Radiohead paranoid android reaction

Continue 1997 studio album RadioheadOK ComputerStudio album RadioheadReleased21 May 1997 (1997-05-21)Recorded4 September 1995 (Lucky) July 1996 - March 1997StudioCanned Applause Didcot, EnglandSt Catherine Court, Bath, EnglandGenreAlternative rockart rockprogressive rockLength53:21LabelParlophoneCapitolProducerNigel GodrichRadiohead chronology The Bends (1995) OK Computer (1995) OK Computer (1995)1997) No Surprises/Running from Demons (1997) Radiohead Studio Album Timeline The Bends (1995) OK Computer (1997) Kid A (2997) 000) Singles with OK Computer Paranoid Android Released: May 26, 1997 Karma Police Released: August 25, 1997 Lucky Released: December 1997 No Surprises Released: 12 January 1998 OK Computer is the third studio album by English rock band Radiohead, released on May 21, 1997 on the subsidiaries of EMIlo Parphone Records and Capitol Records. Radiohead members independently released the album with Nigel Godrich, an arrangement they used for their subsequent albums. In addition to the song Lucky, recorded in 1995, Radiohead recorded OK Computer in Oxfordshire and Bath between 1996 and early 1997, mainly in the historic St Catherine's Court mansion. The band distanced themselves from the guitar, lyrically introspective style of their previous album The Bends. THE abstract texts of OK Computer, densely layered sound and eclectic influences laid the groundwork for Radiohead's later, more experimental works. The album depicts a world fraught with unbridled consumerism, social exclusion, emotional isolation and political malaise; as such, OK Computer is said to have a prophetic understanding of the mood of 21st century life. Unconventional production methods on the album include natural reverb through recording on the stairs, and the lack of audio separation, allowing the instruments not to reconnect separately. The strings were recorded at Abbey Road Studios in London. The band's guitarist Ed O'Brien estimated that 80 percent of the album was recorded live. Despite declining sales ratings for EMI, which considered the record non-commercial and difficult for the market, OK Computer reached number one on the UK Albums Chart and debuted at number 21 on the Billboard 200, Radiohead's highest record on the U.S. charts at the time, and soon received 5× platinum and double platinum certification by BPI and RIAA, respectively. The songs Paranoid Android, Karma Police, Lucky and No Surprises were released as singles. The album expanded Radiohead's international popularity and sold at least 7.8 million copies worldwide. The remastered version with additional tracks, OKNOTOK 1997 2017, was released in 2017, marking the album's 20th anniversary. In 2019, in response to the leak, Radiohead released MiniDiscs Hacked, which includes more than 16 hours of demonstrations, rehearsals, live performances and other materials related to OK Computer. Ok received critical acclaim and were quoted by listeners, critics and musicians as one of the greatest albums of all time. He was nominated for Album of the Year and won Best Alternative Music Album at the 1998 Grammy Awards. He was also nominated for Best British Album at the 1998 Brit Awards. The album initiated a stylistic shift in British rock from Britpop to melancholic, atmospheric alternative rock, which became more common in the next decade. In 2014, it was listed by the Library of Congress on the National Records Registry as culturally, historically or aesthetically significant. Background Thom Yorke (pictured in 2001) and the band were looking for a less melancholic direction than the previous album The Bends. In 1995, Radiohead toured in support of their second album, The Bends. In the middle of the tour, Brian Eno instructed them to contribute a song to The Help Album, a charity compilation organized by War Child; the album was to be recorded within one day, September 4, 1995, and this week was released in a hurry. Radiohead recorded Lucky in five hours with engineer Nigel Godrich, who helped producer John Leckie with The Bends and produced several Radiohead B-sides. Godrich said of the Help Album session: These things are most inspiring when you do things very quickly and there is nothing to lose. We left feeling quite euphoric. So, after building a bit of understanding work wise, I was kind of hoping that I would participate in the next album. Singer Tom York said that Lucky formed the nascent sound and mood of their upcoming record: Lucky means what we want to do. It was like the first sign on the wall. Radiohead found the tour stressful and took a break in January 1996. They sought to distance their new material from The Bends' introspective style. Drummer Philip Selway said: There was a lot of soul searching (on bends). Doing it again on another album would be excruciatingly boring. Yorke said at the time: We could really fall back on just making another unfortunate, morbid and negative record lyrically, but I really don't want to, at all. And I intentionally just write all the positive things that I hear or see. I'm not able to put them into music yet and I don't want to just force it. The critical and commercial success of The Bends gave Radiohead confidence in the self- shrouding of their third album. Their label Parlophone gave them a budget of 100,000 pounds for recording equipment. Guitarist Johnny Greenwood said, The only concept we had for this album was that we wanted to record it away from the city and that we wanted to record it ourselves. In the words of guitarist Ed O'Brien: Everyone said, You're going to sell six or seven million if you The Bends Pt 2 and we say, We will fight against this and do the opposite. A number of manufacturers, including Figures such as Scott Litt were proposed, but the group was encouraged by their sessions with Godrich. They consulted him for advice on what equipment to use and prepared for the sessions by buying their own equipment, including a plate reverb purchased from songwriter John Levy. Although Godrich sought to focus his work on electronic dance music, he outgrew his role as an advisor and co-produced the album. Recording in early 1996 Radiohead recorded a demo for their third album at Chipping Norton Recording Studios, Oxford. In July, they began rehearsing and recording at the Can Applause Studio, a converted shed near Didcot, Oxfordshire. Even without the deadline that contributed to the stress of The Bends, the band had difficulties that Selway blamed for their choice for self-production: We jump from song to song, and when we run out of ideas, we move on to a new song... The stupid thing is that we were almost done when we moved on because so much work was in them. According to O'Brien, the participants worked with almost equal roles in the production and formation of music, although Yorke was still the loudest voice. Selway said, We give each other a lot of space to develop our parts, but at the same time we're all very critical about what the other person is doing. Godrich's role as a co-producer was part collaborator, part managerial outsider. He said Radiohead needed to have another person outside their unit, especially when they were all playing together, to say when the take was going well... I take the slack when people don't take responsibility - the term producing a record means taking responsibility for the record... It's my job to make sure they get ideas across. Godrich has produced every Radiohead album since then, and has been described as the sixth member of Radiohead, a reference to George RR Martin's nickname as the fifth Beatle. Radiohead decided that Canned Applause was an unsatisfactory recording location, which Yorke attributed to the proximity to the band members' homes, and Johnny Greenwood attributed the lack of dining and bathroom. The band almost completed four songs: Electioneering, No Surprises, Subterranean Homesick Alien and The Tourist. At the label's request, they took a break from recording to embark on a 13-year U.S. tour in 1996, opening for Alanis Morissette, and performed early versions of several new songs. One song, Paranoid Android, evolved from a fourteen-minute version with long organ solos into something closer to the six-minute version of the album. During the tour, director Baz Luhrmann commissioned Radiohead to write a song for his upcoming film Romeo and Juliet and gave them the last 30 minutes of the film. Yorke She we saw a scene in which Claire Danes holds Colt .45 against her head, we started working on the song immediately. Shortly thereafter, the band wrote and recorded the song Exit Music (For a Film); The track plays on the film's credits, but was removed from the soundtrack at the request of the band. The song helped shape the direction of the rest of the album; Yorke said it was the first performance we ever recorded where every note of it made my head spin-something I'm proud of, something I could turn up really, really loud and not wince at any moment.Most OK Computer was recorded between September and October 1996 at St Catherine's Court, a rural mansion near Bath, Somerset. Radiohead resumed recording in September 1996 at St Catherine's Court, a historic mansion near Bath owned by actress Jane Seymour. The mansion was unoccupied, but was sometimes used for corporate functions. The change in settings marked an important transition in the recording process. Greenwood, comparing the mansion to the studio's previous settings, said it was less like a lab experiment, which is something that being in the studio tends to be like, and more about a group of people making their first recording together. The group made extensive use of various rooms and acoustics in the house. The vocals on Exit Music (For a Film) have a natural reverb achieved by recording on a stone staircase, and Let Down was recorded in the ballroom at 3 a.m. O'Brien said that the biggest pressure was actually completing the record. We were not given any deadlines and we had complete freedom to do what we wanted. We put it off because we were a little scared of actually finishing things. Yorke was pleased with the recordings made on the spot, and happily worked without audio separation, meaning that the instruments were not overdubbed separately. O'Brien calculated that 80 percent of the album was recorded live, and said, I hate doing orthodoxy because it just doesn't seem natural. ... Something special happens when you play live; a lot of it is just looking at each other and knowing there are four other people that makes this happen. Many of Yorke's vocals were the first. he felt that if he made other attempts, he would start thinking about it and it would sound really lame. Radiohead returned to Applause Canned in October for rehearsals, and completed much of OK Computer's further sessions at St Catherine's Court. By Christmas, they had narrowed the track list to 14 songs. The strings were recorded at Abbey Road Studios in London in January 1997. The album was mixed for the next two months in various London studios and then mastered by Chris Blair on Abbey Road. Godrich preferred A quick and hands-off approach to mixing, and said: I feel like I'm getting too into it. I'm starting to tinker with things and I fuck it... I usually take about half a day to make the mixture. If it lasts longer than that, you will lose it. The most difficult thing is to try to stay fresh, to remain objective. The music and lyrics of The Style and Influence of Jazz Fusion by Miles Davis (left, in 1986) and the political works of Noam Homsky (right, in 2005) influenced OK Computer. Yorke said the starting point for the recording was the incredibly dense and terrifying sound of Bitches Brew, Miles Davis's avant-garde jazz fusion album of 1970. He described the sound of Bitches Brew before: He was building something and watched it fall apart, that's the beauty. This was at the heart of what we were trying to do with OK Computer. Elvis Costello's I'll Wear It Proudly, R.E.M.'s Fall on Me, P.J. Harvey's Dress and A Day in the Life by the Beatles are particularly influential in his songwriting. Radiohead drew inspiration from the recording style of the soundtrack to the film by the composer Ennio Morricone and the krautrock band Can, the musicians Yorke described as abusing the process of recording. Johnny Greenwood described OK Computer as a product of being in love with all these brilliant records... trying to recreate them, and missing. According to Yorke, Radiohead hoped to achieve an atmosphere that is perhaps a bit shocking when you first hear it, but is only as shocking as the atmosphere at Pet Sounds Beach Boys. They expanded their instruments to include electric piano, mellotron, cello and other strings, glockenspiel and electronic effects. Jonny Greenwood summed up the research approach as when we have what we suspect to be an amazing song, but no one knows what they're going to play on it. Critics have suggested a stylistic duty to the progressive rock of the 1970s, an influence that Radiohead disavowed. According to Andy Green in Rolling Stone, Radiohead were collectively hostile to the progressive rock of the seventies... but that didn't stop them from inventing prog from scratch on OK Computer, especially for the six and a half minutes of Paranoid Android. Tom Hull believed that the album was still a prog, but it may only be because rock has so carefully shrouded the musical narrative that this kind of thing has become inevitable. Writing in 2017, Kelefa Sanneh of The New Yorker said THAT OK Computer was deeply prog: grandiose and dystopian, with a lead single that was over six minutes long. The album's lyrics, written by Yorke, are more abstract than his personal, emotional lyrics for The Bends. Critic Alex Ross said the lyrics seem like a mixture of overheard conversations, techno-talk, and snippets harsh diary with images of riot police at political rallies, torturous life in neat suburbs, yuppie, fucking aliens, sliding overhead. Recurring themes include transport, technology, madness, death, modern British life, globalization and anti-capitalism. Yorke said: On this album, the outside world became all that was ... I'm just taking Polaroids of things around me moving too fast. He said: 'It was like there was a secret camera in the room and he was watching the character who enters the room - a different character for each song. The camera isn't really me. But not without emotions. In fact, it's the other way around. Yorke also drew inspiration from books, including Noam Chomsky's political writing, Eric Hobsbawm's The Age of Extremes, Will Hutton's The State We Are In, Jonathan Coe's What Is a Cut! and PHILIP C. Dick's VALIS. OK Computer songs do not have a coherent narrative, and the album's lyrics are generally considered abstract or oblique. However, many music critics, journalists and scholars consider the album a concept album or song cycle or analyze it as a concept album, which marks its strong thematic cohesion, aesthetic unity and structural logic of song sequence. (nb 1) Although the songs share themes, Radiohead stated that they do not consider OK Computer a concept album and do not intend to link the songs through a narrative or unifying concept until it was written. I think one album title and one computer voice don't make a concept album. It's a bit of red herring. However, the band intended to have the album heard in general, and spent two weeks ordering a track list. O'Brien said: The context of each song is really important... It's not a concept album, but there's continuity there. Tracks 1-6 Airbag Airbag has a rarefied bass and a programmed drum beat influenced by DJ Shadow music. This audio sample contains part of the song's first verse. Paranoid Android Paranoid Android, Radiohead's second-longest song, has a multi-screen structure and has been named one of the most ambitious songs of all time. This sound sample is from the middle of the second section to the beginning of the first guitar solo. Problems with playing these files? See the media report. The opening track, Airbag, relies on a beat built from a second recording of Selway's drums. The bass line stops and starts unexpectedly, achieving an effect similar to the 1970s dub. In the Car accidents and were inspired by a magazine article called Airbag Saved My Life and the Tibetan book dead. Yorke wrote Airbag about the safety illusion offered by modern transit, and the idea that when you go out on the road you could be killed. the BBC wrote about the effect of J.G. Ballard, especially his 1973 novel Crash on the lyrical content of the song. Music journalist Tim Footman notes that the song's technical innovations and lyrical problems demonstrate the key paradox of the album: Musicians and producers rejoice in the sound possibilities of modern technologies; The singer, meanwhile, opposes his social, moral and psychological impact. ... This contradiction is reflected in the culture clash of music, with real guitars negotiating an uneasy standoff with hacked-up, processed drums. Divided into four parts with a total opening time of 6:23, Paranoid Android is one of the band's longest songs. The unconventional structure was inspired by Happiness is a Warm Gun and Bohemian Rhapsody by the queen, which also avoid the traditional structure of poems and poems. His musical style was also inspired by pixies music. The song was written by Yorke after a nasty night at a Los Angeles bar where he saw a woman react violently after someone spilled a drink on her. Its name and lyrics are a reference to Marvin the Paranoid Android from Douglas Adams' Hitchhiker's Guide to the Galaxy series. The use of electric keyboards in Subterranean Homesick Alien is an example of the band's attempts to emulate the atmosphere of Bitches Brew. Its name refers to Bob Dylan's song Subterranean Homesick Blues, and the lyrics describe an isolated narrator who fantasizes about alien abduction. The narrator assumes that when he returns to Earth, his friends will not believe his stories, and he will remain a loser. The lyrics were inspired by the assignment from York's Abingdon School to write the play The Martian Poetry, a British literary movement that humorously reinterprets the mundane aspects of human life from an alien point of view. William Shakespeare's Romeo and Juliet was inspired by the lyrics of Exit Music (For a Film). Originally Yorke wanted to work the lines from the game into a song, but the final draft of the lyrics became an extensive narrative. He said: 'I saw a version of zeffirelli when I was 13 and I cried my eyes because I couldn't understand why, the morning after they had sex, they didn't just run away. It's a song for two people who have to run away before all the bad stuff starts. Yorke compared the opening of the song, which mostly features his singing spice with an acoustic guitar, to Johnny Cash's prison at Folsom Prison. Used Mellotron Choir and other electronic voices Track. The song climaxes with the entrance to the drums and the distorted bass pass through the pedal fluff. The climain part of the song is an attempt to emulate the sound of the trip-hop band Portishead, but in a style that bassist Colin Greenwood called more stylized and leady and mechanical. The song concludes withering to yorke's voice, acoustic guitar and Mellotron. Let Down contains multi-layered arpegggy guitars and an electric piano. Johnny Greenwood plays his guitar role at different times of signature to other instruments. O'Brien said the song was influenced by Phil Spector, a producer and songwriter best known for his Wall of Sound recording methods. The lyrics, according to Yorke, are about the feeling you get when you're on the road, but you don't control it - you just walk past thousands of places and thousands of people and you're completely removed from it. I was furious at the club and I suddenly funny thought I was for centuries: what if all the people who drank hung from bottles? If the bottles were hanging on the ceiling with a string and the floor gave way, and the only thing that kept everyone was the bottle? It's also about the huge fear of being trapped.- Tom Yorke of the line Don't Get Sentimental /It Always Ends drivel, Yorke said: Sentimentality is now emotional for his sake. We are bombarded with feelings, people emoting. It's Let Down. To feel that every emotion is a fake. Or rather, all emotions on the same plane, whether it's car advertising or pop song. Yorke felt that skepticism about emotions was typical of Generation X, and said that he informed not only Let Down but also the band's approach to the entire album. Karma Police has two main verses, which alternate with a muted break, followed by another department. The poems are centered around acoustic guitar and piano, with chords indebted to the Beatles Sexy Sadie. Starting at 2:34, the song goes into an organized section with the repeated line For a minute there, I lost myself. It ends with guitarist Ed O'Brien generating feedback using the delay effect. The title and lyrics of Karma Police come from a joke during The Bends tour; Jonny Greenwood said: Whenever someone has behaved in a particularly crappy way, we would say: Karma police will catch up with him sooner or later. Tracks 7-12 A 1990s-era Macintosh LC II system. Radiohead used the synthesized voice Fred included with the old Macintosh software to read the lyrics of the song Fitter Happier. Fitter Happier is a short musical track by Concr'te, which consists of sampled musical and background sounds and lyrics of songs recited by Fred, a synthesized voice from Macintosh SimpleText Yorke wrote the lyrics in 10 minutes after a writer's block period while the rest of the band was playing. He described the words as a checklist of slogans for the 1990s, and he considered the texts the most offensive thing I've ever written and said it was liberating to give words to a neutral-sounding computer voice. Among the samples in the background is an audio loop from the 1975 film Three Days of Condor. The band considered using Fitter Happier as the album's first track, but decided that the effect was not. Steve Lowe called the song a penetrating operation on a pseudo- meaningful corporate lifestyle with a rebound for mainstream social values. Among the loosely related images of the lyrics, Footman defined the theme of the song as a materially comfortable, morally empty embodiment of modern Western humanity, a half-zaimperman, a half-step wife, intended for a metaphorical headlight box propped up by Prozac, Viagro and anything that could cover his insurance plan. Sam Steele called the lyrics a stream of images: snatches of media information interspersed with lifestyle advertising slogans and private prayers for a healthier existence. It's the buzz of the world buzzing with words, one of the messages seemingly that we live in such a synthetic universe we grew up unable to detect reality from cunning. Electioneering, with a bell and distorted guitar solo, is the album's most rock-oriented track and one of Radiohead's heaviest songs. He was compared to Radiohead's earlier style on Pablo Meda. The cynical Electioneering is the album's most direct-political song, with lyrics inspired by Poll Tax Riots. The song was also inspired by Homsky's book Production Consent, in the book, analyzing modern media on the propaganda model. Yorke compared his texts, which focus on political and artistic compromise, to preacher, ranting in front of a bank of microphones. Referring to his oblique political references, yorke said, What can you say about the IMF or politicians? Or people selling weapons to African countries who use slave labor or something. What can you say? You just write down Cattle prods and IMF and people who know know. O'Brien said the song was about the touring promotional cycle: After a while you feel like a politician who has to kiss kids and shake hands all day long. Climbing Up the Walls Climbing Up the Walls contains samples of surrounding sounds, distorted drums and a string section of Johnny Greenwood's Krzysztof Penderecki. This sound sample is from the beginning of the second choir to the guitar solo. Problems with playing this file? See the media report. Threnody to the victims of Hiroshima Krzysztof Penderecki (pictured) inspired arrangements to climb up the walls. Climbing Up the Walls - described by Melody Maker as monumental chaos - is layered with a string section surrounding noise and repetitive metal percussion. The string section, written by Johnny Greenwood and written for 16 instruments, was inspired by the contemporary classical composer Krzysztof Penderecki's The Trinity to the Victims of Hiroshima. Greenwood said: I was very excited about the prospect of doing string pieces that didn't sound like 'Eleanor Rigby', which is what all parts of the line have sounded like over the last 30 years. Select described the distraught vocals and atonal strings as Tom's voice, dissolved into a terrible, blood-condensed cry, as Johnny whipped the sound of a million dying elephants into a crescendo. For the lyrics, Yorke drew from his age as an orderly in the mental hospital during care in community policy of deinstitutionalizing mental health patients, and a New York Times article about serial killers. He said: It's about the unspeakable. Literally a skull crushing. I was working in a psychiatric hospital around the time the community started caring, and we all just knew what was going to happen. And this is one of the scariest things to happen in this country, because many of them were not just harmless ... It was hail furiously when we recorded it. seemed to add to the mood. No Surprises, recorded in one take, 85 is arranged with an electric guitar (inspired by the Beach Boys' Wouldn't Be Nice), acoustic guitar, glockenspiel and vocal harmonies. The band sought to replicate the mood of Louis Armstrong's 1968 recording of What a Wonderful World and Marvin Gaye's soul music. Yorke defined the theme of the song as someone who tries hard to keep it together but can't. The lyrics seem to depict suicide or an unrealized life, and dissatisfaction with the modern social and political order. Some lines refer to rural or suburban images. One of the key metaphors in the song is the opening line, a heart that is full like a dump; According to Yorke, the song is a fucked-up nursery rhyme that stems from my unhealthy obsession with what to do with plastic boxes and plastic bottles... All these things are buried, the wreckage of our lives. It doesn't rot, it just stays there. That's how we deal, that's how I deal with things, I bury it . The tender mood of the song stands in stark contrast to its sharp lyrics; Steele said, Even when it comes to suicide... O'Brien's guitar is as soothing as a balm on a red-raw psyche, a song rendered like a bitter children's prayer. Lucky was inspired by the Bosnian war. Sam Taylor said it was one track on The Help Album to capture the grim horror of the conflict and that his serious theme and dark tone made The band is too real to be allowed on the Brit-pop sauce train. The lyrics were equalized with many pages of notes and were initially more politically explicit. The lyrics show a man who survived a plane crash and they are taken out of concern about transportation. The musical centerpiece of Lucky is its three-part guitar arrangement, which grew out of the high ringing played by O'Brien in the introduction of the song, and was achieved by strumming over the guitar nut. Critics have compared his guitar to Pink Floyd and, more broadly, to arena rock. The album ends with The Tourist, which Johnny Greenwood wrote as an unusually staid piece where something shouldn't happen... every three seconds. He said: Tourist doesn't sound like Radiohead at all. It became a song with space. The lyrics, written by Yorke, were inspired by his experience of watching American tourists in France, desperate to see as many tourist attractions as possible. He said he was chosen as the final track because many albums were about background noise and everything was moving too fast and unable to keep up. It was really obvious to that Tourist as the last song. This song was written to me by me, saying: Idiot, slow down. Because at that moment I needed to. So it was the only resolution that could be: slow down. Unexpected blues waltz comes to an end when the guitars fall out, leaving only drums and bass, and ends with the sound of a small bell. The name OK Computer is taken from the 1978 Hitchhiker's Hitchhiker's Radio series Galaxy, in which the character of Sashod Bibbrox says the phrase OK, computer, I want full manual control now. Radiohead members listened to the series on the bus during their 1996 tour and Yorke made a note of the phrase. OK Computer became the working title for the B-side Palo Alto, which was considered for inclusion in the album. The name stuck with the group; according to Jonny Greenwood, he started to attach and create all these strange resonances with what we were trying to do. Yorke said the title relates to embracing the future, it refers to being terrified of the future, our future, everyone else. It's related to standing in a room where all these appliances go off and all these machines and computers and so on... and the sound he makes. He described the title as a really retired, frightened phrase similar to a Coca-Cola ad I would like to teach the world to sing. Wired writer Leander Kanei suggests it's a homage to Macintosh computers, as Mac's speech recognition software responds to the OK computer command as an alternative to pressing the OK button. The other names reviewed were Those, and Link to a binary numbers system, and your home may be at risk if you don't support payments. Artwork Page booklet OK Computer with logos, white doodles and text in Esperanto and English. The motif of the two handshake stick figures, repeated on the disc label on CD and LP releases, has been described by Yorke as symbolizing exploitation. The OK Computer Artwork is a computer collage of images and text created by Yorke under the pseudonym White Chocolate Farm and Stanley Donwood. Yorke commissioned Donwood to work on a visual diary along with recording sessions. Yorke explained: If I showed some visual representation of music, only then do I feel confident. Up to this point, I have a bit of a whirlwind. The blue-and-white palette was, in Donwood's words, the result of an attempt to do something with a bleached bone color. An image of two pieces of the stick, shaking hands, appears in the notes of the liner and on the label of the disc in CDs and LP releases. Yorke explained the image as a symbol of exploitation: Someone sold something they really didn't want and someone was being friendly because they were trying to sell something. That's what it means to me. Explaining the theme of the piece, York said: 'It's quite sad, and quite funny. All works of art and so on ... That was all I didn't say in the songs. Visual motifs include motorways, planes, families with children, corporate logos and cityscapes. The cover photo of the motorway was most likely taken in Hartford, Connecticut, where Radiohead performed in 1996. The words Lost Child feature prominently on the cover, and the cover of the brochure contains phrases in esperanto and health instructions in English and Greek. Uncut critic David Kavanagh said the use of non-sequiturs created an effect akin to being a lifestyle-coach crazy. White doodles, Donwood's method of correcting bugs rather than using the computer undo function, 102 are everywhere in collages. The liner's notes contain full lyrics rendered with atypical syntax, alternative spelling and small annotations. (nb 2) The lyrics are also arranged and arranged in forms that resemble hidden images. In accordance with the group's then anti-positive stance, the production credits contain an ironic copyright notice, Songs played by kind permission, even if we wrote them. According to Selway, the American label Radiohead Capitol regarded the album as a commercial suicide. They weren't really into it. At that point, we got fear. How will this be received? Yorke recalled: When we first gave it to The Capitol, they were taken aback. I really don't know why it's important now, but I'm thrilled with it. The Capitol lowered its sales forecast from two million to half a million. According to O'Brien, only Parlophone, the group's British label, remained optimistic, while global distributors sharply lowered their sales estimates. The label reportedly was disappointed by the lack of market singles, especially the lack of anything similar to Radiohead's hit Creep. OK Computer is not the album we're going to rule the world with, Colin Greenwood predicted at the time. It's not like hitting-all-loud-while-waggling-tongue-in-and-out-bends. There's less van Halen factor. The text of the song Fitter Happier and images adapted from the album were used on advertisements in music magazines, signs on the London Underground and shirts (shirt design pictured). Parlophone launched an unorthodox advertising campaign, taking full-page advertisements in high-profile British newspapers and subway stations with texts for Fitter Happier in large black letters on a white background. The same lyrics and works adapted from the album were repurposed for shirt design. Yorke said they chose the lyrics of Fitter Happier to link what the critic called a consistent set of problems between the album's work and its promotional material. Other non-traditional products included floppy disks containing Radiohead and FM radio in the form of a desktop computer. In America, Capitol sent 1,000 cassette players to prominent members of the press and music industry, each of whom was constantly glued to the album. Capitol President Gary Gersh said, Our job is to just take them as a center-left group and bring the center to them. That's our focus and we won't wake up until they're the biggest group in the world. Radiohead chose Paranoid Android as the lead single, despite an unusually long working time and a lack of catchy chorus. The song premiered on The Evening Session in April 1997 and was released as a single in May 1997. In the power of frequent radio games on Radio 1 and the rotation of the clip on MTV, Paranoid Android reached 3rd place in the UK, which gives Radiohead their highest position in the chart. The Radiohead Tour embarked on a world tour to promote THE OK Computer's Against Demons tour, which began on May 22, 1997 in Barcelona. The tour took place in the United Kingdom and Ireland, continental Europe, North America, Japan and Australia, ending on April 18, 1998 in New York. He also saw the first Radiohead Performance at the Glastonbury Festival; Despite technical problems that almost forced Yorke to leave the stage, the performance was recognized and cemented Radiohead as a major live act. I was the first person to tire of it, and six months later everyone in the group said it. Then six months after that, no one spoke more. The OK Computer commercial performance was released in Japan on May 21, the United Kingdom on June 16, Canada on June 17, and the United States on July 1. It was released on CD, two-LP vinyl record, cassette and MiniDisc. It debuted at number one in the UK with sales of 136,000 copies in its first week. In the United States, it debuted at number 21 on the Billboard 200. It held the top spot in the UK for two weeks and remained in the top ten somewhat more, eventually becoming the best-selling book of the year there. Karma Police was released in August 1997 and No Surprises in January 1998. Both singles chart the UK top ten, and Karma Police peaked at number 14 on the Billboard Modern Rock Tracks. Lucky was released as a single in France, but not on the chart. Let Down, which is considered the lead single, was released as a promotional single in 1997 and on the Modern Rock Tracks chart at number 29. Radiohead planned to release a video for each song on the album, but the project was abandoned due to financial and time constraints. In addition, plans for the trip-hop group Massive Attack to remix the album were canceled. Meeting People Is Easy, rock musician Grant Gee after the band's world tour OK Computer, premiered in November 1998. By February 1998, OK Computer had sold at least half a million copies in the UK and 2 million worldwide. By September 2000, Billboard had reported that it had sold 4.5 million copies worldwide. The Los Angeles Times reported that by June 2001 it had sold 1.4 million copies in the United States, and in April 2006 IFPI announced that it had sold 3 million copies across Europe. It has been certified triple platinum in the United Kingdom and double platinum in the US, in addition to certificates in other markets. By May 2016, Nielsen SoundScan data showed that OK Computer had sold 2.5 million digital albums in the U.S., as well as another 900,000 sales measured in album equivalent units. Twenty years after its initial release, Official Charts recorded total UK sales of 1.5 million, including album-equivalent units. Tully American and European sales, OK Computer has sold at least 6.9 million copies worldwide (or 7.8 million with album equivalent units). (nb 3) Critical Admission Professional RatingsModern Reviews (published in 1997)Review Tribune 142Entertainment WeeklyB 143The Guardian 79 Los Angeles Times 144NME10/1095Pitchfork10/10 145 91Rolling Stone 146 Select5/5147Spin8/10 42 Computer OK received critical acclaim. Critics in the British and American press generally agreed that the album was a historic and would have far-reaching implications and significance, and that its experimentality made it difficult to listen to. According to Tim Footman, since 1967, with the release of Sgt. Pepper's Lonely Hearts Club Band, many major critics immediately agreed not only with the merits of the album, but also with its long-term significance and ability to encapsulate a certain moment in history. In the English press, the album received positive reviews in NME, 95 Melody Maker, The Guardian, and Nick Kent wrote in Mojo that Others may end up selling more, but in 20 years I put OK Computer to be seen as a key record of 1997, one to take the rock forward instead of artfully revamping the images and song structures of an earlier era. John Harris wrote in Select: Every word sounds painfully sincere, every note erupts from the heart, and yet it is firmly rooted in the world of steel, glass, memory of casual access and prickly paranoia. The album was well received by critics in North America. Rolling Stone, 146 Spin, Los Angeles Times, Pittsburgh Post-Gazette, Pitchfork and the Daily Herald have reported positive reviews. In The New Yorker, Alex Ross praised his progressiveness and compared Radiohead's risk to the musically conservative dadar of their Oasis contemporaries. Ross wrote that throughout the album, the contrasts of mood and style are extreme ... This band shot one of the great art-pop balancing acts in rock history. Reviews for Entertainment Weekly, Chicago Tribune and Time were mixed or contained qualified praise. Robert Christgau of The Village Voice said Radiohead had immersed Yorke's vocals in sufficient electronic marginal distinction to feed the coal city for a month and compensated for how soulless the songs were, resulting in dry art rock. In another positive review, Andy Gill wrote for The Independent: For all his ambition and determination to get on new ground, OK Computer is not as impressive as The Bends, which covered almost the same emotional knots, but with better melodies. It's easy to be impressed, but ultimately hard to love, an album that will soak up so easily in its despondency. Accolades OK Computer was nominated for Grammy Award for Album of the Year and Best Alternative Music Album at the 40th Annual Grammy Awards in 1998, winning the last album. He was also nominated for Best British Album at the 1998 Brit Awards. The album was shortlisted in 1997. The award, a prestigious award, recognized as the best British or Irish album of the year. The day before the winner was announced, the odds gave OK Computer the best chance to win among the ten nominees, but he lost to New Forms' Roni Size/Reprazent. The album appeared in many critics' lists in 1997 and listener surveys for best album of the year. He topped the year-end polls of Mojo, Vox, Entertainment Weekly, Hot Press, Muziekkrant OOR, HUMO, Eye Weekly and Inpress, and tied for first place with Daft Punk's homework in person. The album came second in NME, Melody Maker, Rolling Stone, Village Voice, Spin and Uncut. And Les Inrockuptibles both listed the album in their unrated year-end surveys. Praise for the album swept the band; Greenwood felt the praises were exaggerated because the bends were under-examined, perhaps not enough received. They gave up their ties to progressive rock and art rock, despite frequent comparisons with Pink Floyd's 1973 album The Dark Side of the Moon. Yorke replied: We write pop songs ... there was no intention that it was 'art'. It's a reflection of all the disparate things we listened to when we recorded it. However, he was pleased that the audience had defined the impact of the album: What really ripped my head off was that people got all the stuff, all the textures, sounds and atmosphere we were trying to create. Legacy Retrospective Assessment Professional RatingsRetrophic Reviews (published after 1997)Review scoresSource RatingAllMusic 165.V. ClubA'166'Blender'167'Christgau's Consumer GuideB-'168'Encyclopedia of Popular Music (169)MusicHound Rock5/5'170'171'The Rolling Stone Album Guide , 172'Slant Magazine , 173'Tom Hull - on WebB'46' OK Computer often appeared on the professional list of greatest albums. A number of publications, including NME, Melody Maker, Alternative Press, 174 Spin, Pitchfork's 175, Time's 176, Metro Weekly's 177 and Slant Magazine,' have placed OK Computer on the list of best albums of the 1990s or all time. It was voted number 4 in Colin Larkin's All Time Top 1000 Albums 3rd Edition (2000). Rolling Stone ranked him 42nd on the list of the 500 Greatest Albums of All Time in 2020. It was previously ranked 162nd in 2003 and 2012. Retrospective reviews from BBC Music, A.V. Club and Slant received positive album. Rolling Stone gave the album five stars in the 2004 edition of The Rolling Stone Album Guide, with critic Rob Sheffield saying: Radiohead was claiming high ground abandoned nirvana, Pearl Jam, U2, R.E.M., all; and fans around the world loved them for trying too hard at a time when no one else was even worried. Most people will appreciate OK Computer apogee texture pomo, Christgau said in retrospect. According to the recognized A site that uses stats numerically represent a reception among critics, OK Computer is the 8th most famous album of all time. In 2014, the U.S. National Records Preservation Council selected the album to be preserved in the Library of Congress National Records Registry, which defines it as a record that has had a significant cultural, historical, or aesthetic impact in American life. Some called the album undeserved. In a survey of thousands of people conducted by BBC Radio 6 Music, OK Computer was named the sixth most overrated album in the world. David H. Green of The Daily Telegraph called the album a condescending whining and argues that the positive critical consensus towards OK Computer is a sign of the 20th century misconception that rock is a bastion of serious commentary on popular music to the detriment of electronic and dance music. The album was chosen as a record in Sacred Cows, NME's column, questioning the critical status of revered albums, in which Henry Yates said that there is no defiance, gallows humour or a slit of light under the curtain, just a sense of meekness, resigned despondency and criticized the record as the moment when Radiohead ceased to be good in the radiohead article about The Radiohead Chris Norris claims that OK Computer's recognition has fanned expectations of future Radiohead releases. Christgau felt that the reason that readers of the British magazine absurdly voted OK Computer the greatest album of the 20th century was that it integrated what was briefly called electronics into rock. Claiming to be self-towing and overrated, he later warmed up to the record and found it to be indicative of Radiohead's brain sensitivity and replete with discrete pleasures and surprises. In comments and interpretations in an interview after the album's release, Tom York criticised Tony Blair (pictured in 1998) and his new Labour government, echoing the widespread theme of political disillusionment. OK Computer was recorded in the run-up to the 1997 general election and released a month after Tony Blair's new Labour government won. The album was seen by critics as an expression of dissent and scepticism towards the new government and a reaction to national sentiments of optimism. Dorian Lynskey wrote: On May 1, 1997, Labour supporters toasted their landslide victory to the sound of Things can only get better. A few weeks later, OK Computer appeared as the ghost of Banquo to warn: No, things can only get worse. According to Amy Britton, the album showed that not everyone was ready to join the party, instead using a different feeling, palpable throughout the UK - pre-mardic longing. ... huge corporations were Fight against - it was the world of OK Computer soundtrack, not a wave of British optimism. In the interview, Yorke doubted that Blair's policies would differ from the previous two decades of Conservative government. He said the public reaction to Princess Diana's death was more significant as the moment when the British public realised that the royals had been over the eggs for the past hundred years, as were the media and the state. The group's aversion to the commercialized promotion of OK Computer reinforced their anti-capitalist policies, which will be further explored on their subsequent releases. Critics compared Radiohead's statements of political dissatisfaction with those of previous rock bands. David Stubbs said that where punk rock was revolting against time of scarcity and poverty, OK Computer protested the mechanistic convenience of modern surplus and excess. Alex Ross said the album depicted the onslaught of the Information Age and the panic of a young man and turned the band into poster boys for a certain kind of cognition of alienation, as it used to be in Talking Heads and R.E.M.. John Pareles of The New York Times found precedents in Pink Floyd and Madness for Radiohead's fears about a culture of numbness, the creation of obedient workers and a forced self-help regime and antidepressants. The tone of the album was described as millennial or futuristic, anticipating cultural and political trends. According to A.V. Club writer Stephen Hayden in the feature Whatever Happens to the Alternative Nation, Radiohead seems to be ahead of the curve, predicting paranoia, media-driven madness, and the ubiquitous sense of impending doom that subsequently came to characterize everyday life in the 21st century. In 1000 Recordings to Hear Before Dying, Tom Moon described OK Computer as prophetic... dystopian essay on the dark effects of technology... oozing with a vague sense of dread, and a touch of Big Brother foreboding, which bears a strong resemblance to the constant concern for life at the safety level of Orange, after 9/11. Chris Martin of Coldplay commented: It would be interesting to see how the world would be different if Dick Cheney really listened to OK Computer Radiohead. I think the world is probably going to improve. This album is damn brilliant. It changed my life, so why not change it? The album was inspired by a radio show called OK Computer, which was first shown on BBC Radio 4 in 2007. The play, written by Joel Horwood, Chris Perkins, Al Smith and Chris Thorpe, interprets 12 tracks of the album in a story about a man who wakes up in a Berlin hospital with memory loss and returns to England with doubts that the life he returned to is his own. Influence of Many people OK Computer and said: This is the criterion. If I can achieve something twice as good, I do very well. But I've never heard anything really derived from OK Computer, which is interesting, since it shows that what Radiohead did is probably even harder than it seemed. -- Josh Davis (DJ Shadow) - all his sound and emotional experience crossed many boundaries. He tapped into a lot of buried emotions that people didn't want to explore or talk about. James Lovell 204 The release of OK Computer coincided with the decline of Britpop. (nb 4) Thanks to the influence of OK Computer, the dominant British guitar pop music has shifted towards the approaching paranoid but confessional, dung but catchy Radiohead approach. Many new British acts have adopted similarly complex atmospheric mechanisms; for example, post-Britpop band Travis worked with Godrich to create the langicie pop texture Of The Man Who, which became the fourth best-selling 1999 album in the UK. Some in the British press accused Travis of appropriating radiohead sound. Stephen Hayden of the AV Club said that by 1998, starting with The Man Who, what Radiohead created in OK Computer had already grown much bigger than the band and that the album had influenced the wave of British rock balladers that reached their zenith in the 00s. The popularity of OK Computer has influenced the next generation of British alternative rock bands, and famous musicians in various genres have praised it. (nb 6) Block-party and television on Radio 209 listened to or were influenced by OK Computer; The TV on the radio debut album was named OK Calculator as a light-hearted tribute. Radiohead described the prevalence of bands that sound like us as one reason to break with OK Computer style for their next album, Kid A., although THE influence of OK Computer on rock musicians is widely acknowledged, with some critics believing that its experimental inclination has not been reliably perceived on a large scale. Footman said the Radiohead Lite groups that followed were missing, not to mention a lyrical substance. David Kavanagh said that much of OK Computer's supposed core influence most likely stems from a ballad on The Bends. According to Kavanagh, the populist albums of the post-OK Computer-era-Verve in Urban Anthems, Travis Good Feeling, Stereophonics' Word Gets Around, Robbie Williams Living Through the Lens-effectively closed the door that OK Computer's boffin-esque ingenuity opened. John Harris believed that OK Computer was one of the cool signs that British rock music may have been returning to its inventive traditions following the death of BritPop. While Harris concludes that British rock eventually developed 'generally more conservative he said that with OK Computer and their subsequent material, Radiohead provided a loud call to fill the void left by Britpop. OK Computer has sparked a slight resurgence of progressive rock and ambitious concept albums, with a new wave of prog-influential bands crediting OK Computer for allowing their stage to flourish. Brandon Curtis of Secret Machines said: Songs like Paranoid Android made it okay to write music in a different way to be more experimental... OK Computer was important because it rediscovered unconventional writing and song structures. Stephen Wilson of Porcupine Tree said: I don't think ambition is a dirty word. Radiohead have been a Trojan horse for that matter. Here's a band that came from the tradition of indie rock that made its way under the radar when journalists weren't watching and started making these absurdly ambitious and pretentious - and all the better for him-recording. In 2005, Kew named OK Computer the tenth best progressive rock album. Radiohead's reprints and compilations left EMI, Parlophone's parent company, in 2007 after failed contract negotiations. EMI retained the copyright to Radiohead's back catalogue of materials recorded when it signed up for the label. After a period of vinyl, EMI re-released the double album OK Computer on August 19, 2008, along with later albums Kid A, Amnesiac and Hail to the Thief, as part of the From the Capitol Vaults series. OK Computer became the tenth best-selling vinyl record of the year, selling almost 10,000 units. The reissue was associated with the general rise of vinyl sales and the cultural evaluation of records as a format. The re- release of EMI's Collector's Edition was re-released on March 24, 2009, along with Pablo Honey and The Bends, without Radiohead. The reissue was released in two editions: 2-CD Collector's Edition and 2-CD 1-DVD Special Collector's Edition. The first disc contains the original studio album, the second disc contains B-sides collected from OK Computer singles and live recording sessions, and the DVD contains a collection of music videos and live television performance. All reprint materials have previously been released. Professional Ratings Collector's Edition (re-release review 2009)Score ReviewSource-ReviewAllMusic.223'The A.V. Press reaction to the reissue in a press release expressed concern that EMI was using Radiohead's rear catalogue. Larry Fitzmaurice of Spin accused EMI of planning to release and reprint Radiohead until the cash is rolled in. Pitchfork's Ryan Dombal said it was difficult to see these reissues as anything other than a box office takeover for EMI/Capitol, the old media company that was dumped by their most thoughtful group. Daniel Kreps of Stone defended the release, saying: While it's easy to blame Capitol Milking cashing on the cash cow once again, these kits are pretty comprehensive. The reissue was critically well received, although the reception was mixed about the additional material. Reviews in AllMusic, Uncut, 229, 228 by Rolling Stone, 227 Paste and PopMatters praised the extra material, but with reservations. A review written by Scott Plagenhoef for Pitchfork awarded a reissue of the perfect score, claiming it's worth buying for fans who don't yet own the rare material. Plagenhoef said: The fact that the band has nothing to do with them makes no sense: it's the last word on these recordings, if for no other reason, that the Beatles' September 9 remaster campaign might end the CD era. A.V. Club author Josh Modell praised both the bonus disc and the DVD, and said of the album: It's a really perfect synthesis of Radiohead's seemingly contradictory impulses. Original article OKNOTOK 1997 2017: OK Computer OKNOTOK 1997 2017 In April 2016, XL Recordings acquired Radiohead's rear catalogue recorded under EMI. Radiohead's collection of albums, released without Radiohead's approval, has been removed from streaming services. In May 2016, XL reissued Radiohead's vinyl back catalogue, including OK Computer. On June 23, 2017, Radiohead released a 20-year reissue of OK Computer, OKNOTOK 1997 2017, on XL. The re-release includes a remastered version of the album, as well as eight B-sides and three previously unreleased tracks: I Promise, Man of War and Lift. The special edition includes art books and notes and audiotape demos and session recordings, including previously unreleased songs. OKNOTOK debuted at number two on the UK Album Chart, which was prompted by Radiohead's third performance at the Glastonbury Festival. It was the best-selling album in independent UK record stores for a year. In early June 2019, the main miniDiscs (Hacked) article about nearly 18 hours of demonstrations, banknotes and other materials recorded during the OK Computer period was leaked online. On June 11, Radiohead made the archive available for streaming or purchase from music-sharing site Bandcamp for 18 days, with the proceeds going to environmental advocacy group Extinction Rebellion. Track list All tracks written by Tom York, Johnny Greenwood, Philip Selway, Ed O'Brien and Colin Greenwood. No.TitleLength1». Airbag4:442. Paranoid Android6:233. Underground Homesick Alien 4:274. Music release (for the film)4:245. Let it down4:596. Karma Police4:217. Fitter Happier1:578. Pre-election campaign3:509. Climbing the walls4:4510. No surprises3:4811. Lucky4:1912. Tourist5:24Actactal length:53:21 Collector's Edition/Special Collector's Edition Disc 2No.TitleLength1. Polyethylene (Parts 1 Напоминание3:544. Мелатонин2:105. Встреча в проходе3:106. Затишье2:297. Восхождение вверх по стенам (Ноль 7 Mix)5:198 . Восхождение вверх по стенам (Fila Brazillia Mix)6:269. Пало-Альто3:4410. Как я сделал мои миллионы3:0911 . Подушка безопасности (Live in Berlin)4:4912. Лаки (Live in Florence) 4:3713. Восхождение на стены (сессия BBC Radio 1, 28 мая 1997 г.) 4:2114. Выход музыки (для фильма) (BBC Radio 1 сессии, 28 мая 1997)4:3515 . Никаких сюрпризов (сессия BBC Radio 1, 28 мая 1997 г.) 3:58 Специальное коллекционное издание DVDNo.TitleLength1. Параноидальный Андроид 2. Карма-полиция 3. Никаких сюрпризов 4. Параноидальный Андроид (Позднее... с Джулс Холланд, 31 мая 1997 года) 5. Никаких сюрпризов (Позднее... с ДжулсОм Холландом, 31 мая 1997 года) 6. Подушка безопасности (позднее... with Jools Holland, 31 May 1997) Personnel Nigel Godrich – committing to tape, audio level balancing Radiohead – committing to tape, music Thom Yorke Jonny Greenwood Phil Selway Ed O'Brien Colin Greenwood Stanley Donwood – pictures The White Chocolate Farm – pictures Gerard Navarro – studio assistance Jon Bailey – studio assistance Chris Scard – studio assistance Chris King Fader Blair – mastering Nick Ingman – string conducting Matt Bale – additional artwork Charts Chart (1997–2017) Peakposition Australian Albums Chart[239] 7 Austrian Albums Chart[240] 13 Belgian Albums Chart (Flanders)[241] 1 Belgian Albums Chart (Wallonia)[241] 3 Canadian RPM Albums Chart[242] 2 Dutch Albums Chart[243] 2 French Albums Chart[244] 3 German Albums Chart[245] 27 Irish Albums Chart[246] 2 New Zealand Albums Chart[247] 1 Spanish Albums Chart[248] 42 Swedish Albums Chart[249] 3 Swiss Albums Chart[250] 40 UK Albums (OCC)[251] 1 US Billboard 200[252] 21 Chart (1997) Position Australian Albums Chart[253] 72 Belgian Albums Chart (Flanders)[254] 23 Бельгийские Альбомы Диаграмма (Валлония) 23 Голландские Альбомы Диаграмма »256» 40 Европейских Альбомы Диаграмма »257» 16 французских альбомов Диаграмма »258» 28 новозеландских альбомов Диаграмма »259» 10 альбомов Великобритании (OCC) 8 Американский Billboard 200(261) 187 Chart (1998) Позиция Австралийский альбомный чарт (262) 86 канадских альбомов RPM Диаграмма »263» 69 европейских альбомов Диаграмма »264» 19 Новозеландские альбомы Диаграмма »265» 19 альбомов Великобритании (OCC) 41 американский Billboard 200 (267) 142 Синглы Год Песня Пик позиции Великобритании (129) США Мод (130) НЗ (268) AUS (269) SWE (270) NL 3 - - - 29 53 61 Let Down ( nb 7 - 29 - - - Карма полиции 8 14 32 - - 50 1998 Без сюрпризов 4 - 23 47 - 58 - обозначает релизы, которые не диаграммы. Сертификация Региона Сертификация Сертифицированные единицы/продажи Аргентина (CAPIF) 74 × 100 000 евро Канада (Музыка Канада) 4× Платина 400 000 Франция (SNEP) 7 × 321 500 й Италия (FIMI) Золото 100,000 Нидерланды (NVPI) ( 280 Платиновый 100,000 Новая Зеландия (РМНЗ) (IFPI Norway) [282] Gold 25,000* Spain (PROMUSICAE)[283] Gold 50,000^ Sweden (GLF)[284] Gold 40,000^ Switzerland (IFPI Switzerland)[285] Gold 25,000^ United Kingdom (BPI)[286] 5× Platinum 1,579,415[126] United States (RIAA)[287] 2× Platinum 2,000,000^ Summaries Europe (IFPI)[288] 3× Platinum 3,000,000* *sales figures based on certification alone^shipments figures based on certification alone Notes Footnotes ^ Conversely, other critics have also argued that OK Computer is a concept album only in part, or in a nontraditional or qualified sense, or is not a concept album at all. Cm. Letts 2010, p. 28-32 - For example, a line in the deep deep dream of the innocent from the Airbag turns out to be like a zgt; in the deep sleep tHe inno$ent/completely terrified. Watch Footman 2007, page 45 - The LA Times reported sales in the U.S. of 1.4 million in 2001, before Nielsen SoundScan began tracking digital sales in 2003, so this amount included only non-digital sales on CD, cassettes and LP. Forbes reported 2.5 million digital sales and 900,000 units in album equivalents in 2016, bringing the total number of U.S. albums to at least 3.9 million (or 4.8 million units with equivalent album units). BBC News reported 3 million sales across Europe in 2006, bringing the worldwide total to at least 6.9 million (or 7.8 million with album equivalent units). Music Week reported that by 2017, 1.5 million copies of the album had been sold in the UK; however, in 2006 the European sales figure included sales in the UK prior to that time and, as such, the addition of uk sales figures for 2017 to the total amount would result in an erroneous double tally of British units sold before 2006. The exact sales figures from other territories are not known. OK Computer has certainly sold over 7.8 million units worldwide, but it is impossible to say how many more with any certainty. Britpop, which peaked in popularity in the mid-1990s and was led by bands such as Oasis, Blur and Pulp, was a typical nostalgic tribute to British rock in the 1960s and 1970s. This genre was a key element of the wider cultural movement Cool Britannia. Beginning in 1997, a number of events marked the end of the genre's heyday; they included Blur rejecting the usual Britpop sound on Blur and Oasis' Be Here Now failing to meet the expectations of critics and the public. Watch Footman 2007, page 177-178 - In particular, critics refer to the album's influence on Muse, Coldplay, Snow Patrol, Keane, Travis, Doves, Badly Drawn Boy, Editors and Elbow. See: Aza, Bharat (June 15, 2007), Ten Years OK Computer and What Do We Have?, The Guardian, archive from the original August 6, 2011 Eisenbeis, Hans (July 2001), The Empire Strikes Back, Spin Richards, Sam April 2009), Album review: Radiohead Reissues - Collectors Edition, Uncut, archive from the original December 6, 2010, extracted August 29, 2011 - Musicians who praised the praise including the R.E.M. frontman. Michael Stipe, former Smiths guitarist Johnny Marr, DJ Shadow, former Guns N' Roses slash guitarist, Manic Street Preachers member Nicky Wyre, The Divine Comedy frontman Neil Hannon, Mo'Wax label owner James Lovell, Sonic Youth and Gastr del Sol member and experimental musician Jim O'Rourke, former Depeche Mode member , Ink 19, archive from the original March 31, 2017, received May 11, 2017 Kavanagh, David (February 2007), Communication Breakdown, Uncut Smith, RJ (September 1999), 09: Radiohead: OK Computer, Spin Timberg, Scott (January 28, 2003), Maestro Rocks, Los Angeles Times, archive from the original August 6, 2011, extracted August 5, 2011 Turner, Luke (May 9, 2011), Alan Wilder of Recoil and Depeche Mode in 13 Favorite LPs - Page 8 , Silent, archive from the original September 6, 2011, extracted on September 6, 2011 - Promotional single Citations - b c d Cantin, Paul (October 19, 1997), Radiohead's OK Computer baffles expectations, Ottawa Sun - a b Richardson, Andy (December 9, 1995), Boom! Shake the gloom!, NME and Footman 2007, page 113. a b c d e f h i Irvin, Jim (July 1997), Thom Yorke tells Jim Irwin how OK Computer, Mojo a b Robinson, Andrea (August 1997), Nigel Godrich, The Mix - a b Randall 2000, p. 161. - Footman 2007, page 33. a b c d e Cavanagh, David (February 2007), Communication Breakdown, Uncut - Dalton, Stephen (August 2001), How to completely disappear, Uncut - Glover, Ariane (August 1, 1998), Radiohead-Getting More Respect., Circus, January 2003 - Footman 2007, p. 34. Randall 2000, page 189. a b Randall 2000, page 190-191. Boovelle, JD (January 25, 2000), Nigel Nihilist, Les Inrockuptibles - Selway, Philippe (June 2017). X-Posure with John F. Kennedy. Radio X (Interview). Interview by John F. Kennedy. a b c Doyle, Tom (April 2008), Full Radiohead, th Randall 2000, p. 194. a b Falkeret, Bruce (August 13, 1997), Radiohead: Ignore Hype, Flagpole and b Randall 2000, p. 195. Walsh, Nick Paton (November 1997), Karma Policeman, London student, University of London Union and McKinnon, Matthew (July 24, 2006). Everything is in its place. Cbc. Archive of the original March 3, 2016. Received on December 1, 2018. a b Wylie, Harry (November 1997), Radiohead, Total Guitar and Pettigrew, Jason (September 2001), How to Invent Completely, Alternative Press and Footman 2007, p. 25. Thom Yorke loves skank, z, August 12, 2002 - b c d e Radiohead: The Album, Song by the Year, HUMO, July 22, 1997 - b c Footman 2007, p. 67. Randall 2000, page 196. a b c d e Masuo, Sandy (September 1997), Underground Aliens, Request - Footman 2007, page 35. a b c d e f g h i Harris, John (January 1998), Men, Pick b c Vaziri, Aydin (October 1997), British Pop Aesthetes, Guitarist Matt (June 2004), 50th Anniversary Rock: Moments - 1996/1997: Radio Radiohead Get Paranoid, Rolling Stone - b c Sutcliffe, Phil (October 1999), Radiohead: Interview with Tom Yorke, j Randall 2000, p. 198. Randall 2000, page 199. Randall 2000, page 200. a b c d DiMartino, Dave (May 2, 1997). Give Radiohead your computer. Yahoo! launch. Archive from the original on August 14, 2007. a b c d Moran, Caitlin (July 1997), Everything was just fear, Select, p. 87 - Bailey, Stewart (June 21, 1997), Viva la Megabytes!, NME - b c Walters, Barry (August 1997), Radiohead: OK Computer (Capitol), Spin, vol. 13 No. 5, page 112-13, received April 6, 2020 - b Sanneh, Kelefa (June 19, 2017), Prog Rock Perseverance, The New Yorker, archived from the original June 12, 2017 - b Allen, Matt (June 14, 2007), Prog in Later, The Guardian, archive from the original April 4, 2010 - b Greene, Andy (May 31, 2017), Radiohead Rhapsody in the Dark: OK Computer 20 Years Later, Rolling Stone, archive from the original May 31, 2017 - b Hull, Tom (April 15, 2007). April 2007 Laptop. Tom Hull - online. Received on July 8, 2020. a b Ross 2010, page 88. - Footman 2007, page 142-150. Sutherland, Mark (May 24, 1997), Rounding Bends, Melody Maker - b c d Sutcliffe, Phil (October 1, 1997), Death All Around, No b c d Sakamoto, John (June 2, 1997), Radiohead talk about his new video, Jam! a b c Lynskey, Dorian (February 2011), Welcome to the Machine, No b c d Wadsworth, Tony (December 20, 1997), Making OK Computer, The Guardian and Letts 2010, p. 32. b c Clark 2010, page 124. a b c Randall, Mac (April 1, 1998). Radiohead interview: Radiohead's Golden Age. The world of guitar. Archive from the original on October 3, 2012. - Footman 2007, page 42. - Footman 2007, page 43. Downing, Stephen (April 20, 2009). What pop music tells us about JG Ballard. Bbc. Archive from the original On 23 April 2009. Received on January 17, 2017. Footman 2007, page 46. Randall 2000, 214-215. a b c d e f Sutherland, Mark (May 31, 1997), Mac!Return, Melody Maker - Footman 2007, page 62. - Footman 2007, page 60-61. - Footman 2007, page 59-60. a b c d e f g Moran, Caitlin (July 1997). I felt incredible hysteria and panic.... Pick: 92. Randall 2000, page 154. a b Footman 2007, page 66. Dalton, Stephen (September 1997), Dour and Fame, Vox and Footman 2007, p. 73. Gaitskill, Mary (April 1998), Radiohead: Anxiety and Surprises, Alternative Press - b c Huey, Steve. Karma police. AllMusic. Archive from the original on December 10, 2010. a b Lowe, Steve (December 1999), Back to Save the Universe, Pick b Footman 2007, p. 79. a b c Kent, Nick (July Tap your space next to mine, Love, Mojo and b with Randall 2000, page 158-159. - Footman 2007, page 86. a b c Steele, Sam (July 1997), Great Control to Major Thom, Vox b c Sullivan, Caroline (June 13, 1997), Aching Heads, The Guardian Footman 2007, p. 93-94. a b with 100 Greatest Albums in the Universe, February 1998 - b c Kuipers, Dean (March 1998), Buzz Fridge Now, Ray Gun and Randall 2000, p. 226. a b c d Sutherland, Mark (March 4, 1998), Bends District, Melody Maker and Harris, John; Simonart, Serge (August 2001), All in Its Right Place, No Footman 2007, p. 110. Janowitz, Bill, No Surprises, AllMusic, archive from the original December 10, 2010 - Footman 2007, page 108-109. Berman, Stuart (July 1997), Outsiders, Chart and Micallef, Ken (August 17, 1997). I'm fine, you're fine. Yahoo! launch. Archive from the original on January 1, 2013. b c Kavanagh, David (July 1997), MoonStroke, No. 130, archived from the original on April 23, 2000, extracted April 11, 2019 - Cara, Scott (September 2000), Experimental Creeps, Rip It Up Taylor, Sam (November 5, 1995), You The Creeps, Reviewer - Ed O'Brien - 100 Greatest Guitarists: David Frike. December 3, 2010. Archive from the original on September 9, 2015. Received on August 24, 2015. b c Oldham, James (June 14, 1997), Rise and Rise of the ROM Empire, NME, archive from the original August 17, 2000, extracted April 6, 2020 - Taylor, Sam (November 5, 1995), Mama, Should I Build a Wall?, Observer - Shelley, Jim (July 13, 1996), Good Dream?, The Guardian - b Footman 2007, p. 36-37. Kaney, Leander (February 1, 2002), He writes songs: Mac Songs, Wired, archive from the original April 13, 2012 - Kruger, Sasha (July 2008), Exit Music, Visions (in German) - Griffiths 2004, p. 79. a b Dombal, Ryan (September 15, 2010). Take the cover: Radiohead Artist Stanley Donwood. Forks. Archive from the original on August 30, 2011. - Footman 2007, page 127-130. Bow, Miles (May 9, 2017). Is this Radiohead Highway's OK Computer cover based on?. Fact Magazine: Music news, new music. Archive from the original on May 10, 2017. Received on May 10, 2017. Griffiths 2004, 81. Arminio, Mark (June 26, 2009), Between the liner notes: 6 things you can learn obsessive album art, psychic thread, archive from the original October 6, 2012 - Odell, Michael (September 2003), Inside the mind of the mad genius Radiohead!, Blender and Strauss, Neil (July 1997), Pop Life: Mad Clown Posse, recalled by Disney and now sought by Radiohead, The New York Times and Randall 2000, p. 202. Randall 2000, page 242. Blashill, Pat (January 1998), Band of the Year: Radiohead, Spin and Martins, Chris (March 29, 2011). Radiohead issues free newspaper in Los Angeles: Here are eight top list The group Most Peculiar Swag . Los Angeles Times. Archive from the original on April 23, 2012. Received on September 30, 2011. Randall 2000, page 243. Hoskins, Barney (October 2000), Exit Music: Can Radiohead keep rock music as we (don't) know it?, Gz Randall 2000, p. 201. Brock, David (June 2001), Remembering the Future - Interview with Johnny Greenwood, MondoSonoro and Gulla, Bob (October 1997), Radiohead: At Long Last, Future for Rock Guitar, Guitar World and Randall 2000, p. 242-243. Randall 2000, page 202-203. Footman 2007, page 203. a b Randall 2000, page 247. White, Adam (June 23, 2017). Radiohead's Glastonbury 1997 set was like a form of hell, according to guitarist Ed O'Brien. Telegraph. Archive from the original on June 23, 2017. Received on June 24, 2017. Paphides, Peter (August 2003), In The Light, Mojo and Footman 2007, 38. Footman 2007, page 126. a b c Jones, Alan (June 30, 2017). Official chart analysis: Ed Sheeran's ÷ returns to No 1 after Glastonbury appearance. Music week. The intention of the media. Archive from the original on June 27, 2019. Received on February 22, 2019. The first of six No.1 albums for Radiohead, OK Computer debuted at the top of the charts this week at 1997 at the sale of 136,476 copies, and is the oxfordshire band's biggest seller, with to date a tally of 1,579,415 including 16,172 from sales of equivalent streams. Radiohead 'OK Computer' made them our 1997 Band of the Year. Back. June 16, 2017. Archive from the original on August 31, 2019. Received on July 18, 2019. Clark 2010, page 117- 119. a b Radiohead full official history chart. The official charts of the company. Received on August 15, 2020. b c History Radiohead Chart: Alternative Songs. Billboard. Received on August 15, 2020. Footman 2007, page 116. - Footman 2007, page 74. Clark 2010, page 113. A massive attack falls the plans of Remix Radiohead, a team with the Cocteau Twins. MTV News. March 4, 1998. Archive from the original on June 21, 2012. Clark 2010, page 134. Sexton, Paul (September 16, 2000), Radiohead will not play by the rules, Billboard and Hilburn, Robert (June 3, 2001), Work on Its Own Frequency, Los Angeles Times, archive from the original January 18, 2013 - James Blunt selling the album pass 5m BBC News. April 8, 2006. Archive from the original on April 6, 2012. British Album Certificates - Radiohead - OK Computer. British phonographic industry. Archive from the original on May 11, 2011. Enter OK Computer in the Search box. Select the name in the Search box. Select an album in the field by format. Click Go to The American Album Certification - Radiohead - OK Computer. Association of Record Companies of America. Archive from the original on September 24, 2015. If necessary, click Advanced, then click Format, then select Album, then click SEARCH - DeSantis, Nick (May 10, 2016), Radiohead's Digital Album Forbes, archive from the original February 22, 2019, extracted 29 January 2018 Greg (July 4, 1997), Radiohead: OK Computer (Capital), Chicago Tribune, archive from the original January 18, 2013 - b Brown, David (July 11, 1997), OK Computer, Entertainment Weekly, archive from the original September 30, 2012 - b Scribner, Sarah (June 29, 1997), Radiohead, 'OK Computer,' Capitol, Los Angeles Times , extracted 6 April 2020 - b Schreiber, Ryan, Radiohead: OK Computer: Pitchfork Review, Pitchfork, archived from the original on March 3, 2001, extracted May 16, 2009 - b Kemp, Mark (July 10, 1997), OK Computer, Rolling Stone, archived from the original january 17, 2011, received September 29, 2008 - b Harris, John (July 1997). Ground control to Major Tom. Pick: 92. - Footman 2007, page 181-182. Clark 2010, page 121. Footman 2007, page 182. Parks, Taylor (June 14, 1997), Review of OK Computer, Melody Maker and Masli, Ed (August 8, 1997). Turn your Radiohead. Pittsburgh Post-Gazette. Received on January 11, 2017. File this: 'Computer' Complex, but worth it. The Daily Herald. August 15, 1997. Archive from the original on August 8, 2018. Received on June 7, 2017 - via Highbeam. Ross, Alex (September 29, 1997), Dadrock, The New Yorker, archive from the original July 18, 2008, received 29 September 2008 - Farley, Christopher John (August 25, 1997), Lost in Space, Time, archive from the original November 12, 2011 - Christgau, Robert (September 23, 1997), Consumer Guide, Voice of the Village, archived from the original August 26, 2011 - Jill, Andy (June 13, 1997) , Andy Gill on albums: Radiohead OK Computer Parlophone, The Independent, archive from the original March 4, 2016, extracted July 27, 2013 - Brits compete for the Grammys. BBC News. Archive from the original on March 29, 2016. Winners of the 1998 Grammy Awards. The New York Times. February 26, 1998. Archive from the original march 4, 2016. Sinclair, David (February 7, 1998), Brits Around the World '98: Four To Watch, Billboard, page 48 and Williams, Alexandra (August 29, 1998). This is the size that Roni considers to win the Mercury prize. Independent. Archive from the original september 6, 2016. - Footman 2007, page 183-184. Varga, George (November 2001), Radiohead's Jazz Frequencies, JazzTimes and Gill, Andy (October 5, 2007), Ok Computer: Why the Recording Industry Fears Radiohead's New Album, The Independent, archived from the original November 3, 2012: Erlewine, Stephen Thomas. OK Computer - Radiohead. AllMusic. Archive from the original on November 21, 2018. Received on July 8, 2015. a b Thompson, Stephen (March 29, 2002), Radiohead: OK Computer, The A.V. Club, archive from the original June 29, 2011 - Slaughter, James. Radiohead: OK Computer. Blender. Archive from the original on September 27, 2009. Extracted 6 2020. Christgau, Robert (2000). R. Christgau Consumer Guide: Albums of the 90s by Griffin St. Martin. ISBN 0312245602. Received June 11, 2020 - through robertchristgau.com. Colin Larkin (2011). Radiohead. Encyclopedia of Popular Music (5th brief. Omnibus Press. ISBN 978-0-85712-595-8. Graff, Gary, Ed. Radiohead. MusicHound Rock: The Essential Album Guide (2nd place). Schirmer's trade books. ISBN 0825672562. Radiohead: OK Computer. V. No. 393. January 2019. page 104. a b Sheffield 2004, page 671. a b Cinquemani, Sal (March 27, 2007), Radiohead: OK Computer, Slant Magazine, archived from the original August 9, 2011 - Footman 2007, p. 185. Smith, RJ (September 1999), 09: Radiohead: OK Computer, Spin and DiCrescenzo, Brent (November 17, 2003). Top 100 albums from the 1990s. Forks. Archive from the original on June 22, 2009. Tyrangil, Josh (November 2, 2006), OK Computer - THE ALL-TIME 100 Albums, Time, Archive from the original July 31, 2011 - Gerard, Chris (April 4, 2014). 50 best alternative albums of the 90s. Archive from the original on February 21, 2016. The best albums of the 90s. February 14, 2011. Archive from the original on August 9, 2011. Green, Andy; Green, Andy (September 24, 2020). Rolling Stone 500: Radiohead's futuristic 'OK Computer' breakthrough. Rolling Stone. Received on September 24, 2020. 162 OK Computer - Radiohead. Rolling Stone. 2004. Archive from the original dated July 29, 2011. Rolling Stone's 500 greatest albums of all time are the final list of the 500 greatest albums of all time. Rolling Stone. 2012. Archive from the original September 25, 2019. Received on September 18, 2019. - Lusk, Jon (August 5, 2011). Radiohead: OK Computer. BBC Music. Bbc. Archive from the original august 18, 2011. Christgau, Robert (February 18, 2003). The party is in difficult times. A village voice. Archive from the original on October 26, 2018. Received on October 25, 2018. Radiohead. Famous music. Archive from the original may 26, 2019. Received on May 14, 2019. The Full National Registry of Records Listings is a National Record Preservation Council in the Library of Congress. Library of Congress, Washington, D.C. 20540 USA. Archive from the original on March 9, 2020. Received on June 15, 2019. The most overrated album in the world. BBC Radio 6 Music. October 2005. Archive from the original on April 8, 2012. Green, David H. (March 18, 2009). OK Computer Box Set: Not OK computer. The Daily Telegraph. Archive from the original on October 15, 2011. Henry Yates (April 3, 2011). Sacred Cows - is Radiohead 'OK Computer' overrated?. Nme. Archive from the original on July 11, 2011. Chris Norris (November 9, 2009). Myth No 1: Radiohead can't do anything wrong. Back. Archive of the original at 6 2016. Christgau, Robert (July 8, 2003). No Hope Radio. A village voice. Archive from the original on March 25, 2014. Received on October 25, 2018. Lynskey 2011, page 496. Britton 2011, page 259-261. Clark 2010, page 142. Radiohead: OK Computer is a classic album under review (DVD). Sexy intellectual. October 10, 2006. John Pareles (August 28, 1997). Unhappy and loving it: It's just so very good to feel so very, very bad. The New York Times. Archive from the original august 1, 2009. Is OK Computer the greatest album of the 1990s?, Uncut, January 1, 2007, archived from the original July 24, 2011 - Dwyer, Michael (March 14, 1998), OK Kangaroo, Melody Maker - b Hyden, Steven (January 25, 2011), whatever happened to the alternative nation? Part 8: 1997: Ballad of Oasis and Radiohead, A.V. Club, archive from the original on August 1, 2011 - Moon 2008, page 627-628. McLean, Craig (May 27, 2005), The Importance of Being Serious, The Guardian, archive from the original September 27, 2011 - Haras, Kev (October 16, 2007). Radiohead: OK Computer to play live on the BBC this Friday. Drowned in the sound. Archive from the original march 4, 2016. Uncircumcised #117. citizeninsane.eu. received on March 31, 2020. SPIN Media Llc (September 1999). Back. SPIN Media Ltd. 50 Greatest Groups: 15, Spin, February 2002 - Gulla, Bob (April 2000), Wedding made in song, CMJ New Music Monthly - Sullivan, Kate (May 2000), Travis, Spin and Nunn, Aidy (December 4, 2003), Introduction of the Block Party, Drowned in Sound, Archived from the original August 6, 2011, received July 29, 2011, Richard (April 13, 2007), TV on Radio: Coming in Loud and Clear, The Washington Post, archive from the original November 2, 2012 - Sellers, John (April 11, 2011), Tough questions for Tunde Adebimpe TVOTR , Spin, Archived from the original December 9, 2011 - Murphy, Peter (October 11, 2001), How I Learned to Stop Worrying and Hate The Bomb, Hot Press, archive from the original May 25, 2011 - Footman 2007, p. 219. a b Harris 2004, page 369. It's back ... Prog rock storms the album charts. BBC News. September 23, 2009. Archive from the original on August 5, 2017. Received on March 8, 2012. Johnathan Brown (July 27, 2010). A-I'm a progressive rock. Belfast Telegraph. Archive from the original on November 5, 2016. Received on November 5, 2016. Sherwin, Adam (December 28, 2007), EMI blames Radiohead after the group's claims of more were not heard, The Times, archived from the original on February 4, 2015, received February 4, 2015 - Coldplay, Radiohead will be reissued on vinyl, NME, 10 July 2008, archive from the original February 16, 2012 - V, Peaty (January 9, 2009), Animal Collective Rides Vinyl Wave in '09, Massive 2008 Vinyl Sales figures embarrass all but B-52s Fans, Tiny Tapes, archived from the original at 24 2010 - Kreps, Daniel (January 8, 2009), Radiohead, Neutral Dairy Hotel Help Vinyl sales almost doubled in 2008, Rolling Stone, archive from the original July 31, 2011 - Revival 7in. - Fans return to the groove, The Independent, July 18, 2008, archive from the original November 1, 2010. - b Fitzmaurice, Larry (January 15, 2009), Radiohead's first three albums, re- released from Extra, Spin, archive from the original January 22, 2009 - b Dombal, Ryan (January 14, 2009), Radiohead's first three albums are re-released and expanded, Pitchfork, archived from the original march 17, 2009. Erlewine, Stephen Thomas, OK Computer (Collector's Edition) 2CD/1DVD, AllMusic, archive from the original May 12, 2012 - b Modell, Josh (April 3, 2009) , Pablo Honey / Bends / OK Computer, A.V. Club, archive from the original on October 15, 2011 and b Kemp, Mark (March 27, 2009), Radiohead: Pablo Honey, Bends, OK Computer (reissues), Pasta, archive from the original March 30, 2009 - bgen Plahoef, Scott (April 16, 2009). Radiohead: Pablo Honey: Collector's Edition / Bends: Collector's Edition / OK Computer: Collector's Edition. Forks. Archive from the original on April 17, 2009. b Hermes, Will (April 30, 2009), OK Computer (Collector's Edition), Rolling Stone, archive from the original January 22, 2013 - b Segal, Victoria (May 2009), Reissues: Radiohead, No a b Richards, Sam (April 8, 2009), Album Review: Radio reissues - Collector's Editions, Uncut, Archive from the original December 6, 2010. Daniel (January 15, 2009), The first three Radiohead albums re-released from extras, Rolling Stone, archive from the original August 3, 2011 - McCarthy, Sean (December 18, 2009), Best re-releases 2009: 2009 Radiohead: Pablo Honey / The Bends / OK Computer / Kid A / Amnesiac / Hail to the Thief, PopMatters, archive from the original December 20, 2009 - Christman, Ed (April 4, 2016). Radiohead's early catalog moves from Warner Bros. to XL. Billboard. Received on May 6, 2017. Spice, Anton (May 6, 2016). Radiohead will re-release the entire catalogue on vinyl. www.thevinylfactory.com. Archive from the original on August 26, 2016. Received on May 6, 2017. Atkins, Jamie (June 22, 2017). OK Computer - OKNOTOK 1997-2017 - the magazine of zamosk. recordcollectormag.com archive from the original dated June 25, 2017. Received on June 23, 2017. Official Albums Chart Top 100. The official charts of the company. Archive from the original on September 9, 2018. Received on September 9, 2018. Beech, Mark. Glastonbury effect: Radiohead back at the top of the UK charts, Foo Fighters follow. Forbes. Archive from the original on June 27, 2017. Received on June 27, 2017. Radiohead tops the list of best-selling albums in independent record stores - Independent.ie. Independent.ie archive from the original dated April 21, 2018. Get April 2018. Terry, Josh (June 11, 2019). Radiohead to officially release 18 Hours of Leaked 'OK Computer' Sessions. Vice. Archive from the original june 11, 2019. Received on June 11, 2019. Radiohead - OK Computer. Australian-charts.com archive from the original dated May 10, 2012. Radiohead - OK Computer. Austriancharts.at archive from the original on March 13, 2012. a b Radiohead - OK Computer. Ultratop.be archive from the original dated October 21, 2012. Top Albums/CDs, RPM, vol. 65 No. 17, June 30, 1997, archive from the original November 10, 2012 - Radiohead - OK Computer. Dutchcharts.nl. Archive from the original dated October 12, 2012. Radiohead - OK Computer. Lescharts.com archive from the original on May 12, 2012. Chartverfolgung / Radiohead / Longplay. musicline.de archive from the original dated October 16, 2011. Received on August 6, 2011. IRMA - Irish charts. Received on July 5, 2017. Radiohead - OK Computer. charts.nz archive from the original dated October 1, 2019. Received august 30, 2019. Radiohead - OK Computer. Spanishcharts.com archive from the original dated July 22, 2011. Radiohead - OK Computer. Swedishcharts.com archive from the original on March 13, 2012. Radiohead - OK Computer. Hitparade.ch archive from the original on November 10, 2012. Official Albums Chart Top 100. The official charts of the company. Received on August 15, 2020. History of the Radiohead Chart: Billboard 200. Billboard. Received on August 15, 2020. ARIA Charts - End of year Charts - ARIA Charts - End of year Charts - Top 100 Albums 1997. Aria. Archive from the original on August 29, 2013. Received on June 1, 2020. Jaaroverzichten 1997 (in French). Ultratope. Archive from the original on October 22, 2019. Received on June 1, 2020. Rapports annuels 1997 (in French). Ultratope. Archive from the original on November 6, 2019. Received on June 1, 2020. Jaaroverzichten - Album 1997 (in Dutch). Megacharts. Archive from the original on September 22, 2019. Received on June 1, 2020. Year in Focus - European Top 100 Albums 1997 (PDF). Music and media. Volume 14 No 52. December 27, 1997. page 7. Received on June 1, 2020. Cool albums - ann'e 1997 (in French). Archive from the original on December 15, 2013. Received on June 1, 2020. End of year Charts 1997. Recorded music by New zealand. Archive from the original on May 10, 2017. Received on June 1, 2020. Top 100 albums from 1997. Music week. January 17, 1998. page 29. Billboard 200 - 1997 Year-end chart. Billboard. Archive from the original on April 27, 2018. Received on June 1, 2020. ARIA Charts - End of year Charts - ARIA Charts - End of the Year Charts - Top 100 Albums 1998. Aria. Archive from the original on June 28, 2012. Received on June 1, 2020. Top 100 compact days RPM '98. About/min. Library and Archives of Canada. Archive from the original on March 29, 2019. June 1, 2020. Year in Focus - European Top 100 Albums 1998 (PDF). Music and media. Volume 15 No 51. December 19, 1998. page 8. Received on June 1, 2020. End of year Charts 1998. Recorded music by New zealand. Archive from the original on January 25, 2020. Received on June 1, 2020. The best sellers of 1998 - Albums Top 100. Music week. January 16, 1999. page 9. Billboard 200 - 1998 Year-end chart. Billboard. Archive from the original on August 20, 2019. Received on June 1, 2020. Search: Radiohead. charts.nz. - Search: Radiohead. Australian-charts.com archive from the original on December 17, 2011. Search: Radiohead. Swedishcharts.com archive from the original on January 18, 2013. Eenvoudige zoekopdracht: Radiohead. Dutchcharts.nl archive from the original on September 17, 2011. Disco de Oro (in Spanish). CAPIF. Archive from the original july 6, 2011. Received on September 1, 2013. ARIA Charts - Accreditation - 1997 Albums. Australian Recording Industry Association. Archive from the original on August 10, 2020. Received on September 25, 2012. Ultratop and Goud en Platina are 2007 albums. Ultratope. Hung Medien. Received on October 30, 2012. Canadian Album Certificates - Radiohead - OK Computer. Music Canada. Received on September 5, 2018. - Daniel Lesover; Dominique Durand. InfoDisc : Les Meilleurs Ventes d'Albums Tout Temps (33 T. / Cd / T'l'chargement). Infodisc.fr archive from the original dated March 7, 2020. Received on April 5, 2020. French Album Certification - Radiohead - OK Computer (in French). Syndicate National de l'Decia Phonographic. Italian album certification - Radiohead - OK Computer (in Italian). Federazione Industria Musicale Italiana. Received on June 19, 2017. Select 2017 on the Anno drop-off menu. Choose OK Computer in the Filtra field. Select the e-compilation album under Sezione. RIAJ's record of qgt; 1998 (April 1998) (PDF). Japan Recording Industry Association (Japanese). Received on January 2, 2014. Dutch Album Certification - Radiohead - OK Computer (in Dutch). Nederlandse Vereniging van Producenten en Importeurs van Beeld-en geluidsdragers. Received on August 30, 2018. Enter OK Computer in the Artiest of the titel box. New zealand album certification - Radiohead - OK Computer. Recorded music by New zealand. Received on June 26, 2016. IFPI Norsk platebransje Trofeer 1993-2011 (in Norwegian). IFPI Norway. Received on October 30, 2012. Solo Exitos 1959-2002 Ano Aano: Certificados zgt; 1995-1999. Iberautor Promociones Culture. 2005. ISBN 84-8048-639-2. Archive from the original on December 27, 2013. Received on January 16, 2014. Guld- och Platinacertifikat - Ore 1987-1998 (PDF) (in Swedish). IFPI Sweden. Received on October 30, 2012. Official Swiss Charts and Music Community: Awards (Radiohead; ' OK Switzerland. Hung Medien. Received on September 25, 2012. British Album Certificates - Radiohead - OK Computer. British phonographic industry. Received on September 11, 2013. Select albums in the Format box. Choose Platinum in certification. Enter OK Computer in the Search BPI Awards box and then click Enter. - American Album Certification - Radiohead - OK Computer. Association of Record Companies of America. Received on September 25, 2012. If you need to click Advanced, then click Format, then select album, then click SEARCH. IFPI Platinum Europe Awards - 2006. International Federation of Phonographic Industry. Received on September 25, 2012. Britton bibliography, Amy (2011). Revolution Rock: Albums that defined two centuries. Written by Home. ISBN 978-1-4678-8710-6. Martin Clark (2010). Radiohead: Hysterical and useless. London: The plexus. ISBN 978-0-85965-439-5. Footman, Tim (2007). Welcome to the machine: OK Computer and The Death of a Classic Album. New Malden: Chrome dreams. ISBN 978-1-84240-388-4. Griffiths, Dai (2004). The Radiohead computer is fine. Series 331/3. New York: Continuum International Publishing Group. ISBN 0-8264-1663-2. John Harris (2004). Britpop!: Cool Britain and the spectacular demise of English rock. Cambridge: Da Capo Press. ISBN 0-306-81367-X. Letts, Marianne Tatom (2010). Radiohead and a steady concept album: How to completely disappear. Profiles in popular music. Bloomington, Indiana: Indiana University Press. ISBN 978-0-253-35570-6. Linsky, Dorian (2011). 33 Revolutions per Minute: A History of Protest Songs, From Billie Holiday to Green Day. Harper Collins. ISBN 978-0-06-167015-2. Moon, Tom (2008). Good Computer. 1000 entries to hear before you die. New York: Worker. 627-628. ISBN 978-0-85965-439-5. Archive from the original on August 6, 2011. Randall, Mac (2000). Exit Music: Radiohead Story. New York: Delta Trade paperback. ISBN 0-385-33393-5. Ross, Alex (2010). Listen to this. New York: Farrar, Strauss and Giroud. ISBN 978-0-374-18774-3. Sheffield, Rob (2004). Radiohead. In Brackett, Nathan; Treasure, Christian (eds.). A new guide to the Rolling Stone album. New York: Fireside. ISBN 0-7432-0169-8. Received from 2 Period of time after the 9/11 attacks, 2001 The post-9/11 period, a time after the 9/11 attacks, characterized by heightened suspicion of non-U.S. citizens in the United States, increased government efforts to combat terrorism and a more aggressive U.S. foreign policy. We must also never forget the most vivid developments in recent history. On September 11, 2001, America felt vulnerable, even to the threats that were gathering on the other side of the world. We decided then, and we decided to confront everyone from any source that can bring sudden terror and suffering to America. - George W. Bush, 2002. The attacks have led to significant and wide-ranging changes in U.S. policy and foreign policy. Domestically, both sides have rallied around new or strengthened anti-terrorism legislation. Much of this legislation is financed by Western countries. Between 11 September and 2011, 119,044 anti-terrorist arrests were made and 35,117 convictions were handed down in 66 countries. By contrast, only a few hundred convictions in terrorism cases had been handed down each year before 11 September. In recent years, the war in Afghanistan, once seen mainly as just war, has lost popularity. More than 60% of Americans opposed the war in 2011. Main article of the U.S. Department of Homeland Security: The U.S. Department of Homeland Security created the Department of Homeland Security (DHS) in response to the attacks. DHS is the cabinet of the United States federal government responsible for protecting United States territory from terrorist attacks and responding to natural disasters. With approximately 184,000 employees, DHS is the third-largest cabinet department in the U.S. federal government, after the Department of Defense and The Department of Veterans Affairs. Homeland Security policy is coordinated by the White House Homeland Security Council. Other agencies with significant national security responsibilities include the Department of Health and Human Services, the Ministry of Justice and the Department of Energy. The social consequences of Suspicion In the U.S., many activities of foreigners or American citizens who, before 9/11, will be considered innocent (or simply eccentric), are being treated with suspicion, especially regarding the behavior of those who look Arabic in terms of clothing or skin color. Six Muslim imams were removed from an American airliner as they prayed before the flight and showed suspicious behaviour. Various government agencies and police forces in the U.S. have asked people to observe people around them and report unusual behavior, and signs posted in all public places ask citizens to report anything unusual. The U.S. Department of Homeland Security advised citizens to be vigilant, monitor their surroundings, and immediately report suspicious items or actions to local authorities. In the wake of the attacks, Arab, Muslim, Sikh and South Asian Americans, as well as those identified as members of these groups, have been the victims of threats, vandalism, arson and murder in the United States. Security concerns due to the fact that afraid to fly, the use of cars increased after the attacks. An estimated 1,595 people died on motorways the following year. This fear of flying has also created The Office of Security (TSA), which is used to improve safety and reduce fear of flying among citizens. Censorship Additional information: A list of entertainment affected by the 9/11 attacks Films and television programs produced before 2001 that show the Twin Towers of the World Trade Center or events like 9/11 have been edited in a re-broadcast on television. One such example is the Simpsons episode, The City of New York vs. Homer Simpson, whose main setting is the World Trade Center. After 9/11, Clear Channel Communications (owner of more than 1,000 radio stations in the United States) published a list of songs deemed inappropriate. The songs were not immediately banned, but stations were advised not to play them. On September 11, 2001, the New York-based dream theater released a live album called Live Scenes from New York. The cover depicts the Manhattan skyline, including the World Trade Center tower on fire. It was immediately withdrawn and the work of art changed. Another New York band, The Strokes, originally had New York City Cops as the ninth track on their 2001 debut album Is This It. The album, originally released in June of that year in Australia, was released in the U.S. on October 9, with New York City Cops removed and replaced with a newer When It Started as a result of the attacks. In an act of self-censorship, The American rock band Jimmy Eat World changed the name of their third album Bleed American to a self-titled album after the terrorist attacks. British band Bush was forced to change the name of their single Speed Kills to The People That We Love. They also changed the original artwork for their Golden State album before it was released, which originally depicted an image of the plane in the air. The music video for the British band Feeder's song Piece By Piece was also changed. The original video depicted animated characters of the group playing in a New York skyscraper with a world shopping mall in the background and flying past planes. Later, the group jumps out of the window of the building. When Sean Altman recorded the song Jamboree zombie for The GrooveBarbers' album, Guts, he changed the lyrics to There's a zombie acapella singing on Broadway instead of the line he and Rokapella have been singing for years, There's a high wire zombie between the World Trades. See also the List of Failed Terrorist Conspiracies in the United States After 9/11 Links - President Bush lays out the Iraqi Threat Archive 2013-03-07 in Wayback Machine, Cincinnati, Ohio, October 7, 2002 - AP IMPACT: 35,000 worldwide convicted of terror. Yahoo News. September 4, 2011. Archive from the original dated March 5, 2016. CNN Poll: U.S. opposition. Cnn. Archive from the original October 31, 2011. Poll: Suspicion of Arabs, Deepen. USA today. September 16, 2001. Archive Archive Original October 6, 2001. Imams removed from the flight can sue passengers. NBC News. March 31, 2007. Received on April 27, 2018. DHS - Report incidents. dhs.gov archive from the original on May 1, 2011. Received on April 27, 2018. The initiative of the National Origin Civil Rights Working Group to combat post-terrorist discrimination. Archive from the original on February 13, 2007. Daniel Gardner (2008). The science of fear: Why we are afraid of things we shouldn't, and put ourselves in greater danger. Dutton Adult. page 3. ISBN 978-0-525-95062-2. Blalok, Garrick; Kadiali, Vrinda; Simon, Daniel H. (2007). The impact of airport security measures after 11 September 2001 on the demand for air travel. In the Journal of Law and Economics. 50 (4): 731–755. doi:10.1086/519816. ISSN 0022-2186. JSTOR 10.1086/519816. Oakley, Bill (2006). The Simpsons season 9 DVD commentary on an episode of City of New York vs. Homer Simpson (DVD). 20th Century Fox. Weinstein, Josh (2006). The Simpsons season 9 DVD commentary on an episode of City of New York vs. Homer Simpson (DVD). 20th Century Fox. - Urban Legends Reference Pages: Radio, Radio. Published September 18, 2001 Access February 10, 2008. Feeder is often asked questions. Archive from the original on October 24, 2009. Extracted from the

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