listen to Radiohead’s OK Computer & In Rainbows together (Combination Super Work?) listen to Radiohead’s OK Computer & In Rainbows together (Combination Super Work?) By BrooklynVegan Staff October 23, 2012 7:25 PM This is surely old “news” to many (by the way, Ultraista play LPR Wednesday ), but I never tried it until this new Buzzfeed article which says: Oh, that wacky Thom Yorke. When he isn’t staring joylessly into rainy window panes, there’s a chance the rascally Radiohead frontman is plotting out decade-spanning musical projects meant to blow your feeble human mind. As most diehard Radiohead fans (Radiohead-heads?) could tell you, there was a strong overarching theme of “tens” surrounding the band’s 2007 release, “In Rainbows” — it was announced ten days before release, there are ten letters in the title — capped off by the fact that it came out ten years after another of the group’s landmark albums, 1997’s “OK Computer,” another title with exactly ten letters. So what does any of this mean, exactly?

When shuffled together with a ten-second crossfade between tracks, the albums go really, really well together. A bit too well, actually, like they’re two halves of one big, beautiful whole. For extra mind-boggle-ocity, the two titles, when combined, leave us with this clever anagram: “Combination Super Work” Far-reaching fan conspiracy theory or meticulously plotted masterwork? The world may never know. Try it for yourself, all 1:32:48 of it, below… — Radiohead – 01 and 10 playlist: 1. Airbag (OK Computer) 2. 15 Step (In Rainbows) 3. Paranoid Android (OK Computer) 4. Bodysnatchers (In Rainbows) 5. Subterranean Homesick Alien (OK Computer) 6. Nude (In Rainbows) 7. Exit Music (For A Film) (OK Computer) 8. Weird Fishes/Arpeggi (In Rainbows) 9. Let Down (OK Computer) 10. All I Need (In Rainbows) 11. Karma Police (OK Computer) 12.

Fitter Happier (OK Computer) 13. Faust Arp (In Rainbows) 14. Electioneering (OK Computer) 16. Climbing Up The Walls (OK Computer) 17. House Of Cards (In Rainbows) 18. No Surprises (OK Computer) 19. Jigsaw Falling Into Place (In Rainbows) 20. Lucky (OK Computer) 22. The Tourist (OK Computer) — What is your review of OK Computer (1997 album)? - Quora Quora Written Mar 7, 2013 ★★★★★ So many great songs on this album. The songs range from quite accessible (Karma Police, Paranoid Android, No Surprises) to more experimental (Fitter Happier, Electioneering) and blend together nicely in track order (or when coupled with In Rainbows) to form an album which brings you from one place to another, as any really good album should.

I also think it's a good midway point in the discography of Radiohead, rooted in where they came from with Pablo Honey but hinting at where they were going with Kid A and, of course, In Rainbows. A really good album, one of their best. Radiohead on Apple Music To preview a song, mouse over the title and click Play. Open iTunes to buy and download music. Biography At some point in the early 21st century, Radiohead became something more than a band: they became a touchstone for everything that is fearless and adventurous in rock, inheriting the throne from David Bowie, Pink Floyd, and the Talking Heads. The latter group gave the band its name -- it's an album track on 1986's True Stories -- but Radiohead never sounded much like the Heads, nor did they take much from Bowie apart from their willingness to experiment. Instead, they spliced Floyd's spaciness with U2's messianic arena-rock heft, bridging the gap with guitar skronk borrowed from the '80s American underground.

Jonny Greenwood's jagged, brutal interjections on "Creep," the band's 1993 breakthrough hit, recalled the ugly noise of the Pixies and Nirvana, a sound that translated over the expanse of an ocean, but in the throes of the alternative rock explosion of the mid-'90s, Radiohead were the odd band out. America remained besotted with their homegrown sensations, so "Creep" was treated as a one-hit wonder, and at home in England, they were seen as dour art-rock students lacking the glamour of neo-glam sensations Suede, and deliberately dodging the beery singalongs of Oasis. During the peak of Brit-pop in 1995, Radiohead released The Bends, a significant leap forward from their 1993 debut, Pablo Honey, and while that gained them some traction, it was 1997's OK Computer that broke down all the doors for the band and changed alternative rock in the process. Expanding their sound with electronica and unapologetic prog rock suites, Radiohead turned into a different band with OK Computer and the world followed suit.

Soon, whenever rock bands dabbled in electronics, it was derived not from tightly sequenced rhythms, but rather, from glassy textures and introspection, a sensibility pioneered by the quintet. Radiohead doubled down on this aesthetic on 2000's Kid A, a record that traded concise hooks for minimal arrangements and jazz, providing a dividing line between an audience that once loved the group for their guitars and those listeners attracted to the band's aspirations. From this point on, Radiohead would occasionally flirt with concise song structures but were drawn toward unusual paths in both their music and business. Once their contract with EMI expired, they remained an independent band, pioneering different avenues of digital releases. They issued 2007's In Rainbows with little warning, letting listeners pay whatever they'd like for the record -- cementing Radiohead's reputation as a band compelled to look forward, not back. Every member of Radiohead were pupils at Oxfordshire's Abingdon School. Ed O'Brien (guitar) and Phil Selway (drums) were the eldest, followed by a year by Thom Yorke (vocals, guitar, piano) and Colin Greenwood (bass).

These four musicians began playing in 1985, dubbing themselves On a Friday, and before long they added Colin's younger brother Jonny, who'd previously played in Illiterate Hands with Yorke's brother Andy and Nigel Powell. Jonny started on keyboards but moved to guitar, yet this incarnation proved short-lived. By 1987, everyone but Jonny left for university, where many members pursued music, but it wasn't until 1991 that the quintet regrouped and started gigging regularly in Oxford. Eventually, they came to the attention of Chris Hufford -- then best-known as the producer of shoegaze stars Slowdive -- who offered the group the chance to record a demo along with his partner Bryce Edge; the two soon became the band's managers. EMI bit at the group's demo, signing them in 1991 and suggesting they change their name. On a Friday became Radiohead and they recorded their debut EP, Drill, with Hufford and Edge, releasing the record in May 1992. Next, the group entered the studio with producers Paul Kolderie and Sean Slade to record their full-length debut.

The first fruit from these sessions was "Creep," a single released in the U.K. in September of 1992. "Creep" didn't go anywhere at first. The British music weeklies slagged it, radio didn't play it, and it limped to number 78 on the charts. Pablo Honey, the band's full-length debut, appeared in February 1993, supported by the single "Anyone Can Play Guitar," but neither release gained much traction in their native U.K. and that May's non-LP single, "Pop Is Dead," didn't help matters much, either. By that point, however, "Creep" started to gain attention in other territories. First, the song became a hit in Israel, but the bigger waves came from the United States, which was in the throes of the alternative rock revolution. Influential San Francisco radio station KITS added "Creep" to their playlist and it spread along the west coast and onto MTV as it became a genuine hit, nearly topping Billboard's Modern Rock chart and reaching 34 on the Hot 100, a big achievement for a British guitar band.

A re-released "Creep" turned into a British Top Ten hit, peaking at number seven in the autumn of 1993. The band who'd had no success suddenly had more than it could handle. Radiohead kept touring Pablo Honey into 1994, but no subsequent hits were forthcoming, raising the spectre of the band as a possible one-hit wonder -- a criticism that weighed heavily on the group, who were anxious to record their new songs. They received the opportunity early in 1994, entering the studio to work with producer John Leckie -- then best-known for his work with the Stone Roses -- with My Iron Lung, an EP released in late 1994, being the first music released from the sessions. Muscular and ambitious, the EP provided a good indication of what would come on 1995's The Bends. Released in March 1995, The Bends not only found Radiohead growing musically -- it was dense and expansive, without skimping on songs -- but also in reputation, as critics in the U.K.

embraced the band with the audience eventually following: none of the first three singles ("High and Dry," "Fake Plastic Trees," "Just") rose above 17 on the U.K. charts but the final single, "Street Spirit (Fade Out)," wound up reaching five in early 1996. Radiohead's rise may have been assisted by the mania cultivated by Brit-pop, a term that didn't quite suit the band -- they were far artier and rock-oriented -- but nevertheless stoked interest in indie guitar bands, which the quintet certainly was. Over in U.S., The Bends stalled out at 88 on the Billboard charts but the record gained a cult following among listeners and the band never stopped touring, taking North American opening slots for R.E.M. in 1995 and Alanis Morissette in 1996. During 1995 and 1996, the group recorded new material with Nigel Godrich -- an engineer on The Bends sessions who was now the band's producer -- with songs slowly creeping out during the course of the year.

"Lucky" showed up on War Child's 1995 charity LP The Help Album, "Talk Show Host" appeared on a B-side, and "Exit Music (For a Film)" showed up on the soundtrack to Baz Luhrmann's Romeo & Juliet. The latter showed up on OK Computer, the June 1997 album that proved pivotal in Radiohead's career. "Paranoid Android," a twitchy suite released as a single in May of that year, suggested the ambition of OK Computer -- and by reaching number three, it was the band's biggest hit to date in the U.K., placing them on the cusp of a breakthrough. A breakthrough is precisely what OK Computer turned out to be, a record that proved pivotal not just for Radiohead but for the direction of '90s rock. Greeted with enthusiastic reviews and corresponding strong sales, OK Computer closed the doors on the hedonism of Brit-pop and the dour after-effects of grunge while opening a new path to sober, adventurous art-rock where electronics co-existed with guitars.

Over the next few years, the band's influence would become readily apparent, but the album made a sizable impact upon its release, too, debuting at number one in the U.K. and earning a Grammy for Best Alternative Album. Radiohead supported it with an international tour, documented in Meeting People Is Easy. By the time Meeting People Is Easy showed up in theaters, the group began work on their fourth album, once again reuniting with producer Godrich. The resulting Kid A doubled down on the experimentalism of OK Computer, embracing electronics and threading in jazz. Appearing in October in 2000, Kid A was one of the first major albums to be pirated through file-sharing services, but this bootlegging had no apparent effect on the sales of the record: it debuted at number one in the U.K. and the U.S., becoming their first American chart-topper. Once again, the album took home the prize for Best Alternative Album at the Grammys and although it didn't produce any hit singles -- indeed, no singles were released from the record -- it was certified platinum in several territories.

Amnesiac, a collection of new material initiated during the Kid A sessions, appeared in June of 2001, topping the U.K. charts and reaching two in the U.S. Two singles were pulled from the album -- "Pyramid Song" and "Knives Out" -- a signal that the album was more commercially accessible than its predecessor. At the end of the year, the band issued I Might Be Wrong: Live Recordings, and by the summer of 2002, they turned their attention to recording a new album with Godrich. The resulting Hail to the Thief appeared in June of 2003, once again debuting in the upper reaches of the international charts -- number one in the U.K. and number three in the U.S. -- and the group supported the album with live dates culminating in a headlining appearance at the 2004 Coachella Festival that coincided with the release of the B-sides and remix collection COM LAG, a record that helped close out their contract with EMI. Over the next couple of years, Radiohead entered a hiatus as individual members pursued solo projects.

Yorke released the heavily electronic solo collection The Eraser in 2006, and Jonny Greenwood embarked on a side career as a composer, beginning with 2004's Bodysong and then striking a fruitful collaboration with Paul Thomas Anderson for 2007's There Will Be Blood; Greenwood would also work on Anderson's subsequent films The Master and Inherent Vice. During all this, the group tentatively chipped away at their first post-EMI album. Some unsuccessful sessions with Spike Stent led the band back to Godrich by the end of 2006, and the group completed recording in June of 2007. Still without a record label, they decided to release the album digitally through their official website, letting users pay whatever they wanted for a download of the album. This novel strategy acted as the album's own promotion -- most of the articles about the release claimed it was revolutionary -- and In Rainbows allegedly moved over a million downloads on the first day of its release in October 2007.

In December, the album received a physical release in the U.K., followed by a January 2008 physical release in the U.S.; the record sold well, debuting at number one in the U.K., and it earned Grammys for Best Alternative Music Album and Best Boxed or Special Limited Edition Package. Radiohead toured in support of In Rainbows into 2009, during which time EMI released Radiohead: The Best Of in June of 2008. The band took time off in 2010, which allowed Yorke to form a band called Atoms for Peace with producer Godrich and Flea from the Red Hot Chili Peppers. During this time, drummer Phil Selway released his debut solo album, Familial. By early 2011, the group finished a new album and, like In Rainbows before it, Radiohead initially released The King of Limbs digitally through their website. The downloads appeared in February, with the physical copies appearing in March; the album reportedly shifted upwards of 400,000 digital copies upon its release.

That autumn brought the release of the remix album TKOL RMX 1234567, and the band continued to tour The King of Limbs material into 2012. Once the tour wrapped up, the group took some quiet time as a new round of solo projects appeared. Atoms for Peace released Amok in February 2013 and Yorke put out Tomorrow's Modern Boxes in September 2014, just a month before Selway issued his second album, Weatherhouse. In the autumn of 2014, the band began work on a new album and they continued to record throughout 2015, releasing only "Spectre" -- a proposed James Bond theme rejected by the filmmakers -- that year.

The ninth Radiohead album, A Moon Shaped Pool, appeared on May 8, 2016, preceded earlier in the week by the singles "Burn the Witch" and "Daydreaming." ~ Stephen Thomas Erlewine Top Albums No Surprises by Radiohead | TrackID™ No Surprises by Radiohead | TrackID™ Open in TrackID™ Radiohead Biography Radiohead were one of the few alternative bands of the early '90s to draw heavily from the grandiose arena rock that characterized U2's early albums. But the band internalized that epic sweep, turning it inside out to tell tortured, twisted tales of angst and alienation. Vocalist Thom Yorke's pained lyrics were brought to life by the group's three-guitar attack, which relied on texture -- borrowing as much from My Bloody Valentine and Pink Floyd as R.E.M. and Pixies -- instead of virtuosity. It took Radiohead a while to formulate their signature sound. Their 1993 debut, Pablo Honey, only suggested their potential, and one of its songs, "Creep," became an unexpected international hit, its angst-ridden lyrics making it an alternative rock anthem.

Many observers pigeonholed Radiohead as a one-hit wonder, but the group's second album, The Bends, was released to terrific reviews in the band's native Britain in early 1995, helping build a more stable fan base. Having demonstrated unexpected staying power, as well as increasing ambition, Radiohead next released OK Computer, a progressive, electronic-tinged masterpiece that became one of the most acclaimed albums of the '90s. Thom Yorke (vocals, guitar), Ed O'Brien (guitar, vocals), Jonny Greenwood (guitar), Colin Greenwood (bass), and Phil Selway (drums) formed Radiohead as students in 1988 while living in Oxford. Initially called "On a Friday," the band began pursuing a musical career in earnest in the early '90s, releasing the Drill EP in 1992. Shortly afterward, the group signed 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 moderate hit, and their next two singles, "Anyone Can Play Guitar" and "Pop Is Dead," gained a small following, even as the British music press ignored the group. Pablo Honey, Radiohead's album, was released to mixed reviews in the spring of 1993. As the band launched a European supporting tour, "Creep" became a sudden smash hit in America, earning heavy airplay on modern rock radio 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 gold, and "Creep" was re-released in the U.K. at the end of 1993. This time, the single became a Top Ten hit, and the band spent the following summer touring the world. Although "Creep" made Radiohead a success, it also led many observers to peg the band as a one-hit wonder. Conscious of such thinking, the group entered the studio with producer John Leckie to record its second album, The Bends.

Upon its spring 1995 release, The Bends was greeted with overwhelmingly enthusiastic reviews, all of which praised the group's deeper, more mature sound. However, positive reviews didn't sell albums, as Radiohead struggled to be heard during the U.K.'s summer of Brit-pop and as American radio programmers and MTV ignored the record. The band continued to tour as the opening act on R.E.M.'s prestigious Monster tour. By the end of the year, The Bends began to catch on, thanks not only to the band's constant touring but also to the stark, startling video for "Just." The album made many year-end best-of lists in the U.K., and early in 1996, the record reentered the British Top Ten and climbed to gold status in the U.S., helped in the latter by the video for "Fake Plastic Trees." During the first half of 1996, Radiohead continued to tour before re-entering the studio that fall to record their third album, OK Computer, which was released in the summer of 1997.

A devoted following of fans and a handful of enthusiastic critical supporters immediately embraced the album's majestic blend of unfettered prog rock, post-punk angst, eerie electronic textures, and assured songwriting. Since it skillfully teetered between rock classicism and futurism, it earned near-unanimous critical and popular support over the course of the year, which turned into unrestrained adoration in the final two years of the decade, even though its sales still hadn't climbed above gold status. Expectations for Radiohead's fourth album were stratospheric, which placed additional pressure on the already perfectionist band, and led to several stumbling blocks along the way. An intense buzz of excitement among the band's still-growing following greeted the pre-release appearance of most of the album's tracks on the Internet in MP3 form; they displayed an all-out fascination with challenging, often minimalist electronica. Titled Kid A, the album was finally released in October 2000 and astonished many observers by debuting at number one on the U.S. album charts.

While the band didn't release any singles or embark on a formal tour, the album met with a mixed critical response as the group was accused of creating a distant and radio-unfriendly record; however, it did remain a fan favorite. In June of 2001, Radiohead quickly released an album under the name Amnesiac that consisted of material that was recorded during the Kid A sessions. The band made it very clear, though, that it was not to be considered an outtakes album; rather, they insisted that the two albums were of clear and separate concept. Regardless, Amnesiac debuted at number one in the U.K. and number two on the U.S. chart (behind then-stronghold Staind), while outselling Kid A in week one by 25,000 copies. The singles "Pyramid Song" and "Knives Out" were culled from Amnesiac with a subsequent world tour. While planning "I Might Be Wrong" for a third single, the idea expanded into a live "mini-album," titled after the track, that was released in November of 2001.

Hail to the Thief, the proper follow-up to Amnesiac, was relatively direct in structure and peaked at number three on the U.S. chart. Sporadic recording sessions resumed in early 2005, but a projected release date for the band's seventh studio album remained 2007 as Yorke prepared a solo album, The Eraser, which was issued in July 2006. On October 1, 2007, the bandmembers announced that they had finished their seventh album, In Rainbows, and that it would be "out" in a matter of ten days. Giving fans the option to pay whatever they'd like for the album as a zip file of MP3s, Radiohead also devised a pre-order system for the physical version of the album -- a "discbox" containing a double-vinyl version, a CD copy with an enhanced six-track bonus disc, a lyric book, and photos. This was done without the involvement of a record label. However, deals were eventually struck for standard retail releases. In late December, XL issued the album in the U.K., where it topped the album chart.

The feat was repeated the following month in the U.S., where it was issued through the TBD label. Sonically and lyrically, In Rainbows was one of their warmest and most direct albums to date. Radiohead took a somewhat similar approach for the release of The King of Limbs. On February 14, 2011, the band announced that the album would be issued in five days as a fixed-price download with physical releases to follow. Standard CD and vinyl versions were scheduled for late March via XL and TBD, while an elaborately packaged double 10" vinyl/CD set was scheduled for early May. The two-disc TKOL RMX 1234567 followed five months later, featuring 19 remixes of King of Limbs tracks from the likes of Jamie xx, Caribou, Four Tet, and Nathan Fake. The band also recorded a live set of songs from the album as part of the From the Basement video series, and subsequently released the set, titled King of Limbs: Live from the Basement, in 2012.

~ Stephen Thomas Erlewine & Andy Kellman Radiohead | New Music And Songs | Radiohead About Radiohead At some point in the early 21st century, Radiohead became something more than a band: they became a touchstone for everything that is fearless and adventurous in rock, inheriting the throne from David Bowie, Pink Floyd, and the Talking Heads. The latter group gave the band its name -- it's an album track on 1986's True Stories -- but Radiohead never sounded much like the Heads, nor did they take much from Bowie apart from their willingness to experiment. Instead, they spliced Floyd's spaciness with U2's messianic arena-rock heft, bridging the gap with guitar skronk borrowed from the '80s American underground. Jonny Greenwood's jagged, brutal interjections on "Creep," the band's 1993 breakthrough hit, recalled the ugly noise of the Pixies and Nirvana, a sound that translated over the expanse of an ocean, but in the throes of the alternative rock explosion of the mid-'90s, Radiohead were the odd band out.

America remained besotted with their homegrown sensations, so "Creep" was treated as a one-hit wonder, and at home in England, they were seen as dour art-rock students lacking the glamour of neo-glam sensations Suede, and deliberately dodging the beery singalongs of Oasis. During the peak of Brit-pop in 1995, Radiohead released The Bends, a significant leap forward from their 1993 debut, Pablo Honey, and while that gained them some traction, it was 1997's OK Computer that broke down all the doors for the band and changed alternative rock in the process. Expanding their sound with electronica and unapologetic prog rock suites, Radiohead turned into a different band with OK Computer and the world followed suit. Soon, whenever rock bands dabbled in electronics, it was derived not from tightly sequenced rhythms, but rather, from glassy textures and introspection, a sensibility pioneered by the quintet.

Radiohead doubled down on this aesthetic on 2000's Kid A, a record that traded concise hooks for minimal arrangements and jazz, providing a dividing line between an audience that once loved the group for their guitars and those listeners attracted to the band's aspirations. From this point on, Radiohead would occasionally flirt with concise song structures but were drawn toward unusual paths in both their music and business. Once their contract with EMI expired, they remained an independent band, pioneering different avenues of digital releases. They issued 2007's In Rainbows with little warning, letting listeners pay whatever they'd like for the record -- cementing Radiohead's reputation as a band compelled to look forward, not back. Every member of Radiohead were pupils at Oxfordshire's Abingdon School. Ed O'Brien (guitar) and Phil Selway (drums) were the eldest, followed by a year by Thom Yorke (vocals, guitar, piano) and Colin Greenwood (bass). These four musicians began playing in 1985, dubbing themselves On a Friday, and before long they added Colin's younger brother Jonny, who'd previously played in Illiterate Hands with Yorke's brother Andy and Nigel Powell.

Jonny started on keyboards but moved to guitar, yet this incarnation proved short-lived. By 1987, everyone but Jonny left for university, where many members pursued music, but it wasn't until 1991 that the quintet regrouped and started gigging regularly in Oxford. Eventually, they came to the attention of Chris Hufford -- then best-known as the producer of shoegaze stars Slowdive -- who offered the group the chance to record a demo along with his partner Bryce Edge; the two soon became the band's managers. EMI bit at the group's demo, signing them in 1991 and suggesting they change their name. On a Friday became Radiohead and they recorded their debut EP, Drill, with Hufford and Edge, releasing the record in May 1992. Next, the group entered the studio with producers Paul Kolderie and Sean Slade to record their full-length debut. The first fruit from these sessions was "Creep," a single released in the U.K. in September of 1992. "Creep" didn't go anywhere at first.

The British music weeklies slagged it, radio didn't play it, and it limped to number 78 on the charts. Pablo Honey, the band's full-length debut, appeared in February 1993, supported by the single "Anyone Can Play Guitar," but neither release gained much traction in their native U.K. and that May's non-LP single, "Pop Is Dead," didn't help matters much, either. By that point, however, "Creep" started to gain attention in other territories. First, the song became a hit in Israel, but the bigger waves came from the United States, which was in the throes of the alternative rock revolution. Influential San Francisco radio station KITS added "Creep" to their playlist and it spread along the west coast and onto MTV as it became a genuine hit, nearly topping Billboard's Modern Rock chart and reaching 34 on the Hot 100, a big achievement for a British guitar band. A re-released "Creep" turned into a British Top Ten hit, peaking at number seven in the autumn of 1993. The band who'd had no success suddenly had more than it could handle.

Radiohead kept touring Pablo Honey into 1994, but no subsequent hits were forthcoming, raising the spectre of the band as a possible one-hit wonder -- a criticism that weighed heavily on the group, who were anxious to record their new songs. They received the opportunity early in 1994, entering the studio to work with producer John Leckie -- then best-known for his work with the Stone Roses -- with My Iron Lung, an EP released in late 1994, being the first music released from the sessions. Muscular and ambitious, the EP provided a good indication of what would come on 1995's The Bends. Released in March 1995, The Bends not only found Radiohead growing musically -- it was dense and expansive, without skimping on songs -- but also in reputation, as critics in the U.K. embraced the band with the audience eventually following: none of the first three singles ("High and Dry," "Fake Plastic Trees," "Just") rose above 17 on the U.K. charts but the final single, "Street Spirit (Fade Out)," wound up reaching five in early 1996.

Radiohead's rise may have been assisted by the mania cultivated by Brit-pop, a term that didn't quite suit the band -- they were far artier and rock-oriented -- but nevertheless stoked interest in indie guitar bands, which the quintet certainly was. Over in U.S., The Bends stalled out at 88 on the Billboard charts but the record gained a cult following among listeners and the band never stopped touring, taking North American opening slots for R.E.M. in 1995 and Alanis Morissette in 1996. During 1995 and 1996, the group recorded new material with Nigel Godrich -- an engineer on The Bends sessions who was now the band's producer -- with songs slowly creeping out during the course of the year. "Lucky" showed up on War Child's 1995 charity LP The Help Album, "Talk Show Host" appeared on a B-side, and "Exit Music (For a Film)" showed up on the soundtrack to Baz Luhrmann's Romeo & Juliet. The latter showed up on OK Computer, the June 1997 album that proved pivotal in Radiohead's career.

"Paranoid Android," a twitchy suite released as a single in May of that year, suggested the ambition of OK Computer -- and by reaching number three, it was the band's biggest hit to date in the U.K., placing them on the cusp of a breakthrough. A breakthrough is precisely what OK Computer turned out to be, a record that proved pivotal not just for Radiohead but for the direction of '90s rock. Greeted with enthusiastic reviews and corresponding strong sales, OK Computer closed the doors on the hedonism of Brit-pop and the dour after-effects of grunge while opening a new path to sober, adventurous art-rock where electronics co-existed with guitars. Over the next few years, the band's influence would become readily apparent, but the album made a sizable impact upon its release, too, debuting at number one in the U.K. and earning a Grammy for Best Alternative Album. Radiohead supported it with an international tour, documented in Meeting People Is Easy. By the time Meeting People Is Easy showed up in theaters, the group began work on their fourth album, once again reuniting with producer Godrich.

The resulting Kid A doubled down on the experimentalism of OK Computer, embracing electronics and threading in jazz. Appearing in October in 2000, Kid A was one of the first major albums to be pirated through file-sharing services, but this bootlegging had no apparent effect on the sales of the record: it debuted at number one in the U.K. and the U.S., becoming their first American chart-topper. Once again, the album took home the prize for Best Alternative Album at the Grammys and although it didn't produce any hit singles -- indeed, no singles were released from the record -- it was certified platinum in several territories. Amnesiac, a collection of new material initiated during the Kid A sessions, appeared in June of 2001, topping the U.K. charts and reaching two in the U.S. Two singles were pulled from the album -- "Pyramid Song" and "Knives Out" -- a signal that the album was more commercially accessible than its predecessor. At the end of the year, the band issued I Might Be Wrong: Live Recordings, and by the summer of 2002, they turned their attention to recording a new album with Godrich.

The resulting Hail to the Thief appeared in June of 2003, once again debuting in the upper reaches of the international charts -- number one in the U.K. and number three in the U.S. -- and the group supported the album with live dates culminating in a headlining appearance at the 2004 Coachella Festival that coincided with the release of the B-sides and remix collection COM LAG, a record that helped close out their contract with EMI. Over the next couple of years, Radiohead entered a hiatus as individual members pursued solo projects. Yorke released the heavily electronic solo collection The Eraser in 2006, and Jonny Greenwood embarked on a side career as a composer, beginning with 2004's Bodysong and then striking a fruitful collaboration with Paul Thomas Anderson for 2007's There Will Be Blood; Greenwood would also work on Anderson's subsequent films The Master and Inherent Vice. During all this, the group tentatively chipped away at their first post-EMI album.

Some unsuccessful sessions with Spike Stent led the band back to Godrich by the end of 2006, and the group completed recording in June of 2007. Still without a record label, they decided to release the album digitally through their official website, letting users pay whatever they wanted for a download of the album. This novel strategy acted as the album's own promotion -- most of the articles about the release claimed it was revolutionary -- and In Rainbows allegedly moved over a million downloads on the first day of its release in October 2007. In December, the album received a physical release in the U.K., followed by a January 2008 physical release in the U.S.; the record sold well, debuting at number one in the U.K., and it earned Grammys for Best Alternative Music Album and Best Boxed or Special Limited Edition Package. Radiohead toured in support of In Rainbows into 2009, during which time EMI released Radiohead: The Best Of in June of 2008.

The band took time off in 2010, which allowed Yorke to form a band called Atoms for Peace with producer Godrich and Flea from the Red Hot Chili Peppers. During this time, drummer Phil Selway released his debut solo album, Familial. By early 2011, the group finished a new album and, like In Rainbows before it, Radiohead initially released The King of Limbs digitally through their website. The downloads appeared in February, with the physical copies appearing in March; the album reportedly shifted upwards of 400,000 digital copies upon its release. That autumn brought the release of the remix album TKOL RMX 1234567, and the band continued to tour The King of Limbs material into 2012. Once the tour wrapped up, the group took some quiet time as a new round of solo projects appeared. Atoms for Peace released Amok in February 2013 and Yorke put out Tomorrow's Modern Boxes in September 2014, just a month before Selway issued his second album, Weatherhouse.

In the autumn of 2014, the band began work on a new album and they continued to record throughout 2015, releasing only "Spectre" -- a proposed James Bond theme rejected by the filmmakers -- that year. The ninth Radiohead album, A Moon Shaped Pool, appeared on May 8, 2016, preceded earlier in the week by the singles "Burn the Witch" and "Daydreaming." ~ Stephen Thomas Erlewine, Rovi A Beginner's Guide To Radiohead • Feature Article Published: November 22, 2014 . A Beginner's Guide To Radiohead Radiohead are my favourite band of all time and while music is subjective, objectively speaking they are arguably the greatest and most influential band of the last 25 years. Eclectic and experimental, the band has managed to stay relevant thanks to their constant sonic self-reinvention and innovation since their 1993 debut album 'Pablo Honey', coupled with a reputation for consistent album quality. As a fan, I would argue that they have not released a poor album as of yet but that is not to say that the transition from casual listener/music video watcher to devotee was easy.

At the tender age of 12, I bought their (then) brand new album 'Hail to the Thief' only to think, “What in the name of jaysis is this?” But never fear, for the Beginner’s Guide to Radiohead is here to guide you on your musical journey. Start Here: 'The Bends' (1995) The band’s sophomore album 'The Bends' was for all intents and purposes the album that made it clear to the world of alternative rock that these five young men from Oxford would soon be their lords and conquerors. A more matured effort than their debut album, 'The Bends' saw the beginning of frontman Thom Yorke’s development as an abstract lyricist as well as the blossoming of the guitar partnership of Jonny Greenwood and Ed O’Brien. Topics range from consumerism (Fake Plastic Trees), current events (Sulk), to more personal, introspective themes (My Iron Lung, Just) while the music covers both the hard-rocking and anthemic (The Bends, My Iron Lung) to the acoustic-tinged and melancholic (High and Dry).

Though streets ahead of their debut album and a clear landmark for the band in terms as far as commercial appeal and artistry goes, 'The Bends' was only the beginning. The best was yet to come. Essential listening: Just, Fake Plastic Trees What’s Next?: 'OK Computer' (1997) If 'The Bends' was the mere beginning of their campaign for global domination, third album 'OK Computer' was the moment they firmly planted their mast and proudly claimed the Earth in the name of Radiohead. Sonically layered as thick as molasses, with cryptic lyrics and stark artwork born of the social, political and economic ills of its time – at times even predictive of those we would see in the early 21st century – the album has claimed a place as not only one of the most heralded album of its decade, but also of all time. For 'OK Computer', Radiohead cemented their working relationship with producer Nigel Godrich who helped them to create a cavernous, apocalyptic and cinematic aesthetic with extensive use of unusual instrumentation and recording methods. The results are at times beautiful, at others shocking but always atmospheric and brilliant.

'OK Computer' laid the foundation for the increasingly experimental work Radiohead would do in later years. Essential listening: Airbag, Paranoid Android, Climbing up the Walls Now Try…: 'In Rainbows' (2007) Considered by many to be the band’s artistic peak, 'In Rainbows' manages to bring together the sonic ghosts of Radiohead albums past and reconcile them in a way that they had never managed before (see 2003’s 'Hail to the Thief' for reference). Lyrically, the album is comparable to 'OK Computer', but in a way that prevents Yorke from treading familiar water. The socio-political overtones are jettisoned and in their place stand general paranoia and thoughts of one’s mortality. Musically, the album sees the band veer from minimalism to utilising fully-embellished string sections and electronic samples, to triple-guitar assaults with ease as each track bleeds into the next seamlessly. Simultaneously challenging and accessible, 'In Rainbows' was released with an at the time revolutionary “pay-what-you-want” marketing model, but what was most remarkable was the sheer beauty of the songs within.

Essential listening: Nude, House of Cards If You’re Really Interested: 'Kid A' (2000) At the time a hotly anticipated album, nobody could possibly have been prepared for this, the follow-up to 1997’s 'OK Computer'. 'Kid A' was a massive departure from Radiohead’s earlier work. The rousing, guitar driven sound was dropped in favour of one inspired by much more esoteric sounds as far reaching as Krautrock, electronica, freeform jazz and contemporary classical music. Released without any typical promotional tactics – there were no official music videos or radio singles – 'Kid A' was as bold an artistic statement as fans or critics could expect from the world’s then go-to festival/arena rock band. While at the time divisive, 'Kid A' has come to be considered one of, if not the, very best albums that Radiohead have ever recorded, or even of all time. Recorded at a time when the band had become ultimately fed up with the music industry, their celebrity status and touring process; the music and lyrics reflect the ominous mood suffocating them at the time.

The band tore up their old formula and fully embrace unusual recording practices for a band of their status, practically starting from scratch and bringing instruments such as pedal organs, harp, double bass and the Ondes martenot into the mix. Meanwhile Yorke sought to distance himself from the subject matter of his songs by cutting lyric sheets into pieces that he later drew from a hat, used studio equipment to manipulate his voice and even refused to print the lyrics in the album liner notes. Essential listening: Kid A, The National Anthem, Idioteque Steer Clear: 'Pablo Honey' (1993) Upon initial release, 'Pablo Honey' was met with a mostly lukewarm reaction from both music critics and the general public and with good reason. That is not to say that it’s a bad album. It’s not. Not bad.It is, however, a particularly indistinct, derivative and uninteresting album for Radiohead. In 1993, grunge and hard-alternative rock was at it’s height, and the influence of then greater bands such as Nirvana, Dinosaur Jr., and the Pixies are not only clear, they’re blatantly obvious.

While 'Pablo Honey' does show some promise, it totally pales in comparison to the musical heights that they would achieve a mere album later. If you are daring enough to give it a listen and enjoy what you hear then fair enough. If, like me, you can’t manage to finish it then congratulations: you are a Radiohead fan. If you’ve made it through the four other albums on this list, try the rest of their back catalogue. Essential listening: Creep (I guess…) The Story Behind Radiohead's Grammy-Nominated In Rainbows - MTV The Story Behind Radiohead's Grammy-Nominated In Rainbows Gil Kaufman 02/05/2009 The Recording Academy gives out Grammy Awards for great music, not great ideas. But it's impossible to think about Album of the Year nominee [artist id="1123"]Radiohead's[/artist] In Rainbows without talking about not just what was on it, but how that music made its way into the world. Just like the Beatles' Sgt.

Pepper's Lonely Hearts Club Band broke the mold 40 years ago by exploding the boundaries of what popular music could encompass, Radiohead shattered expectations with their seventh album by advancing the radical notion that some fans will [article id="1573841"]gladly pay for music[/article] they've already gotten for free. The English group has blazed a singular path for more than a decade by making albums that challenge, entertain and confound even as they melt in more and more experimental sounds and textures on top of singer Thom Yorke's frequently claustrophobic, inscrutable lyrics. But, working again with longtime collaborator/producer Nigel Godrich, Radiohead toiled for more than two years on the songs that would make up In Rainbows, often expressing the frustration of the deliberate process on their Dead Air Space blog , but giving few clues as to what sounds they were cooking up or when they would unleash them.

Free from their album deal with EMI, the group had the luxury of time — but that soon turned into a creative noose as sessions stagnated and Radiohead took to the road in the summer of 2006 to air the music out in small theaters and at [article id="1522919"]big festivals like Bonnaroo[/article]. By the fall of 2006, they were back on the horse and, in early 2007, it seemed as if they were finally rounding the corner. And then a long silence was followed by the 18 words that changed the game, perhaps forever: "Well, the new album is finished, and it's coming out in 10 days," guitarist Jonny Greenwood announced on Dead Air Space on October 1, 2007. "We've called it In Rainbows." Ten days?

Rather than wait around as their album was inevitably leaked, Radiohead rushed it out onto the Internet 10 days later, as promised, and, in what the New York Times called the "most audacious experiment in years," they offered the 10 tracks DRM-free with just a tiny transaction fee and a [article id="1570871"]name-your-own-price scale[/article]. Numbers were hard to come by, but the experiment appeared to be a fantastic success, as Radiohead's brash move remained headline news well past the day they released the physical version two months later. By most accounts, the experiment [article id="1579443"]worked financially[/article] as well, resulting in the band's best sales figures in years — and reportedly hefty profits — when the box set and CD version were later released.

Those two years of angst resulted in some of the most enticing songs the group had produced in years, from the ethereal warm electronic blanket of "House of Cards" to the slow-pulse, fuzzed bass trip-hop of "All I Need," the pastoral acoustic scramble of "Faust Arp" and the chilly, twisty jazz of "Weird Fishes/Arpeggi." Even amid the sometimes ominous-sounding tracks, there is a warmth in the spare music and (slightly) more approachable vulnerability in singer Yorke's spooky falsetto that gave In Rainbows an ever-so-thin bridge back from the rock/electronic hinterlands the group had been perched on since their landmark 1997 album, OK Computer. In an October 2007 interview with Rolling Stone magazine , guitarist Greenwood said the band partly released In Rainbows the way they did to "get it out quickly, so everyone would hear it at the same time, and partly because it was an experiment that felt worth trying, really." As for the variable pricing, he said it was a "fun" experiment to make fans stop for a moment to ponder what music is really worth.

As for the music itself, Greenwood said the idea was to get back to the more studied experimentation on the band's fourth album, 2000's Kid A. "In that we were spending longer experimenting and trying stuff out — it wasn't so much of a performance-based thing, like Hail to the Thief," he said. "Other than that, it's the usual thing of turning up with these songs and the pressure is, 'Don't f--- it up, don't record them badly, don't do bad arrangements of them, and do them justice.' " Those efforts were rewarded with the group's third Album of the Year nomination, as well as a pair for "House of Cards" and four other nominations related to the album. But, despite the group's career-long march to keep evolving their sound, not everyone is counting on them to win big Sunday night. "I think if it turns out to be an unimaginative year, Radiohead will do really well," said New York Times music critic Jon Caramanica. "It's a totally fine album. You might have some industry people resenting them for their unconventional distribution method — then you might have some who are more progressive, who want to support that.

But generally speaking, a vote for Radiohead, right now, is a vote for the status quo. It's not 1995 — like, Radiohead is very much a part of the firmament. You might as well be voting for R.E.M." Whether or not he was impressed with the album, Caramanica couldn't deny that he became part of the now-legendary story it told. "I did not buy that record," he said. "I have that record, but I did not buy that record." So, as always, Radiohead did it their way, surrendering not an inch to the pressures of a floundering music industry and tossing a puzzling wrench into the works with a brave experiment that just might light the path to music's future. Will Lil Wayne grab all the gramophones? Is Katy Perry going to tell her girl rivals to kiss off? Can Coldplay march off with a win? MTV News is all over the 51st Annual Grammy Awards , so stay tuned for interviews, analysis and more before, during and after the big night, Sunday, February 8.

In Rainbows - Radiohead - Listen to Free Music by Radiohead on Pandora Internet Radio more Radiohead At some point in the early 21st century, Radiohead became something more than a band: they became a touchstone for everything that is fearless and adventurous in rock, inheriting the throne from David Bowie , Pink Floyd , and the Talking Heads . The latter group gave the band its name -- it's an album track on 1986's True Stories -- but Radiohead never sounded much like the Heads , nor did they take much from Bowie apart from their willingness to experiment. Instead, they spliced Floyd 's spaciness with U2 's messianic arena-rock heft, bridging the gap with guitar skronk borrowed from the '80s American underground. Jonny Greenwood 's jagged, brutal interjections on "Creep," the band's 1993 breakthrough hit, recalled the ugly noise of the Pixies and Nirvana , a sound that translated over the expanse of an ocean, but in the throes of the alternative rock explosion of the mid-'90s, Radiohead were the odd band out.

America remained besotted with their homegrown sensations, so "Creep" was treated as a one-hit wonder, and at home in England, they were seen as dour art-rock students lacking the glamour of neo-glam sensations Suede , and deliberately dodging the beery singalongs of Oasis . During the peak of Brit-pop in 1995, Radiohead released The Bends, a significant leap forward from their 1993 debut, Pablo Honey, and while that gained them some traction, it was 1997's OK Computer that broke down all the doors for the band and changed alternative rock in the process. Expanding their sound with electronica and unapologetic prog rock suites, Radiohead turned into a different band with OK Computer and the world followed suit. Soon, whenever rock bands dabbled in electronics, it was derived not from tightly sequenced rhythms, but rather, from glassy textures and introspection, a sensibility pioneered by the quintet.

Radiohead doubled down on this aesthetic on 2000's Kid A, a record that traded concise hooks for minimal arrangements and jazz, providing a dividing line between an audience that once loved the group for their guitars and those listeners attracted to the band's aspirations. From this point on, Radiohead would occasionally flirt with concise song structures but were drawn toward unusual paths in both their music and business. Once their contract with EMI expired, they remained an independent band, pioneering different avenues of digital releases. They issued 2007's In Rainbows with little warning, letting listeners pay whatever they'd like for the record -- cementing Radiohead's reputation as a band compelled to look forward, not back. Every member of Radiohead were pupils at Oxfordshire's Abingdon School. Ed O'Brien (guitar) and Phil Selway (drums) were the eldest, followed by a year by Thom Yorke (vocals, guitar, piano) and Colin Greenwood (bass). These four musicians began playing in 1985, dubbing themselves On a Friday, and before long they added Colin's younger brother Jonny , who'd previously played in Illiterate Hands with Yorke 's brother Andy and Nigel Powell.

Jonny started on keyboards but moved to guitar, yet this incarnation proved short-lived. By 1987, everyone but Jonny left for university, where many members pursued music, but it wasn't until 1991 that the quintet regrouped and started gigging regularly in Oxford. Eventually, they came to the attention of Chris Hufford -- then best-known as the producer of shoegaze stars Slowdive -- who offered the group the chance to record a demo along with his partner Bryce Edge; the two soon became the band's managers. EMI bit at the group's demo, signing them in 1991 and suggesting they change their name. On a Friday became Radiohead and they recorded their debut EP, Drill, with Hufford and Edge, releasing the record in May 1992. Next, the group entered the studio with producers Paul Kolderie and Sean Slade to record their full-length debut. The first fruit from these sessions was "Creep," a single released in the U.K. in September of 1992. "Creep" didn't go anywhere at first.

The British music weeklies slagged it, radio didn't play it, and it limped to number 78 on the charts. Pablo Honey, the band's full-length debut, appeared in February 1993, supported by the single "Anyone Can Play Guitar," but neither release gained much traction in their native U.K. and that May's non-LP single, "Pop Is Dead," didn't help matters much, either. By that point, however, "Creep" started to gain attention in other territories. First, the song became a hit in Israel, but the bigger waves came from the United States, which was in the throes of the alternative rock revolution. Influential San Francisco radio station KITS added "Creep" to their playlist and it spread along the west coast and onto MTV as it became a genuine hit, nearly topping Billboard's Modern Rock chart and reaching 34 on the Hot 100, a big achievement for a British guitar band. A re-released "Creep" turned into a British Top Ten hit, peaking at number seven in the autumn of 1993. The band who'd had no success suddenly had more than it could handle.

Radiohead kept touring Pablo Honey into 1994, but no subsequent hits were forthcoming, raising the spectre of the band as a possible one-hit wonder -- a criticism that weighed heavily on the group, who were anxious to record their new songs. They received the opportunity early in 1994, entering the studio to work with producer John Leckie -- then best-known for his work with the Stone Roses -- with My Iron Lung, an EP released in late 1994, being the first music released from the sessions. Muscular and ambitious, the EP provided a good indication of what would come on 1995's The Bends. Released in March 1995, The Bends not only found Radiohead growing musically -- it was dense and expansive, without skimping on songs -- but also in reputation, as critics in the U.K. embraced the band with the audience eventually following: none of the first three singles ("High and Dry," "Fake Plastic Trees," "Just") rose above 17 on the U.K. charts but the final single, "Street Spirit (Fade Out)," wound up reaching five in early 1996.

Radiohead's rise may have been assisted by the mania cultivated by Brit-pop, a term that didn't quite suit the band -- they were far artier and rock-oriented -- but nevertheless stoked interest in indie guitar bands, which the quintet certainly was. Over in U.S., The Bends stalled out at 88 on the Billboard charts but the record gained a cult following among listeners and the band never stopped touring, taking North American opening slots for R.E.M. in 1995 and Alanis Morissette in 1996. During 1995 and 1996, the group recorded new material with Nigel Godrich -- an engineer on The Bends sessions who was now the band's producer -- with songs slowly creeping out during the course of the year. "Lucky" showed up on War Child's 1995 charity LP The Help Album, "Talk Show Host" appeared on a B-side, and "Exit Music (For a Film)" showed up on the soundtrack to Baz Luhrmann 's Romeo & Juliet. The latter showed up on OK Computer, the June 1997 album that proved pivotal in Radiohead's career.

"Paranoid Android," a twitchy suite released as a single in May of that year, suggested the ambition of OK Computer -- and by reaching number three, it was the band's biggest hit to date in the U.K., placing them on the cusp of a breakthrough. A breakthrough is precisely what OK Computer turned out to be, a record that proved pivotal not just for Radiohead but for the direction of '90s rock. Greeted with enthusiastic reviews and corresponding strong sales, OK Computer closed the doors on the hedonism of Brit-pop and the dour after-effects of grunge while opening a new path to sober, adventurous art-rock where electronics co-existed with guitars. Over the next few years, the band's influence would become readily apparent, but the album made a sizable impact upon its release, too, debuting at number one in the U.K. and earning a Grammy for Best Alternative Album. Radiohead supported it with an international tour, documented in Meeting People Is Easy. By the time Meeting People Is Easy showed up in theaters, the group began work on their fourth album, once again reuniting with producer Godrich.

The resulting Kid A doubled down on the experimentalism of OK Computer, embracing electronics and threading in jazz. Appearing in October in 2000, Kid A was one of the first major albums to be pirated through file-sharing services, but this bootlegging had no apparent effect on the sales of the record: it debuted at number one in the U.K. and the U.S., becoming their first American chart-topper. Once again, the album took home the prize for Best Alternative Album at the Grammys and although it didn't produce any hit singles -- indeed, no singles were released from the record -- it was certified platinum in several territories. Amnesiac, a collection of new material initiated during the Kid A sessions, appeared in June of 2001, topping the U.K. charts and reaching two in the U.S. Two singles were pulled from the album -- "Pyramid Song" and "Knives Out" -- a signal that the album was more commercially accessible than its predecessor. At the end of the year, the band issued I Might Be Wrong: Live Recordings, and by the summer of 2002, they turned their attention to recording a new album with Godrich.

The resulting Hail to the Thief appeared in June of 2003, once again debuting in the upper reaches of the international charts -- number one in the U.K. and number three in the U.S. -- and the group supported the album with live dates culminating in a headlining appearance at the 2004 Coachella Festival that coincided with the release of the B-sides and remix collection COM LAG, a record that helped close out their contract with EMI. Over the next couple of years, Radiohead entered a hiatus as individual members pursued solo projects. Yorke released the heavily electronic solo collection The Eraser in 2006, and Jonny Greenwood embarked on a side career as a composer, beginning with 2004's Bodysong and then striking a fruitful collaboration with Paul Thomas Anderson for 2007's There Will Be Blood; Greenwood would also work on Anderson's subsequent films The Master and Inherent Vice. During all this, the group tentatively chipped away at their first post-EMI album.

Some unsuccessful sessions with Spike Stent led the band back to Godrich by the end of 2006, and the group completed recording in June of 2007. Still without a record label, they decided to release the album digitally through their official website, letting users pay whatever they wanted for a download of the album. This novel strategy acted as the album's own promotion -- most of the articles about the release claimed it was revolutionary -- and In Rainbows allegedly moved over a million downloads on the first day of its release in October 2007. In December, the album received a physical release in the U.K., followed by a January 2008 physical release in the U.S.; the record sold well, debuting at number one in the U.K., and it earned Grammys for Best Alternative Music Album and Best Boxed or Special Limited Edition Package. Radiohead toured in support of In Rainbows into 2009, during which time EMI released Radiohead: The Best Of in June of 2008.

The band took time off in 2010, which allowed Yorke to form a band called Atoms for Peace with producer Godrich and Flea from the Red Hot Chili Peppers . During this time, drummer Phil Selway released his debut solo album, Familial. By early 2011, the group finished a new album and, like In Rainbows before it, Radiohead initially released The King of Limbs digitally through their website. The downloads appeared in February, with the physical copies appearing in March; the album reportedly shifted upwards of 400,000 digital copies upon its release. That autumn brought the release of the remix album TKOL RMX 1234567, and the band continued to tour The King of Limbs material into 2012. Once the tour wrapped up, the group took some quiet time as a new round of solo projects appeared. Atoms for Peace released Amok in February 2013 and Yorke put out Tomorrow's Modern Boxes in September 2014, just a month before Selway issued his second album, Weatherhouse.

In the autumn of 2014, the band began work on a new album and they continued to record throughout 2015, releasing only "Spectre" -- a proposed James Bond theme rejected by the filmmakers -- that year. The ninth Radiohead album, A Moon Shaped Pool, appeared on May 8, 2016, preceded earlier in the week by the singles "Burn the Witch" and "Daydreaming." ~ Stephen Thomas Erlewine OK Computer by Radiohead on Apple Music by Sound trends There are albums that are frozen in time. Masterpieces. Much like Dark Side of the Moon, Astral Weeks, Never Loved Elvis, or even Sgt. Pepper. They are listened in its order and entirety. OK COMPUTER rivals the best in the history of rock music with its flow ,lyric, and feeling. It demands to be among the top of any band achievement OK Computer by nicholasgjames One of the best albums of all from a brilliant band.

Radiohead keeps putting out incredible content, but this one will always stand out the most to me Biography Formed: 1989 in Oxford, England Genre: Alternative Years Active: '90s, '00s, '10s At some point in the early 21st century, Radiohead became something more than a band: they became a touchstone for everything that is fearless and adventurous in rock, inheriting the throne from David Bowie, Pink Floyd, and the Talking Heads. The latter group gave the band its name -- it's an album track on 1986's True Stories -- but Radiohead never sounded much like the Heads, nor did they take much from Bowie apart from their willingness to experiment. Instead, they spliced Floyd's spaciness with... Top Albums and Songs by Radiohead 1.

Question: Which group had No. 1 albums with OK, Computer in 1997 and In Rainbows in 2007?
Answer: Radiohead