Radiohead have just released new collector's editions of Pablo Honey, The Bends and OK Computer. The band's most dedicated fans will be the first to acknowledge the release as a cash-in by their former label EMI and nothing to do with the band members. After all, just two months after the band decided to go their own way and sell In Rainbows themselves digitally in October 2007, EMI released a seven-disc box set. Another release from Radiohead will of course be a most welcome cash injection to the ailing label, but what's in it for the fans? Radiohead themselves may make no comment on the releases, but their fans certainly do – scroll down the Amazon comments from those who bought the box sets and you'll read complaints by fans feeling they have been ripped off.
Others, who didn't already own the albums, were happy. For the newer generation of Radiohead fans who don't already have these three albums, the re-releases – including the album in full, and a second disc of B-sides, rarities, live tracks and videos – offer good value. Those who had bought the albums when they were released in 1993, 1995 and 1997 respectively, will feel short-changed. The three albums are not remastered – surprising when you think recording technology must have developed considerably in the 16 years that have passed since Pablo Honey's release. And as for the content, many of Radiohead's oldest fans will already have the extra songs provided from years of collecting singles and EPs: some of the material on the new version Ok Computer comes from the Airbag/ How's My Driving EP and some songs on The Bends from their EP My Iron Lung.
When it comes to convenience, having all the singles and B-sides in a double disc is unbeatable, but for the purists and the archivists, it will never equal the nostalgic appeal original EPs. It is also re-releases like these that signal the demise of independent record shops. Traditionally, fans would have to scour the dusty racks of the store to find a second hand EP from the band. It's not the first time fans are being encouraged to buy an album they already have – lured by the addition of one or two new songs. EMI is not the only label to cash in with re-releases. You only have to look back to the run up to Christmas, when the charts were awash with deluxe re-released albums by pop stars.
Leona Lewis's debut album Spirit was re-released as a deluxe version 11 months after its initial release in December 2007, taking her back to the top of the chart and making it the sixth biggest selling album of 2008 in the world. Great for Lewis and her label Sony, but not for the fans who already owned the album and were rewarded with just three additional new songs on the deluxe version – including her cover of 'Run', which gave Snow Patrol their first number one, and a bonus disk of videos. Amy Winehouse and her label Universal released a deluxe version of Back to Black prior to Christmas 2007; the onset of an increasing trend for acts releasing a more expensive version of their album. Take That did so in 2007 and bands from Girls Aloud to Keane have followed. The upgraded re-releases make good Christmas presents, but they are certainly not a good investment for the fans who already have the album.
In these cash-strapped times, most are less inclined to buy on impulse and more likely to pause to weigh up value and necessity. Buyers should beware of being lured by the promise of new rarities, B-sides and live songs.
While these three Radiohead albums are a must for any music collection, dedicated Radiohead fans best save the cash and wait for the band's next official release. More about:.
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The Bends Collectors Edition
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Some bands are born into greatness, others grow into it. Radiohead fall into the second category, but as these rarity-filled collector's editions show, they grew fast. The grungy, glammy Brit pop of Pablo Honey (1993) was a worthy debut, with the heroically self-loathing 'Creep' and Thom Yorke's slightly worrisome admission 'I want to be Jim Morrison.' You can hear hints of a different fate in the bonus tracks, though: Amid blustery post-punk ('Inside My Head') and a heavy-breathing acoustic 'Creep' were dystopian fever dreams ('Coke Babies') and catchy Luddite paranoia ('Killer Cars'). With its wild sweep of sound colors and exploded emotional palette, The Bends (1995) was some next-level business; songs like 'Fake Plastic Trees' and 'High and Dry' were for the ages. The period's B sides were similarly adventurous: Alongside essential acoustic versions, there are the Indo-flavored gem 'Lozenge of Love' and the spacey choirboy nightmare 'Bishop's Robes.' By OK Computer (1997), the band was working strictly with Nigel Godrich as producer, and the mix is its richest yet, lurching between guitar freakouts, Gregorian-chant-style vocals and intergalactic synth noise.
It was Prog Rock, the Next Generation: panicked, paranoid and product-coded; tranquilized, arena-size and indelible. As the bonus tracks show, the album held the cream of the period's material. But on 'Meeting in the Aisle' and remixes of 'Climbing up the Walls,' you hear the stirring of the deeper electronic experiments of Kid A, and all the head-expanding hybrids that followed. Pablo Honey — 3 stars The Bends — 4.5 stars OK Computer — 5 stars.
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When Capitol released a few different shortcuts through Radiohead's career late last year, we were indifferent to its cause, citing a lack of need and poor selection. Most fervent Radiohead fans would have wasted their money buying these packages, and most people interested in the band would be best served by their actual albums. Well, Capitol has now begun to roll out those parent albums- starting with the group's three 1990s releases ( Pablo Honey, The Bends, OK Computer)- again, without the band's participation. This time, however, the label is doing it right, dressing the releases up with the right accoutrements: B-sides from the era (and since the era overlapped with two-part CD singles, there are plenty), radio sessions, and music videos. For an epochal, era-defining band, Radiohead had an unusual beginning, looking like they'd wind up one-hit wonders, chancers callously attaching themselves to a sound and moment yet with few ideas of their own. That first hit, 'Creep', with its loud/soft dynamic and self-loathing lyric, fit snugly into the post-Nirvana alt-rock landscape- no surprise: Radiohead copped as much from 80s indie rock as their Pac NW brethren did. Yet instead of being hamstrung by platinum success, Radiohead abandoned careerist moves for artistic ambitions, moving quickly to incorporate the record-collector's music of post-rock and Mo Wax, the post-dance, spiritually nurturing end of UK rock, and the pre-millennial tension of IDM and trip-hop.
By the end of the 90s, Radiohead hadn't supplanted U2, R.E.M., Oasis, and Metallica as the world's biggest rock band. But it was largely agreed upon that they were the world's best- and with hindsight, arguably, along with the White Stripes, the last indie-friendly group to conquer the world and punch in the same weight class as early 90s alt-rock giants like Nine Inch Nails, Pearl Jam, Green Day, or Red Hot Chili Peppers. That they used this critical and commercial currency to such dazzling effect on Kid A and Amnesiac is still one of the highlights of this decade; that the press, especially in the UK, chose the more familiar and necrophiliac 'new rock revolution' over the relatively pioneering Radiohead is one of the decade's lows.
Recover ntfs drive. UK rock, for all its heady artistry and visionaries throughout the 60s, 70s, and 80s, had been slumming it a bit when Radiohead first emerged. Size and grandeur, which would become the goals for too many UK guitar bands by the end of the Britpop era, were largely missing from that country's indie scene when Radiohead started recording in 1992.
Sure, the Stone Roses had trumpeted their own greatness a few years earlier, but most of the era's indie music was introspective, bands content to gaze at their shoes rather than aim for the back of the venue. Radiohead's early, full-bodied music was, in most circles then, dismissed as empty Americanisms- and not without reason. The expansive Pablo Honey set- the 12-song album accompanied by 22 extras- mostly highlights a group in hock to U.S. Indie heroes Pixes and Dinosaur Jr.
(with the occasional R.E.M. Homage tossed in- see: 'Lurgee'). The loose 'Anyone Can Play Guitar' and delicate 'Thinking About You' thankfully break up the 120-minute mood, but most of the rest of the album is squarely in the post-grunge wheelhouse.
That's not always a bad thing: 'Stop Whispering', opener 'You', and a re-recorded version of early single 'Prove Yourself' hold up well- and 'Creep' has oddly gotten better with age. Elsewhere, the dreadful 'Pop Is Dead', and songs like 'How Do You?' , 'I Can't', 'Ripcord', and 'Vegetable' are run of the mill at best. If Pablo Honey didn't betray hints of the band Radiohead would become, neither did its B-sides. Unlike contemporaries such as Blur, who used their non-album material to explore new ideas or moods, Radiohead's Pablo Honey-era work is primarily lesser versions of the album. The extra material kicks off with their debut release, the Drill EP, which features three rudimentary versions of LP tracks, plus 'Stupid Car', the first of Thom Yorke's odd automobile-themed fixations (still to come: 'Killer Cars', 'Airbag', the 'Karma Police' video.) From there, it's a mishmash of alternate takes and also-rans (highlight: the U.S.
Single version of 'Stop Whispering'), with only the shoegazey 'Coke Babies' and an acoustic version of early political commentary 'Banana Co.' (released in much better form on The Bends package) worth exploring more than a few times. I distinctly remember then the first time someone suggested The Bends was a great record. Not being one of the million-plus Pablo Honey owners at the time, I was content to hear 'Creep' on the radio over and over and expected I'd soon spend about as much about time with Radiohead's catalog as one would with, say, Hum or Ned's Atomic Dustbin or School of Fish. The My Iron Lung EP had beaten The Bends to U.S. Record shelves by a few months, and the 'High and Dry' / 'Planet Telex' single was out a few weeks prior as well, but few noticed.
Anyone who had explored those two earlier singles, however, would have been excited for the LP. A reaction to the success of 'Creep', 'My Iron Lung' found Radiohead still exploring the loud/soft dynamic, but guitarist Jonny Greenwood was also locating his own identity and Yorke, inspired by Jeff Buckley, was using a wider vocal range, including some falsetto. Pss dash 8-300 download. Balancing a slightly artier sense of musical self-destruction with a sinewy guitar line, on 'Lung' Radiohead found new ways to pick apart and re-construct the typical alt-rock template.
Was 's peak as an adventurous guitar band and their creativity wasn't limited to the album proper - it spilled over to that album's B-sides, resulting in their most consistent string of singles, which, in turn, makes the double-disc reissue of the best of all the 2009 deluxe reissues. This collects all the B-sides from the singles for 'My Iron Long,' 'High & Dry'/'Planet Telex,' 'Fake Plastic Trees,' and 'Street Spirit (Fade Out),' adding four BBC sessions to comprise a bonus disc totalling 21 tracks. Compared to the and reissues, this doesn't rely heavily on live tracks or remixes, so there is a pretty hefty amount of valuable non-LP songs here, including 'Talk Show Host,' 'Bishop's Robes,' 'Banana Co.,' and 'Molasses,' which all point the way toward the vibrant twitchy progressive rock of. Even with these tunes hinting toward the future, the 21 tracks on the bonus disc are connected strongly to the muscular, imaginative present of in 1995, building and expanding upon the sound of and, when presented in conjunction with the album, enhancing it, illustrating that this was when the band found its voice.
CD 1 CD1-1 You CD1-2 Creep CD1-3 How Do You? Comes in a large multi cd case. All discs are acetate burns with custom printing on them. Advance Limited Edition 2-CD+DVD Special Collectors Edition. (2-CD Collector's Edition also to be released) On March 24, Radiohead's first three albums, Pablo Honey (1993), The Bedns (1995) and OK Computer (1997) will be released by Capitol/EMI in expanded 'Collectors Edition' and limited edition 'Special Collectors Edition' packages. Each 'Collectors Edition' includes the original album plus a second CD of rarities, including demos, sessions and live recordings. Each 'Special Collectors Edition', in deluxe, lift-top box packaging, includes both audio discs and adds a DVD with a variety of promotional music videos, TV perfomances and filmed concert perfomances, as well as a series of postcards.
(full tracklist on front panel flap) This compilation ℗© 2009 Capitol Records, Inc. Manufactured by Capitol Records, Inc. Licensed for promotional use only. This disc has not been sold.
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