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Yorke danced like I've never seen a short, skinny, lazy-eyed Brit dance before. But the show belonged to one man: Thom Yorke. Bassist Colin Greenwood even partook in a few jigs of his own. Drummer Phil Selway jazzed up almost every song with a more active drumbeat than in the album cuts, happily bouncing his bald head behind the matching cymbals.
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Guitarist Jonny Greenwood rocked out on songs that weren't even upbeat ("Sail to the Moon"), his long hair flying everywhere and making for a great slow-mo movie for the big-screens. But tonight, they were not self-conscious in any right. It's also evident in some of their commentary that this is a band that has some problems with identity. It worked, but what if it hadn't? Radiohead was sick of being Radiohead, so they duped their fans (especially the mainstream ones, the "Karma Police fans") by creating a record that would rarely see airplay. They continued the night by playing some of their favorites: "Paranoid Android," "Just," "Street Spirit (Fade Out)," "There There," "Fake Plastic Trees," "Idioteque" and "Karma Police." As noticed by most people who should've left their ticket for someone who likes post- Pablo Honey Radiohead, "Creep" was left off of the set list.Ĭritics and fans alike have commented repeatedly on Radiohead's apparent self-consciousness they recorded one of the best albums of all-time in OK Computer and then completely trashed the idea to create a reaction to that album in Kid A. Stand Up." The explosive finales got most of the white-boy crowd to partake in either some circular hippy-dancing or awkward head-bobbing. Radiohead opened the night with a couplet of songs from Hail to the Thief: "2 2=5" and "Sit Down. The outdoor setting was perfect for the event - what better way to enjoy a sunset than listening to "Where I End and You Begin"? The hill acts as a natural amphitheater and most of the "seating" is actually a grassy area where most stand and dance (awkwardly). But tonight, here they were, one of the greatest bands in the world, gracing the hills of Alpine Valley. On its twentieth anniversary in 2017, the band released a deluxe set including B-sides and never-before-released studio versions of songs, titled OK COMPUTER OKNOTOK 1997 2017.Radiohead don't come to America very often - maybe once a record release - and they certainly don't traverse the Midwest to East Troy, Wisconsin on a regular basis. OK Computer was released to universal acclaim upon its release, and is often considered to be one of the greatest albums of all time. That’s what I had to write about because that’s what was going on, which in itself instilled a kind of loneliness and disconnection. Everything I was writing was actually a way of trying to reconnect with other human beings when you’re always in transit. But I was using the terminology of technology to express it.
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The paranoia I felt at the time was much more related to how people related to each other. Yorke, however, explained that it stemmed mostly from his personal experiences travelling non-stop in a touring band. The album’s lyrical themes and composition has it hailed as way ahead of its time, predictive of society’s obsession with technology, and the isolation and paranoia that comes with it. Lots of people, lots of ideas, and we all could pull in the same direction.
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It was very high-level thinking, conceptual, moving forwards in terms of sonics, and beautiful songs. Then new-ish engineer and future Radiohead mainstay Nigel Godrich told Rolling Stone of the recording sessions: The result was 1997’s OK Computer, which was designed as a deliberate reaction against the grunge movement of the 1990s. Despite not having a hit anywhere near the size of “Creep”, Radiohead’s previous album The Bends (1995) was successful enough for their record company EMI to give them complete creative control.
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