Consensus among critics was that the album was a landmark of its time and would have far-reaching impact and importance.[35] NME gave the album a ten out of ten score, and reviewer James Oldham wrote "Here are 12 tracks crammed with towering lyrical ambition and musical exploration; that refuse to retread the successful formulas of before and instead opt for innovation and surprise; and that vividly articulate both the dreams and anxieties of one man without ever considering sacrifice or surrender. In short, here is a landmark record of the 1990s, and one that deserves your attention more than any other released this year."[36] Taylor Parkes of Melody Maker connected the album's release to the era's feeling of paranoia and alienation about millenarianism, and said "It's as pained and as slow-moving as the emotions that inspired it. [...] In one way or another, Radiohead have excelled themselves."[37] Q awarded the album five out of five stars, with writer David Cavanagh stating that "the majority of OK Computer''s 12 songs [...] takes place in a queer old landscape: unfamiliar and ominous, but also beautiful and unspoiled. [...] It's a huge, mysterious album for the head and soul."[38] Nick Kent wrote in Mojo that "Others may end up selling more, but in 20 years time I'm betting OK Computer will be seen as the key record of 1997, the one to take rock forward instead of artfully revamping images and song-structures from an earlier era."[39] In a four out of five stars review, Caroline Sullivan of The Guardian wrote that the album "is surprising and sometimes inspiring but its intensity makes for a demanding listen."[40]

The album was also favourably received by critics in North America. Rolling Stone gave the album four out of five stars. Reviewer Mark Kemp wrote that the album is "a stunning art-rock tour de force [...] On OK Computer, Radiohead take the ideas they had begun toying with on The Bends into the stratosphere. [...] OK Computer is evidence that [Radiohead] are one rock band still willing to look the devil square in the eyes", but warned "OK Computer is not an easy listen."[41] An Entertainment Weekly review by David Browne gave the album a B+, and wrote that "When the arrangements and lyrics meander or sprout pretensions, the album grows ponderous and soggy. For all of Radiohead's growing pains, though, their aim — to take British pop to a heavenly new level — is true."[42] In an article for The New Yorker, writer Alex Ross praised OK Computer for its progressiveness, and contrasted Radiohead's risk-taking with the unfavourably portrayed, conservative "dadrock" of their contemporaries Oasis. Ross wrote that "Throughout the album, contrasts of mood and style are extreme […] This band has pulled off one of the great art-pop balancing acts in the history of rock."[43] Ryan Schreiber wrote, in a highly enthusiastic ten out of ten review in his online music magazine Pitchfork, that "Radiohead's third piece of incredible work, OK Computer, is not only their best yet, but one the year's greatest releases. The record is brimming with genuine emotion, beautiful and complex imagery and music, and lyrics that are at once passive and fire-breathing."[44]

Despite OK Computer's widespread praise, it also received some criticism. Robert Christgau granted OK Computer a B− but said the album lacked "soul", called it "arid" and compared it unfavourably to Pink Floyd.[45] Andy Gill wrote for The Independent in an otherwise positive review, "For all its ambition, OK Computer is not, finally, as impressive as The Bends, which covered much the same sort of emotional knots, but with better tunes. It is easy to be impressed by, but ultimately hard to love, an album that so luxuriates in its despondency".[46]

At the end of 1997, OK Computer appeared in many critics' lists and listener polls for best album of the year. OK Computer topped the year-end polls of the magazines Mojo, Vox, Entertainment Weekly, Hot Press, Muziekkrant OOR, HUMO, Eye Weekly, and Inpress, and tied for first place with Daft Punk's Homework in The Face. The album placed second in of NME, Melody Maker, Rolling Stone, Village Voice, Spin and Uncut. Q and Les Inrockuptibles both listed OK Computer in their unranked year-end polls.[47] OK Computer was a nominee for the 1997 Mercury Prize, a prestigious award recognizing the best British or Irish album of the year.[48] The album was nominated in the Album of the Year and Best Alternative Music Performance categories at the 1998 Grammy Awards, ultimately winning the latter award.[49]

OK Computer first appeared in a "best of all time" list three months after its release, placing 16 in a chart based on submissions by customers of Virgin Megastores. However, the chart heavily favoured recent releases, which suggested that OK Computer's popularity was a passing fad.[50] In early 1998, OK Computer topped a Q reader's poll of the greatest albums of all time, and in 2001 Q placed it at number one in a list of the top 50 pop albums of the last 15 years.[51] A number of publications, including NME, Melody Maker, Spin, Alternative Press,[50] Pitchfork Media,[52] and Time[53] placed OK Computer prominently in lists of best albums of the 1990s or of all time. Template:RS500

Legacy

As OK Computer was released during the waning days of Britpop and during the 1997 general election in the United Kingdom, it was seen by critics to encompass popular opinion in the UK with its themes, explaining its enthusiastic reaction in that country.[54] Yorke said his lyrics had been affected by reading a book about the two decades of Conservative government which were just coming to an end in 1997, as well as about factory farming and globalisation.[55] However, in interviews Yorke expressed little hope things would change under the "New Labour" government of Tony Blair.[18] With the approach of the year 2000, many people felt the tone of the album was millennial.[55]

Some critics have credited OK Computer with "killing" 1990s Britpop,[56] as within a few years of its release, the dominant style of UK guitar pop had become slower and more melancholy. Many of the newer acts used similarly complex, atmospheric arrangements. The band Travis worked with Nigel Godrich to create the languid pop texture of The Man Who, which became the biggest selling album of 1999 in the UK. Others have credited Radiohead with beginning a mainstream revival of progressive rock and ambitious concept albums,[57] though the band denied their affiliation with the genre. In fact, members described the prevalence of bands that "sound like us" as one reason to break with the style of OK Computer for their next album, Kid A.[58]

Several rock bands which later became popular, ranging from Coldplay[59] and Bloc Party[60] to TV on the Radio,[61] have said they were formatively influenced by OK Computer. It has also been cited by some electronic, jazz and classical[62] musicians as an influence.

Track listing

All songs written by Thom Yorke, Jonny Greenwood, Ed O'Brien, Colin Greenwood, and Phil Selway.

  1. "Airbag" – 4:44
  2. "Paranoid Android" – 6:23
  3. "Subterranean Homesick Alien" – 4:27
  4. "Exit Music (For a Film)" – 4:24
  5. "Let Down" – 4:59
  6. "Karma Police" – 4:22
  7. "Fitter Happier" – 1:57
  8. "Electioneering" – 3:51
  9. "Climbing Up the Walls" – 4:45
  10. "No Surprises" – 3:49
  11. "Lucky" – 4:20
  12. "The Tourist" – 5:25

Charts

Album

Chart (1997) Peak
position
UK Album Chart 1[63]
US Billboard 200 21[64]
Canada 3[65]
France 3[66]
New Zealand 1[67]
Australia 7[68]
Sweden 3[69]
German Long-play Chart 27[70]
Netherlands 2[71]
Austria 17[72]
Switzerland 40[73]
Spain 42[74]

Singles

Year Song Peak positions
UK
[63] 		US Modern Rock
[75] 		NZ
[76] 		AUS
[77] 		SWE
[78] 		NL
[79]
1997 "Paranoid Android" 3 — — 29 53 61
1997 "Karma Police" 8 14 32 — — 50
1998 "No Surprises" 4 — 23 47 — 58
"—" denotes releases that did not chart.

Sources

  • Footman, Tim (2008-06-10), Welcome to the Machine: OK Computer and the Death of the Classic Album, New Malden: Chrome Dreams, ISBN 1-84240-388-5 {{citation}}: Check date values in: |date= (help)
  • Randall, Mac (2000-09-12), Exit Music: The Radiohead Story, New York: Delta, ISBN 0-385-33393-5 {{citation}}: Check date values in: |date= (help)

References

  1. ^ Kent, Nick (June 2001), "Happy Now?", Mojo
  2. ^ a b c d Wadsworth, Tony (1997-12-20), "The Making of OK Computer", The Guardian {{citation}}: Check date values in: |date= (help)
  3. ^ Certified awards, BPI, 1998-02-20, retrieved 2008-09-28 {{citation}}: Check date values in: |date= (help)
  4. ^ Gold and Platinum Database Search, RIAA, 2006-05-04, retrieved 2008-09-28 {{citation}}: Check date values in: |date= (help)
  5. ^ Footman, p. 34
  6. ^ Randall, p. 189
  7. ^ a b Glover, Arian (1998-08-01), "Radiohead—Getting More Respect.", Circus {{citation}}: Check date values in: |publication-date= (help)
  8. ^ Randall, p. 190-91
  9. ^ Footman, p. 33
  10. ^ a b c Cantin, Paul (1997-08-19), "Radiohead's OK Computer confounds expectations", Ottawa Sun
  11. ^ Richardson, Andy (1995-12-09), "Boom! Shake the Gloom!", NME
  12. ^ Randall, p. 194
  13. ^ Randall, p. 195
  14. ^ Footman, p. 25
  15. ^ "Thom Yorke loves to skank", Q, 2002-08-12 {{citation}}: Check date values in: |date= (help)
  16. ^ Randall, p. 196
  17. ^ Footman, p. 35
  18. ^ a b c "Renaissance Men", Select, December 1997
  19. ^ Vaziri, Aidin (October 1997), "British Pop Aesthetes", Guitar Player
  20. ^ Randall, p. 198
  21. ^ Randall, p. 199
  22. ^ Randall, p. 200
  23. ^ a b c d e f "The Making of 'OK Computer'", Spin, 1998-01-01
  24. ^ a b Randall, Mac (1998-04-01), "The Golden Age of Radiohead", Guitar World, retrieved 2008-09-29 {{citation}}: Check date values in: |date= (help)
  25. ^ a b Sakamoto, John (1997-06-02), Radiohead talk about their new video, Jam! {{citation}}: Check date values in: |date= (help); Italic or bold markup not allowed in: |publisher= (help)
  26. ^ a b c d Sutherland, Mark (1997-05-31), "Return of the Mac!", Melody Maker {{citation}}: Check date values in: |date= (help)
  27. ^ Plagenhoef, Scott (2006-08-16), "Interview: Thom Yorke", Pitchfork.com, Pitchfork Media, retrieved 2008-09-29 {{citation}}: Check date values in: |date= (help)
  28. ^ Sutcliffe, Phil (1997-10-01), "Death is all around", Q {{citation}}: Check date values in: |date= (help)
  29. ^ Randall, p. 242
  30. ^ Randall, p. 202
  31. ^ Randall, p. 243
  32. ^ Randall, p. 242-43
  33. ^ Randall, p. 202-03
  34. ^ Randall, p. 247
  35. ^ Footman, p. 181-82
  36. ^ Oldham, James (1997-06-14), "The Rise And Rise Of The ROM Empire", NME {{citation}}: Check date values in: |date= (help)
  37. ^ Parkes, Taylor (1997-06-14), "Review of OK Computer", Melody Maker {{citation}}: Check date values in: |date= (help)
  38. ^ Cavanagh, David (July 1997), "Moonstruck", Q
  39. ^ Kent, Nick (July 1997), "Press your space next to mine, love", Mojo
  40. ^ Sullivan, Caroline (1997-06-13), "Aching Heads", The Guardian {{citation}}: Check date values in: |date= (help)
  41. ^ Kemp, Mark (1997-07-10), "OK Computer : Radiohead : Review", Rolling Stone, retrieved 2008-09-29 {{citation}}: Check date values in: |date= (help)
  42. ^ Browne, David (1997-07-11), "OK Computer", Entertainment Weekly, retrieved 2008-09-29 {{citation}}: Check date values in: |date= (help)
  43. ^ Ross, Alex (1997-09-29), "Dadrock: Revisiting the Sixties with Oasis and Radiohead", The New Yorker, p. 88, retrieved 2008-09-30 {{citation}}: Check date values in: |date= (help)
  44. ^ Schreiber, Ryan (1997-12-31), "OK Computer", Pitchfork Media, retrieved 2008-09-29 {{citation}}: Check date values in: |date= (help)
  45. ^ Christgau, Robert, Radiohead, retrieved 2008-09-29
  46. ^ Gill, Andy (1997-06-13), "First Impression: 'OK Computer' by Radiohead", The Independent (archived by FindArticles.com, 2005), retrieved 2008-10-04 {{citation}}: Check date values in: |date= (help)
  47. ^ Footman, 183-184
  48. ^ "Mercury Prize 2008: The nominees", BBC News, 2008-07-22, retrieved 2008-09-28 {{citation}}: Check date values in: |date= (help)
  49. ^ Randall, p. 251, 255
  50. ^ a b Footman, p. 185
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  52. ^ DiCrescenzo, Brent (2003-11-17), "Top 100 Albums of the 1990s", Pitchfork Media, retrieved 2008-09-30 {{citation}}: Check date values in: |date= (help)
  53. ^ Tyrangiel, Josh; Light, Alan (2006-11-13), "The All-TIME 100 albums", Time, retrieved 2007-05-05 {{citation}}: Check date values in: |date= (help)
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  56. ^ "Ten Years On – Death Of Britpop", BBC 6 Music, 2006-06-14 {{citation}}: Check date values in: |date= (help)
  57. ^ Allen, Matt (2007-06-14), "Prog's progeny", The Guardian, retrieved 2007-07-13 {{citation}}: Check date values in: |date= (help)
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Further reading

  • Griffiths, Dai (2004-08-30), Radiohead's OK Computer, Thirty Three and a Third series, New York: Continuum International Publishing Group, ISBN 0-8264-1663-2 {{citation}}: Check date values in: |date= (help)
Preceded by UK number one album
28 June 1997 – 11 July 1997 		Succeeded by

Template:Link FA

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