RANKED: Radiohead Albums
There are many polarizing groups in the bandrosphere, but few will elicit more simultaneous groans and cheers than Radiohead.
Some are in the camp that praises the first three albums yet bemoans the jarring shift that occurred when Kid A burst onto the scene with a 180 degree shift in direction.
Others will argue that Radiohead was just getting warmed up prior to tapping into real creativity with the release of their 4th studio album.
One consistent theme, however, is that Radiohead creates and disperses their own perception of art (take it or leave it), and they have never apologized nor have they ever backpedaled. If Thom, Johnny and crew find inspiration, they capture it, release it and move along to the next frontier.
This constant, nomadic quest for beauty (as perceived by the group) has resulted in some very stark contrasts and sharp turns when one takes in the entire library of studio releases. How does one rank Radiohead's albums? Should each album be reviewed in a vacuum? Is the sequence of artistic expression relevant, and should each release be taken in context?
Well, I, for one, have listened and listened and listened, and, after a while, it just seems that personal preference will allow some albums to rise to the top. I love the fact that, while my favorite albums are arguably the best . . . there is still room for argument. The most polarizing aspect of the band is that the debate doesn't end with, "Yes, they're great" and, "No, they're terrible." It continues with, "Well, obviously their best album is _____" and "No, that album is garbage . . . obviously, ____ is better."
I initially attempted to rank EVERY single Radiohead song, (and I did . . . in an Excel spreadsheet . . . because I'm Mr. Saturday Night . . .). I started a post which began with my least favorite and worked its way toward the most supreme song (with details for each track). Yeah . . . that got boring . . . fast. If listening through Radiohead's entire list of studio albums taught me anything it's that songs are difficult to evaluate outside of the context of the album. I now appreciate full albums (and no longer have a desire to simply own several singles).
Okay . . . that's my soliloquy . . . and here are Radiohead's studio albums (as of October 2013) ranked from least favorite to absolute must buy:
Pablo Honey
Creep
Thom's a bit of a creep. Yeah, he's kind of a weirdo.
Well, this is the album that gave us "Creep." This is possibly Radiohead's most easily recognized and celebrated song. 20 years later, "Creep" is still a relevant, stirring ode to misfits, and I love it. Thom's moaning vocals and Johnny's angsty guitar hint at the greatness to come from this band. That being said . . . the remainder falls a tad short. There are some fun tunes in here (e.g., "Anyone Can Play Guitar" and "Blow Out"), but the other songs on this album are not really indicative of the potential for this band. There is, however, a cacophonous closing to "Blow Out" that serves as a trailer for some of Radiohead's post The Bends releases, but they were not quite in their element yet. "Creep" is a gem, but this is not a good album (by any stretch of the imagination).
Kid A
Everything In Its Right Place
Some might argue that I don't have this album " . . . in its right place"
Okay . . . I'll probably take a little flak for this one. Many (possibly most) people regard Kid A as Radiohead's best album. It was monumental. It was a game-changer. This album told the world that Radiohead would not rest on its laurels. This album braced all Radiohead fans for the inevitable fact that their favorite band was pliable . . . malleable . . . forward-thinking. This album introduced new Radiohead fans to the herd and alienated existing fans to the point of abandonment. This might be one of the most exciting and groundbreaking albums ever released. After multiple listens, however, I can only just appreciate it as a good album (and not a great album). I realize the significance, and I love how it kicks off the movie, "Vanilla Sky", . . . but . . . it's not their best. "Motion Picture Soundtrack" is a standout along with a few others such as "Morning Bell", "Everything In Its Right Place" and "Idioteque", but the true value of this album is that it allowed the band to see what it was like to completely change direction. The result? . . . it was okay. They maintained some fans and gained some new fans. They created what they considered music (art), and they didn't really suffer any consequences. "Noted", said Radiohead . . . and they continued to let their imagination do the walking.
The King of Limbs
Lotus Flower
Whoa . . . Thom . . . drugs . . .
This is the latest (as of 10/2013) release. The fact that this band is still creating innovative, intriguing, dialogue-inducing tracks almost 20 years after its first studio album tells you a bit about this group. Some of the theme of this album is constant, looping percussion and rhythms, and, while it does deviate a bit from prior releases, it can be a bit grating and abrasive in a few tracks (e.g., "Feral" and "Bloom"). To me, the track "Lotus Flower" encapsulates the album (is it odd? yes. is it fun? yes. does it look like Thom cares what anyone thinks. no; just watch the video . . .). Standouts are "Lotus Flower", "Codex", "Give up the Ghost", and "Little by Little."
Amnesiac
Knives Out
"Catch the mouse. Squash his head. Put him in the pot." Mmmm. Delicious.
Often cited as the B-side to Kid A, this album gets a redheaded-stepchild, middle-sibling, second-fiddle placement in most libraries. Typically, the thought is, "Ah, yes, I can see how these were created during the Kid A sessions. These are fun too, I guess." Well, in my humble opinion, this is a more complete album, and I was much more excited at the prospect of multiple listens to this album than I was to its predecessor. The tracks are so cohesive, and (although Kid A is also cohesive), I prefer the somber tone of this album. "Life in a Glasshouse" is amazing, conjuring up images of a drunken, slumbering, abandoned New Orleans circa 1930. Other standout tracks include "Pyramid Song", "Knives Out", "You and What Army" and "Like Spinning Plates."
The Bends
High and Dry
"You'd kill yourself for recognition. Kill yourself to never, ever stop."
Whoa . . . what an amazing album. If you lived the 90s (I mean, lived them as they should have been lived in all of their Zack Morris, unbuttoned collared shirt, Crystal Pepsi glory), this album will absolutely crush you. So many great songs on this album: "High and Dry", "Fake Plastic Trees", "My Iron Lung", "Street Sprit (Fade Out)." How is this not the best album? Well, I can't argue against the fact that there are hardly any bad songs on the list or that these tracks can stand the test of time, BUT . . . they don't necessarily transcend the genre or period. This was AMAZING music when it was released, and it's still amazing music today. You can just tell, however, that you are listening to 90s gold when you play these tunes, and that's why there are still better albums yet to come . . .
Hail to the Thief
2 + 2 = 5
George Orwell just got auto tuned
If you loved OK Computer (the face-melting guitar riffs) and were also on-board with the abstract dimensions of its next two follow-ups . . . this . . . was . . . perfect. Johnny came back into his original element (guitar - rockin' guitar), yet, Radiohead did not take a single step backward. The ominous opener, "2 + 2 = 5" hauntingly ushered in the culmination of all of Radiohead's raw musical talent and the ever-inventive mind of Thom Yorke to create a very relevant and knock-your-socks-off-rock album. This was the end of the weepy, lethargic (however beautiful and addictive) coma of Kid A and Amnesiac and acted as an alarm clock to wake up the dormant Radiohead fans and bring both camps together. There is scarcely a skipper on this record (with maybe the exception of "We Suck Young Blood", if I'm not in the right mood), and the tracks run the gamete from folksy rock guitar ("Go to Sleep") to funky, evocative media-rataliations that conjure up thoughts of SuperTramp ("A Punch Up at a Wedding"). Fun, fun and . . . "is Radiohead back?" Did they ever leave?
In Rainbows
All I Need
(no need for explanation . . .)
Few things cause me more consternation than having to choose between the top two Radiohead albums. Part of me thinks that this album is the best ever made. Before I actually weighed this album among the library of studio releases, I think I had a perception that an artist's contribution to the musical world was linear. Most groups (or solo artists) begin with a very raw attempt that simultaneously hints at the greatness that will develop while also providing at least a few tracks that will endure (if, of course, the artist is worth his/her/their salt). Subsequent releases then tend to crescendo into the peak of an artist's worth before one, two or several things happen. The artist achieves mainstream success and starts spitting out albums the same way that McDonalds spits out burgers (there are better options out there, but you can at least rest assured that you won't hate what you get . . . aka, the sellout). The artist hits its stride but cannot find a way to move forward in a relevant way while still maintaining the identity and/or quality that led to initial success (aka, paralysis). The artist progresses, but in a way that is not embraced (aka, road less traveled . . . because it's a dead end). Either way, you're typically left with a timeline of increasing quality leading to a point of diminishing returns followed by decreased interest and, eventually, a greatest hits album that is neither cohesive nor mutually agreed-upon. In Rainbows, however, bucked the system (my system . . .). Not only was it different from all of the prior albums, but it was PERFECT of its own accord. Every.Single.Song . . . is a classic. No skips. No wear out. Increasing appreciation upon further listens. All of that and this was the SEVENTH studio album! It was also the 4th album to follow the unanimously heralded success of OK Computer. Oh, and, did I mention that it was actually released via the interwebs for free download to all before it even officially hit the market (with a "pay what you feel" option). Radiohead isn't indie? Wait . . . how independent can you get?! I will not list any standout tracks, because they all win. This is a spectacular album and one of the best ever released . . . by anyone.
OK Computer
Paranoid Android
Eat your heart out, Isaac Asimov
There has to be a best. Oh, but that's not a concession. That's a fact. OK Computer is unrivaled in its construction. This album came along at a perfect time and will never grow old. Even a seemingly horrid track (upon initial take), such as "Fitter Happier", makes this a better, more complete, album. If any piece of this is missing, it's just not the same. If anything was added, it might cause the entire structure to collapse. Taken sequentially from track one (the punch-in-the-gut opener, "Airbag") straight through to track twelve (the expansive, mood-altering ballad, "The Tourist") or set to shuffle, it doesn't matter. These tracks are like a family. They contradict each other while slightly resembling each other while co-existing beautifully with each other. Maybe it's the gratuitous use of white on the album cover, but I can't help but drift into snow-covered desolation when I allow myself to melt into these tracks one-by-one. Beautiful melancholy mixed with anxiety-inducing dread makes for a welcome escape from day-to-day life. That's what OK Computer provides. Escape.
Well, that's the Radiohead world, as I see it (always subject to change, of course).
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Well, that's the Radiohead world, as I see it (always subject to change, of course).
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