OK COMPUTER

'''OK Computer''' is the third album by the English rock band Radiohead, released in summer 1997. It reached #1 on the UK Albums Chart and marked Radiohead's highest entry into the American market at the time, where it debuted at #21. ''OK Computer'' expanded the band's worldwide popularity, becoming the last Radiohead album to have a delayed release outside of the United Kingdom. As of 2007, it has been certified triple platinum in the UK and double platinum in the US.^[1][2] ''OK Computer'' included the singles "Paranoid Android", "Karma Police" and "No Surprises".
The album was recorded in rural Oxfordshire and Bath, England with Nigel Godrich, who would work with the band on all their future recordings. Although ''OK Computer'' was dominated by guitar, its expansive sound and wide range of influences set it apart from the Britpop and alternative rock styles popular at the time, laying the groundwork for Radiohead's later, more experimental work.^[3] Singer Thom Yorke also described a change in his lyrics since 1995's more personal ''The Bends'': "On this album, the outside world became all there was... I'm just taking Polaroids of things around me moving too fast". The album included artwork by Yorke and frequent collaborator Stanley Donwood emphasizing themes such as consumerism, social disconnection, political stagnation and modern malaise, though the band denied they set out to make a concept album.
''OK Computer'' has received great acclaim from critics. It is often cited as Radiohead's best work and as a landmark album of its time.^[4] In 1998, it was nominated for a Grammy Award as Album of the Year, and won for Best Alternative Music Album.

Contents

Background

Recording

Singles and release

Musical influences and lyrical style

Artwork and concept

Reception

Acclaim

Criticism

Legacy

Track listing

Release history

Notes

Further reading

External links

Background

Radiohead's previous album, ''The Bends'', had been a success, so EMI, the band's record label, allowed them to record the album on their own. EMI allowed the band to work with then-unknown engineer Nigel Godrich, who had assisted the band's previous producer John Leckie on ''The Bends'' and had already produced several Radiohead B-sides, as well as the 1995 charity single "Lucky". The band had begun to dislike traditional recording studios for their "used" and impersonal state, and bassist Colin Greenwood said that, "the only concept that we had for this album was that we wanted to record it away from the city and that we wanted to record it ourselves."^[5]
Radiohead did not think that their next album would be any more successful than ''The Bends''; guitarist and multi instrumentalist Jonny Greenwood said, "We did what we wanted for our second album, and we ignored all advice...and put out a record and attracted a certain number of people, so it just feels like we should be doing that again." The band also wanted to change their musical and lyrical style from that of ''The Bends''; drummer Phil Selway said that "The Bends was an introspective album ... There was an awful lot of soul searching. To do that again on another album would be excruciatingly boring."

Recording

In early 1996, "Canned Applause", a converted apple shed near Didcot, Oxfordshire, had been set up for rehearsal and recording. It was the first time Radiohead had attempted to record outside of a conventional studio environment. Greenwood said, "we bought $140,000 worth of studio gear to record the album with. We had this mobile studio type of thing going where we could take it all into studios to capture those environments. We recorded about 35 percent of the album in our rehearsal space. You had to piss around the corner because there were no toilets or no running water. It was in the middle of the countryside. You had to drive to town to find something to eat." Four songs from Canned Applause found their way onto the album: "Subterranean Homesick Alien", "Electioneering", "No Surprises" and "The Tourist".
In late July and August 1996, the band took a brief break from recording to tour, immediately playing several European festivals, where they debuted new songs, including "Airbag". Then, opening for Alanis Morissette in large North American venues, the band performed early versions of songs such as "Paranoid Android", "Let Down", "Climbing Up the Walls" and "Karma Police". During summer 1996, "Paranoid Android" reportedly evolved from a "14-minute" song featuring long organ solos, to a version closer to the one heard on the album.^[6] Yorke said, "I think that [because] we were standing in front of 10,000 people in a shed (industry parlance for "indoor amphitheatre") who really weren't that interested in what we were [playing] forced us to do a lot of tidying up of the songs really, really fast... there was something about playing in... huge, sterile concrete structures that was really important to the songs. Because a lot of the songs needed to sound quite big and messy and like they were bouncing off walls."^[7]
In September, the band resumed recording, but according to Colin, "in a reaction to that stark, dreary place [Canned Applause] we recorded the other two-thirds of the record in this opulent country house." Along with Godrich, the band moved to St. Catherine's Court, a historic mansion near Bath, owned by actress Jane Seymour, where ''OK Computer'' was completed without record label pressure. However, there was another sort of deadline. One of the first songs completed was "Exit Music (For a Film)", which had been commissioned by director Baz Luhrmann for his ''Romeo + Juliet'' adaptation arriving in cinemas later that year.
Guitarist and multi-instrumentalist Jonny Greenwood said, "the main difference in the atmosphere [from past albums] was in... the studio experience. We were all of the same age, mid- to late-twenties, and doing a record in the middle of nowhere. And there were no established professionals there. It wasn't a real recording studio, and we had our friend [Stanley Donwood] doing the artwork in the studio at the same time. We were all at the same stage of our life and all working together for something, it was quite a buzz".
The band made much use of the various different rooms and atmospheres throughout the house, and the isolation from the outside world encouraged time to run at a different pace, making working hours more flexible and spontaneous. Guitarist Ed O'Brien, commenting on the process, said he felt that "the biggest pressure was actually completing it. We weren't given any deadlines and we had complete freedom to do what we wanted. We were delaying it because we were a bit frightened of actually finishing stuff". However, the band decided they wanted a new record out by summer, and work was therefore finished by January 1997, and by March 1997, it was mixed at Abbey Road.^[8]

Singles and release

According to Selway, "When we first delivered the album to Capitol, their first reaction was, more or less, 'Commercial suicide'. They weren't really into it. At that point, we got The Fear. How is this going to be received?"^[9] Jonny Greenwood said, "they made a prediction of how many records they planned to sell of OK Computer, before they heard the record. And then they heard the record, and cut the prediction in a half or a quarter, I think."
Although the band's record label "didn't hear anything on ''OK Computer'' that sounded even remotely like a single, let alone like 'Creep'",^[10] Radiohead chose the six-and-a-half-minute "Paranoid Android" as their lead single anyway. The song charted at #3 in the UK, giving Radiohead their highest single chart position yet. However, due to its length and the lack of a radio edit, the song was not widely played on other radio stations around the world. Subsequent singles "Karma Police" and "No Surprises" did not chart quite as high, but both were within the UK top 10, and "Karma Police" became a hit on alternative and modern rock radio in the United States. It was the band's first American hit since "Creep", as US radio had largely ignored Radiohead's singles from ''The Bends''.
The band also credited the album's success to their record label, for enthusiastic marketing. Parlophone undertook an unorthodox advertising campaign for the album, taking out full-page ads in high-profile British newspapers and tube stations, which featured the lyrics for "Fitter Happier" written in large black letters on a white background. In America, Capitol Records president Gary Gersh, when asked about the campaign after the album's release, said "We won't let up until they are the biggest band in the world".
"When we were cocooned in the studio making OK Computer, we were immensely proud of it," said Ed O'Brien. "But the longer the recording process went on, the less sure we became-it's very difficult to be objective, anyway. When the tapes went off to record company people alI over the world, the marketing people were not exactly optimistic about how it would sell, apart from the UK, which unanimously thought it was fantastic. So we were a little nervous, because we want people to hear our music. There's a lesson to be learned from the album's success. It underlines the fact that radio and record companies underestimate what the general public are capable of listening to. This is not above people's heads. We're people, and we're making it; other people can get it too."

Musical influences and lyrical style

On ''OK Computer'', Thom Yorke said that Radiohead "had a sound in our heads that we had to get on to tape... an atmosphere that's perhaps a bit shocking when you first hear it, but only as shocking as the atmosphere on [the Beach Boys'] ''Pet Sounds''... and composers like Penderecki, which is sort of atmospheric, atonal weird stuff. We weren't listening to any pop music at all, but not because we hated pop music - because what we were doing was pop music... ''Bitches Brew'' by Miles Davis was the starting point of how things should sound; it's got this incredibly dense and terrifying sound to it. That's [the sound] I was trying to get - that was the sound in my head. The only other place I'd heard it was on a [Ennio] Morricone record. I'd never heard it in pop music...It wasn't like we were being snobs or anything, it was just like, 'This is saying the same stuff we want to say'."
Radiohead was greatly influenced by composers like Morricone and Penderecki during this time,^[11][12] along with DJ Shadow. The album's production style, which was similar to Phil Spector's wall of sound technique, resulted in a completely different musical texture from the band's earlier albums, and a maturation from the style that Radiohead projected with their debut single, "Creep". ''OK Computer'' received heavy comparison by the press to Pink Floyd's 1973 album ''Dark Side of the Moon''. Jonny Greenwood praised Pink Floyd's ''Meddle'' but criticised the band's later albums and the genre of "progressive rock", claiming that any musical similarity was unintentional.
In keeping with this change in musical direction, the band projected a greater amount of paranoia in their lyrics, such as that with "Fitter Happier", a song that Yorke said is a "checklist" of slogans for the 1990s. It is "sung" by the default voice for MacinTalk Pro, spoken text software on Apple Computer's Power Macintosh.^[13] Yorke wrote the lyrics originally planning to sing them himself, but said the effect was strangely more emotional when he tried having them "read" by the computer.^[14] He has cited Noam Chomsky's writings as the main inspiration on "Electioneering", William Shakespeare on the lyrics for "Exit Music (For a Film)", and The Beatles' song "Happiness Is a Warm Gun" and Douglas Adams's "The Hitchhiker's Guide to the Galaxy" on "Paranoid Android". Although "Paranoid Android" was compared to Queen's "Bohemian Rhapsody", Jonny Greenwood said, "It's not actually complex enough to be 'Bohemian Rhapsody'."

Artwork and concept

The album's cover design is a collage of images and text by Stanley Donwood, who is credited with design on several Radiohead covers, along with Yorke. Some of the art is computer-made collages, created by Yorke; other art is hand-drawn work by Donwood. Some of the text is hidden, including several phrases in Esperanto.^[15] Yorke explained the artwork's theme, saying, "Someone's being sold something they don't really want, and someone's being friendly because they're trying to sell something. That's what it means to me. It's quite sad, and quite funny as well. All the artwork and so on...we chose to pursue it after we [finished the album]...It was all the things that I hadn't said in the songs."
''OK Computer'' is often thought to depict a dystopia, and its artwork contains references to George Orwell's novels, especially ''Nineteen Eighty-Four''. The band have cited Orwell several times throughout their career.^[16] However, Yorke said, "Loads of the music on ''OK Computer'' is extremely uplifting. It's only when you read the words that you'd think otherwise."^[17] A notable aspect of the album is an apparently circular narrative. In the opening song "Airbag", someone survives a horrific car crash, while the final song "The Tourist" contains the line "they ask me where the hell I'm going / at a thousand feet per second" and ends with a chorus of "hey man, slow down". However, the band said this had not been intentional, but they had noticed it after finalising the track listing. ^[18]
Yorke explained the title's meaning: "We did this promo trip recently to Japan, and on the last day, we were in a record shop and this one kid shouted at the top of his voice, 'OK COMPUTER!', really, really loud. Then he had 500 people chant it all at once...I got it on tape. It sounds amazing. It reminds me of when Coca-Cola did 'I'd Like to Teach the World to Sing', that amazing advert in '70...The idea of every race and every nation drinking this soft drink...it's actually a really resigned, terrified phrase..." The band have said "OK Computer" was originally the title of a song recorded for the album, which did not make the cut, but was later renamed "Palo Alto" and released as a B-side and on the EP ''Airbag/How Am I Driving?''.
A ''New Musical Express'' review of the time provided a common reading of the album: "virtually every track on ''OK Computer'' is driven by a feeling of impotence with the world around it. You can gaze out of your window, flick on a TV or read a newspaper but unless your power matches that of a fictional superhero or a multinational corporation there's no way you can alter your surroundings... And it's that realisation which makes ''OK Computer'' both age-defining and one of the most startling albums ever made... In the space of under an hour, Thom Yorke has reached the same conclusion a dozen times about the need (and ultimate impossibility) of an escape from this life and this planet".^[19]
Radiohead maintain that although the songs have themes in common—speed, technology, the global economy, and modern life in the UK—any clear "story" is unintentional and they do not deem ''OK Computer'' to be a "concept album".^[20] Yorke also denied that ''OK Computer'' was a strictly personal album, saying that each song on the album was a "polaroid" from the viewpoint of a different person, even inspiring him to vary his vocal style in each song.^[21]
However, the band maintained that the album was meant to be heard as a whole. O'Brien said, "We spent two weeks track-listing the album. The context of each song is really important...It's not a concept album but there is a continuity there. We learned the importance of track-sequencing from [Radiohead's debut album] ''Pablo Honey'', because that's one of the most dreadfully sequenced records ever."

Reception

Acclaim

''OK Computer'' has been one of the most widely acclaimed albums of the 1990s, appearing in many critics' lists and audience polls. Examples:

★ It was on the shortlist for the 1997 Mercury Music Prize.

★ In 1998, it was number 1 in ''Q magazine's list of greatest albums of all time as voted by readers. It later appeared atop another such list in the magazine in 2006.

★ In 2001, the TV network VH1 placed it at number 94 in a list of greatest albums.^[22]

★ In 2003, ''NME'' named it the 16th greatest album of all time.

★ In 2003, ''Pitchfork Media'' placed it at number 1 in a list of Top 100 Albums of the 1990s.^[23]

★

★ In 2005, it was voted number 1 in a poll of 100 Greatest Albums conducted by the UK's Channel 4.^[24]

★ In 2005, it was selected by ''Spin Magazine'' as the number one album of the past 20 years.^[25]

★ In 2006, it was chosen by ''TIME'' Magazine as one of the 100 best albums of all time.^[26]

★ In 2006, it was voted third in a list of Australia's favourite albums in a national poll run by the Australian Broadcasting Corporation.^[27]

Criticism

Despite near-unanimous critical approval at the time of release and since, a few have criticized the album. Robert Christgau granted ''OK Computer'' a B- but said the album lacked "soul", calling it "arid" and comparing it unfavourably to Pink Floyd.^[28] Andy Gill wrote for ''The Independent'' in an otherwise positive review, "For all its ambition, ''OK Computer'' is not, finally, as impressive as ''The Bends'', which covered much the same sort of emotional knots, but with better tunes. It is easy to be impressed by, but ultimately hard to love, an album that so luxuriates in its despondency".^[29]

Legacy

As ''OK Computer'' was released during the waning days of Britpop and during sweeping political changes in the United Kingdom, it was seen by critics to encompass popular opinion in the UK with its themes, explaining its enthusiastic reaction in that country.^[30] Yorke said his lyrics had been affected by reading a book about the two decades of Conservative government which were just coming to an end in 1997, as well as about factory farming and globalisation. However, in interviews Yorke expressed little hope things would change under the "New Labour" government of Tony Blair. With the approach of the year 2000, many people felt the tone of the album was millennial.^[31]
Some critics have credited ''OK Computer'' with "killing" 1990s Britpop,^[32] as within a few years of its release, the dominant style of UK guitar pop had become slower and more melancholy. Many of the newer acts also utilized similarly complex, atmospheric arrangements. The band Travis worked with Radiohead's own producer Nigel Godrich to create the languid pop texture of ''The Man Who'', which became the biggest selling album of 1999 in the UK. Some also credited Radiohead with beginning a mainstream revival of progressive rock and ambitious concept albums,^[33] though the band denied their affiliation with the genre. In fact, members described the prevalence of bands that "sound like us" as one reason to break with the style of ''OK Computer'' for their next album, ''Kid A''.^[34]
Several rock bands which later became popular, ranging from Coldplay, Muse^[35] and Bloc Party^[36] to TV on the Radio,^[37] have said they were formatively influenced by ''OK Computer''. It has also been cited by some electronic, jazz and classical^[38]
musicians as an influence. Songs from the album have been widely covered by other acts,^[39] and entire ''OK Computer'' cover albums in different styles have been released, such as 2006's reggae and dub tribute ''Radiodread'', or Stereogum's 2007 indie rock tribute ''OKX''.
Novelist Michael Cunningham has also credited it as an inspiration on ''The Hours''.^[40]

Track listing

All tracks written by Thom Yorke, Jonny Greenwood, Phil Selway, Ed O'Brien, and Colin Greenwood.
# "Airbag" – 4:44
# "Paranoid Android" – 6:23
# "Subterranean Homesick Alien" – 4:27
# "Exit Music (For a Film)" – 4:24
# "Let Down" – 4:59
# "Karma Police" – 4:22
# "Fitter Happier" – 1:57
# "Electioneering" – 3:51
# "Climbing Up the Walls" – 4:45
# "No Surprises" – 3:49
# "Lucky" – 4:20
# "The Tourist" – 5:25
"Paranoid Android", "Karma Police" and "No Surprises" were released as singles. Each single's UK release was in two parts (CDs), each containing different B-sides. "Airbag" was not a single, but was released as the lead track of the 1998 ''Airbag/How Am I Driving?'' EP, a compilation of many of these ''OK Computer'' B-sides.
"Lucky", "Let Down" and "Climbing Up the Walls" were released either as limited edition singles or promos. The single release of "Lucky" came almost two years before the rest of the album, as it was originally recorded for War Child's 1995 charity compilation, ''The Help Album''. "Let Down" was originally planned as a follow-up single to "Paranoid Android". It was replaced with "Karma Police" when a music video made for "Let Down" was deemed unsatisfactory; the song was, however, released to radio stations in some countries. The "Climbing Up the Walls" promo featured remixes of the song by Zero 7 and Fila Brasilia.

Release history

''OK Computer'' was released in various countries in 1997.

Country	Date	Label	Format	Catalogue number
United Kingdom	16 June 1997	Parlophone	CD	7243 8 55229 2 5
Canada	17 June 1997	Parlophone	CD	7243 8 55229 2 5
United States	1 July 1997	Capitol Records	CD	7243 8 55229 2 5

Notes

1. Statistics: UK Bestsellers
2. Gold and Platinum Database Search
3. Kent, Nick. "Happy Now?" ''Mojo'', June 2001. from Follow Me Around
4. Acclaimed Music: OK Computer.
5. Radiohead - Getting More Respect Adrian Glover
6. Thom Yorke loves to skank
7. Radiohead talk about their new video Sakamoto, John
8. Renaissance Men
9. Radiohead's OK Computer confounds expectations Paul Cantin
10. The Making of 'OK Computer'
11. The Golden Age of Radiohead Mac Randall
12. The Making of OK Computer
13. Radiohead- Fitter Happier
14. Return of the Mac! Mark Sutherland
15. Translations into English can be found in an unofficial Radiohead FAQ here.
16. A 2000 song, "Optimistic", references ''Animal Farm''; a 2003 song was called "2+2=5", a reference to ''Nineteen Eighty-Four''; in 2005 the band quoted Orwell on their blog: "Political language... is designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind".
17. Interview: Thom Yorke Scott Plagenhoef
18. Interview with Jonny Marcel Cordes
19. Oldham, James. Review of OK Computer, ''NME'', 14 June 1997.
20. The Making of OK Computer Tony Wadsworth
21. Death is all around Phil Sutcliffe
22. OK Computer
23. 001. OK Computer
24. 27 April 2005
25. 01. OK Computer
26. The All-Time 100 albums
27. [1]
28. Christgau, Robert. Radiohead.
29. Gill, Andy. First Impression: 'OK Computer' by Radiohead, ''The Independent'', 13 June 1997. reprinted in findarticles.com, 2005.
30. Radiohead: OK Computer
31. OK Computer cover story (Is OK Computer the Greatest Album of the 1990s?)
32. Ten Years On – Death Of Britpop
33. Prog's progeny Matt Allen
34. How Radiohead learned to loathe the bomb Peter Murphy
35. Guardian, 2007. [2]
36. Drowned in Sound interview, 2003. [3]
37. Washington Post interview, 2007. [4]
38. At Ease News. "Classical conductors on Radiohead and Greenwood", April 30 2007
39. See Covers of Radiohead Songs.
40. Liner notes by Michael Cunningham to ''The Hours'' film soundtrack CD: "Each novel I've written has developed a soundtrack of sorts, a body of music that subtly but palpably helped shape the book in question. I don't imagine most people who've read any of my books could readily see their connections to particular pieces of music, but I have long been aware that... The Hours [is derived from] Schubert (particularly "Death and the Maiden"), Brian Eno's ''Music for Airports'', Peter Gabriel's "Mercy Street", and for reasons I can't begin to explain, Radiohead's ''OK Computer''".

Further reading

★ Tim Footman. ''Welcome to the Machine: OK Computer and the Death of the Classic Album'' (Chrome Dreams, 2007). 288 pp.

★ Dai Griffiths. ''OK Computer'' (33 1/3 Series, Continuum International Publishing Group, 2004). 123 pp.

External links

★ Making ''OK Computer'' – quotes by band members on the process

★ The album, song by song – 1997 interview with the band

★ ''OK Computer'' and ''1984'' Comparison Thesis (archived from defunct fan site Follow Me Around)