Kid A
Kid A is the fourth studio album by the English rock band Radiohead, released on 2 October 2000 by Parlophone. It was recorded with producer Nigel Godrich in Paris, Copenhagen, Gloucestershire and their hometown Oxford, England.
Kid A | ||||
---|---|---|---|---|
Studio album by | ||||
Released | 2 October 2000 | |||
Recorded | January 1999 – April 2000 | |||
Studio |
| |||
Genre | ||||
Length | 49:56 | |||
Label | ||||
Producer |
| |||
Radiohead chronology | ||||
| ||||
Radiohead studio album chronology | ||||
|
After the stress of promoting Radiohead's acclaimed 1997 album OK Computer, songwriter Thom Yorke wanted to diverge from rock music. Drawing influence from electronic music, ambient music, krautrock, jazz, and 20th-century classical music, Radiohead used instruments such as modular synthesisers, ondes Martenot, brass and strings. They processed guitar sounds, incorporated samples and loops, and manipulated their recordings with software such as Pro Tools and Cubase. Yorke wrote many lyrics by cutting up words and phrases and assembling them at random. Radiohead considered releasing the material as a double album, but decided it was too dense; a second album of material from the sessions, Amnesiac, was released the following year.
Kid A was widely anticipated. In a departure from industry practice, Radiohead released no singles or music videos and conducted few interviews and photoshoots. Instead, they became one of the first major acts to use the internet as a promotional tool; Kid A was made available to stream and was promoted with short animated films featuring music and artwork. Bootlegs of early performances were shared on filesharing services, and the album was leaked before release. In 2000, Radiohead toured Europe in a custom-built tent without corporate logos.
Kid A debuted at the top of the UK Albums Chart, and became Radiohead's first number-one album in the United States, where it sold over 207,000 copies in its first week. It has been certified platinum in Australia, Canada, France, Japan, the US and the UK. Like OK Computer, it won the Grammy Award for Best Alternative Album and was nominated for the Grammy Award for Album of the Year. Its departure from Radiohead's earlier sound divided fans and critics, and some dismissed it as pretentious, deliberately obscure, or derivative. However, it later attracted wide acclaim; at the turn of the decade, Rolling Stone, Pitchfork and the Times ranked Kid A the greatest album of the 2000s. In 2020, Rolling Stone ranked it number 20 on its updated list of the 500 greatest albums of all time.
Background
Following the critical and commercial success of their 1997 album OK Computer, the members of Radiohead suffered burnout.[1] Yorke became ill, describing himself as "a complete fucking mess ... completely unhinged".[1] Bassist Colin Greenwood said: "We felt we had to change everything. There were other guitar bands out there trying to do similar things. We had to move on."[2] Guitarist Ed O'Brien had hoped Radiohead's fourth album would comprise "snappy", melodic guitar songs, but Yorke stated: "There was no chance of the album sounding like that. I'd completely had it with melody. I just wanted rhythm. All melodies to me were pure embarrassment."[3]
Troubled by new acts he felt were imitating Radiohead,[4] Yorke believed his music had become part of a constant background noise he described as "fridge buzz",[5] and he became hostile to the music media.[1][6] He told The Guardian: "I always used to use music as a way of moving on and dealing with things, and I sort of felt like that the thing that helped me deal with things had been sold to the highest bidder and I was simply doing its bidding. And I couldn't handle that."[1] He suffered from writer's block, and could not finish writing songs on guitar.[3]
Yorke became disillusioned with the "mythology" of rock music, feeling the genre had "run its course".[7] He had been a DJ and part of a techno band at Exeter University,[7] and following OK Computer began to listen almost exclusively to the electronic music of Warp artists such as Aphex Twin and Autechre: "It was refreshing because the music was all structures and had no human voices in it. But I felt just as emotional about it as I'd ever felt about guitar music."[1] He liked the idea of his voice being used as an instrument rather than having a leading role, and wanted to focus on sounds and textures instead of traditional songwriting.[4]
Yorke bought a house in Cornwall and spent his time walking the cliffs and drawing, restricting his musical activity to playing the grand piano he had recently bought.[8] "Everything in Its Right Place" was the first song he wrote.[8] He described himself as a "shit piano player", with little knowledge of electronic instruments: "I remember this Tom Waits quote from years ago, that what keeps him going as a songwriter is his complete ignorance of the instruments he's using. So everything's a novelty. That's one of the reasons I wanted to get into computers and synths, because I didn't understand how the fuck they worked. I had no idea what ADSR meant."[9]
Recording
Radiohead began work on Kid A in Paris in January 1999 with OK Computer producer Nigel Godrich and no deadline. Yorke, who had the greatest control, was still facing writer's block. His new songs were incomplete, and some consisted of little more than sounds or rhythms; few had clear verses or choruses.[3] The band struggled with Yorke's new direction. Brothers Jonny and Colin Greenwood expressed a fear of "random digital experimentation"[3] or "awful art-rock nonsense just for its own sake".[3] According to Yorke, Godrich "didn't understand why, if we had such a strength in one thing, we would want to do something else. But at the same time he trusted me to have an idea of what I wanted."[10]
Accepting that not every band member would play on every song caused conflict. O'Brien said: "It's scary – everyone feels insecure. I'm a guitarist and suddenly it's like, well, there are no guitars on this track, or no drums."[3] O'Brien began using sustain units, which allow guitar notes to be sustained infinitely, combined with looping and delay effects to create synthesiser-like sounds.[11]
The band found it difficult to use electronic instruments and techniques collaboratively; according to Yorke, "We had to develop ways of going off into corners and build things on whatever sequencer, synthesiser or piece of machinery we would bring to the equation and then integrate that into the way we would normally work."[12] They experimented with electronic instruments including modular synthesisers and the ondes Martenot, an early electronic instrument similar to a theremin, and used software such as Pro Tools and Cubase to edit and manipulate their recordings.[3]
In March, Radiohead moved to Medley Studios in Copenhagen for two weeks. The sessions produced about 50 reels of tape each containing 15 minutes of music, with nothing finished. In April, Radiohead resumed recording in a Gloucestershire mansion. The lack of deadline and the number of incomplete ideas made it hard to focus, and they agreed to disband if they could not agree on an album worth releasing.[3]
In July, O'Brien began keeping an online diary of Radiohead's progress,[13] and Radiohead moved to their new studio in their hometown Oxford.[3] In November, Radiohead broadcast a webcast from their studio, featuring a performance of new music and a DJ set.[14] By the end of 1999, six songs were complete, including the title track.[3] In January 2000, at Godrich's suggestion, Radiohead split into two groups: one would generate a sound or sequence and the other would develop it without acoustic instruments such as guitars or drums. Though the experiment produced no finished songs, it helped convince the band of the new direction.[3]
On 19 April, Yorke wrote on Radiohead's website that they had finished recording.[6] Having completed over 20 songs,[15] they considered a double album, but felt the material was too dense.[16] Instead, Radiohead saved half the songs for their next album, Amnesiac, released the following year. Yorke said Radiohead split the work into two albums because "they cancel each other out as overall finished things. They come from two different places."[17] He observed that deciding the track list was not just a matter of choosing the best songs, as "you can put all the best songs in the world on a record and they'll ruin each other".[18] He cited the later Beatles albums as examples of effective sequencing: "How in the hell can you have three different versions of 'Revolution' on the same record and get away with it? I thought about that sort of thing."[18] Agreeing on the track list created arguments, and O'Brien said the band had come close to breaking up: "The track listing of Kid A was really fraught. That felt like it could go either way, it could break ... But we came in the next day and it was resolved."[19] The album was mastered by Chris Blair in Abbey Road Studios, London.[20]
Tracks
Jonny Greenwood described the first track, "Everything in its Right Place", as a turning point for the album recording: "We knew it had to be the first song, and everything just followed after it."[21] It was recorded on a Prophet 5 synthesiser,[22] with vocals processed using a scrubbing tool in Pro Tools.[21]
Yorke wrote an early version of "The National Anthem" when the band was still in school.[23] For Kid A, Greenwood added ondes Martenot and sounds sampled from radio stations,[23] and Yorke's vocals were processed with a ring modulator.[24] In November 1999,[24] Radiohead recorded a brass section inspired by the "organised chaos" of Town Hall Concert by the jazz musician Charles Mingus, instructing the musicians to sound like a "traffic jam".[25]
The strings on "How To Disappear Completely" were performed by the Orchestra of St John's and recorded in Dorchester Abbey, a 12th-century church about five miles from Radiohead's Oxfordshire studio.[26][27] Radiohead chose the orchestra as they had performed pieces by Penderecki and Messiaen.[25] Jonny Greenwood, the only Radiohead member trained in music theory, composed the string arrangement by multitracking his ondes Martenot.[23] According to Godrich, when the musicians saw Greenwood's score "they all just sort of burst into giggles, because they couldn't do what he'd written, because it was impossible – or impossible for them, anyway".[28] The orchestra leader John Lubbock encouraged the musicians to experiment and work with Greenwood's ideas.[29] Concerts director Alison Atkinson said the session was "more experimental" than the orchestra's usual bookings.[26]
"Idioteque" was built from a drum machine pattern Jonny Greenwood created with a modular synthesiser and a sample from "Mild und Leise", a 1967 computer music piece by Paul Lansky.[23][30] He gave the 50-minute recording to Yorke, who took a short section of it and used it to write the song.[30]
Yorke had recorded a version of "Motion Picture Soundtrack" on piano during the OK Computer sessions.[31] For Kid A, he recorded it on a harmonium pedal organ, influenced by songwriter Tom Waits; Greenwood added samples of harps, attempting to recreate the atmosphere of 1950s Disney films.[23][32] Radiohead also worked on several songs that were not completed until recording sessions for future albums, including "Nude",[33] "Burn the Witch"[34] and "True Love Waits".[35]
Music
Style and influences
Kid A incorporates influences from electronic artists on Warp Records[3] such as 1990s IDM artists Autechre and Aphex Twin;[1] 1970s Krautrock bands such as Can;[3] the jazz of Charles Mingus,[25] Alice Coltrane and Miles Davis;[4] and abstract hip hop from the Mo'Wax label, including Blackalicious and DJ Krush.[36] Yorke cited Remain in Light (1980) by Talking Heads as a "massive reference point".[37] Björk was another major influence,[38][24] particularly her 1997 album Homogenic,[39] as was the Beta Band.[40] Radiohead attended an Underworld concert which helped renew their enthusiasm in a difficult moment.[41]
The string orchestration for "How to Disappear Completely" was influenced by Polish composer Krzysztof Penderecki.[1] Jonny Greenwood's use of the ondes Martenot on this and several other Kid A songs was inspired by Olivier Messiaen, who popularised the instrument and was one of Greenwood's teenage heroes.[42] "Idioteque" samples two computer music pieces, Paul Lansky's "Mild Und Leise" and Arthur Kreiger's "Short Piece". Both samples were taken from Electronic Music Winners, a 1976 experimental music LP which Jonny Greenwood stumbled upon while the band was working on Kid A. Yorke also referred to electronic dance music when talking about "Idioteque", and said that the song was "an attempt to capture that exploding beat sound where you're at the club and the PA's so loud, you know it's doing damage".[4]
"Motion Picture Soundtrack" was written before Radiohead's debut single "Creep".[43] Yorke recorded it on a pedal organ; the other band members added sampled harp and double bass, attempting to emulate the soundtracks of 1950s Disney films.[23][32] Jonny Greenwood described his interest in mixing old and new music technology,[42] and during the recording sessions Yorke read Ian MacDonald's Revolution in the Head, which chronicles the Beatles' recordings with George Martin during the 1960s.[4] The band also sought to combine electronic manipulations with jam sessions in the studio, stating their model was the German group Can.[3]
Kid A has been described as a work of electronica,[44][45][46] experimental rock,[47][48] post-rock,[49][50] alternative rock,[51] post-prog,[52] ambient,[53] electronic rock,[54] art rock,[55] and art pop.[56] Though guitar is less prominent than on previous Radiohead albums, guitars were still used on most tracks.[4] "Treefingers", an instrumental ambient track, was created by digitally processing O'Brien's guitar loops.[32] Many of Yorke's vocals are heavily modified by digital effects; for example, his vocals on the title track were simply spoken, then vocoded with the ondes Martenot to create the melody.[4]
Lyrics
Yorke wrote many of Kid A's lyrics by cutting up words and phrases and assembling them at random, combining everyday cliches and banal observations ("Where'd you park the car?") with violent imagery ("Cut the kids in half").[57] He cited David Byrne's approach to lyrics on the 1980 Talking Heads album Remain in Light as an influence: "When they made that record, they had no real songs, just wrote it all as they went along. Byrne turned up with pages and pages, and just picked stuff up and threw bits in all the time. And that's exactly how I approached Kid A."[4] Radiohead used Yorke's lyrics "like pieces in a collage ... [creating] an artwork out of a lot of different little things".[3] The lyrics are not included in the liner notes, as Radiohead felt they could not be considered independently of the music,[58] and Yorke said he did not want listeners to focus on them.[4]
Yorke wrote "Everything in Its Right Place" about the depression he experienced on the OK Computer tour, feeling he could not speak.[59] The refrain of "How to Disappear Completely" was inspired by R.E.M. singer Michael Stipe, who advised Yorke to relieve tour stress by repeating to himself: "I'm not here, this isn't happening".[60] The refrain of "Optimistic" ("try the best you can / the best you can is good enough") was an assurance by Yorke's partner, Rachel Owen, when Yorke was frustrated with the band's progress.[3] The title Kid A came from a filename on one of Yorke's sequencers.[61] Yorke said he liked its "non-meaning", saying: "If you call [an album] something specific, it drives the record in a certain way."[62]
Artwork
The Kid A artwork and packaging was created by Yorke with Stanley Donwood, who has worked with Radiohead since their 1994 EP My Iron Lung.[63] Donwood painted on large canvases with knives and sticks, then photographed the paintings and manipulated them with Photoshop.[64] While working on the artwork, Yorke and Donwood became "obsessed" with the Worldwatch Institute website, which was full of "scary statistics about ice caps melting, and weather patterns changing"; this inspired them to use an image of a mountain range as the cover art.[65] Donwood said he saw the mountains as "some sort of cataclysmic power".[66]
Donwood was also inspired by a photograph taken during the Kosovo War depicting a square metre of snow full of the "detritus of war", such as military equipment and cigarette stains. Donwood said: "I was upset by it in a way war had never upset me before. It felt like it was happening in my street."[64] The red swimming pool on the album spine and disc was inspired by the 1988 graphic novel Brought to Light by Alan Moore and Bill Sienkiewicz, in which the number of people killed by state terrorism is measured in 50-gallon swimming pools filled with blood. Donwood said this image "haunted" him during the recording of the album, calling it "a symbol of looming danger and shattered expectations".[67]
Promotion
Anticipation for Kid A was high; Spin described it as the most anticipated rock record since Nirvana's In Utero.[72] Radiohead minimised their involvement in its promotion,[73] conducting few interviews or photoshoots.[74] They released no singles, though "Optimistic" and promotional copies of other tracks received radio play. MTV2,[75] KROQ, and WXRK played the album in its entirety.[1] Yorke said the decision not to release singles was not "for reasons of artistic credibility" but to avoid the stress of publicity: "Coming back into the lion's den was not easy, especially for me personally. It meant bringing back ghosts that made me shut down in the first place."[73]
No advance copies of the album were circulated,[76] but it was played under controlled conditions for critics and fans.[77] Radiohead were careful to present the album as a cohesive work rather than a series of separate tracks; rather than give EMI executives copies to consider individually, they had them listen to the album in its entirety on a bus from Hollywood to Malibu.[78] Rob Gordon, vice president of marketing at Capitol Records, the American subsidiary of Radiohead's label EMI, praised the album but said promoting it would be a "business challenge".[79]
Rather than agree to a standard magazine photoshoot for Q, Radiohead supplied digitally altered portraits, with their skin smoothed, their irises recoloured, and Yorke's drooping eyelid removed. Q editor Andrew Harrison described the images as "aggressively weird to the point of taking the piss ... all five of Radiohead had been given the aspect of gawking aliens".[80] Yorke told Q: "I'd like to see them try to put these pictures on a poster."[80] Q projected them onto the Houses of Parliament, placed them on posters and billboards in the London Underground and on the Old Street Roundabout, and had them printed on key rings, mugs and mouse mats, to "turn Radiohead back into a product".[80]
Internet
– Capitol executive Robin Sloan Bechtel, 2015[78]
At the time, the use of the internet for music promotion was not widespread, and record labels were still reliant on MTV and radio.[78] Capitol launched an innovative marketing campaign, broadcasting "blips", short films set to Kid A's music, on music channels and distributing them online.[79] The "iBlip", a Java applet, could be embedded in fan sites and allowed users to preorder and stream the album; it was used by over 1000 sites and the album was streamed more than 400,000 times.[78] The iBlip also included artwork, photos and links to order the album on the online retailer Amazon. Capitol also streamed the album through Amazon, MTV.com and heavy.com, and ran a campaign with the peer-to-peer filesharing service Aimster, allowing users to swap iBlips and Radiohead-branded Aimster skins.[79]
Three weeks before release, Kid A was leaked online and shared on the peer-to-peer service Napster. Asked whether he believed Napster had damaged sales, Capitol president Ray Lott likened the situation to unfounded concern about home taping in the 1980s and said: "I'm trying to sell as many Radiohead albums as possible. If I worried about what Napster would do, I wouldn't sell as many albums."[79] Yorke said Napster "encourages enthusiasm for music in a way that the music industry has long forgotten to do".[81]
Tour
In mid-2000, months before the album release, Radiohead toured the Mediterranean, performing Kid A and Amnesiac songs for the first time.[82] By the time the album title was announced, fans were sharing concert bootlegs online. Colin Greenwood said: "We played in Barcelona and the next day the entire performance was up on Napster. Three weeks later when we got to play in Israel the audience knew the words to all the new songs and it was wonderful."[83] Later that year, Radiohead toured Europe in a custom-built tent without corporate logos, playing mostly new songs.[84] The tour included a homecoming show in South Park, Oxford, with supporting performances by Humphrey Lyttelton (who performed on Amnesiac) and Sigur Rós. According to journalist Alex Ross, the show may have been the largest public gathering in Oxford history.[85]
Radiohead also performed three concerts in North American theatres, their first in nearly three years. The small venues sold out rapidly, attracting celebrities, and fans who camped overnight.[6] In October, Radiohead performed on the American comedy show Saturday Night Live; the performance shocked some viewers expecting rock songs, with Jonny Greenwood playing electronic instruments, the house brass band improvising over "The National Anthem", and Yorke dancing erratically to "Idioteque".[86] In November 2001, Radiohead released I Might Be Wrong: Live Recordings, comprising performances from the Kid A and Amnesiac tours.[86]
Sales
Kid A reached number one on Amazon's sales chart, with more than 10,000 pre-orders.[79] It debuted at number one in the UK,[74] where it sold 55,000 copies in its first day of release – the biggest first-day sales of the year and more than every other album in the top ten combined.[74] Kid A also debuted at number one in the US,[87] selling over 207,000 copies in its first week.[88] It was Radiohead's first US top 20 album, and the first US number one in three years for any British act.[79][89] It also debuted at number one in Canada, where it sold more than 44,000 copies in its first week,[88] and in France, Ireland and New Zealand. European sales slowed on 2 October 2000, the day of release, when 150,000 faulty CDs were recalled by EMI.[74] By June 2001, Kid A had sold 310,000 copies in the UK, less than a third of OK Computer sales.[90] It is certified platinum in the UK, Australia, Canada, France, Japan and the US.
Critical reception
Contemporary reviews | |
---|---|
Aggregate scores | |
Source | Rating |
Metacritic | 80/100[91] |
Review scores | |
Source | Rating |
Chicago Sun-Times | [92] |
Entertainment Weekly | B+[93] |
The Guardian | [94] |
Melody Maker | [95] |
NME | 7/10[96] |
Pitchfork | 10/10[97] |
Q | [98] |
Rolling Stone | [56] |
Spin | 9/10[99] |
The Village Voice | A−[100] |
Kid A was widely anticipated.[101][26] According to Andrew Harrison, then editor of Q, music journalists expected it to provide more of the "rousing, cathartic, lots-of-guitar, Saturday-night-at-Glastonbury big future rock moments" of OK Computer.[80] Months before its release, Melody Maker wrote: "If there's one band that promises to return rock to us, it's Radiohead."[26]
After Kid A had been played for critics, the Guardian wrote of the "muted electronic hums, pulses and tones", predicting that it would confuse listeners.[1] Many critics bemoaned the lack of guitar, obscured vocals, and unconventional song structures,[1] and some called the album "a commercial suicide note".[7] Mojo wrote that "upon first listen, Kid A is just awful ... Too often it sounds like the fragments that they began the writing process with – a loop, a riff, a mumbled line of text, have been set in concrete and had other, lesser ideas piled on top."[102] In the New Yorker, novelist Nick Hornby wrote: "The album is morbid proof that this sort of self-indulgence results in a weird kind of anonymity rather than something distinctive and original."[103]
Melody Maker critic Mark Beaumont called the album "tubby, ostentatious, self-congratulatory, look-ma-I-can-suck-my-own-cock whiny old rubbish ... about 60 songs were started that no one had a bloody clue how to finish".[95] Guardian critic Adam Sweeting wrote that "even listeners raised on krautrock or Ornette Coleman will find Kid A a mystifying experience", and that it pandered to "the worst cliches" about Radiohead's "relentless miserabilism".[94] Alexis Petridis, also of the Guardian, described it as "self-consciously awkward and bloody-minded, the noise made by a band trying so hard to make a 'difficult' album that they felt it beneath them to write any songs".[104] The Irish Times panned Kid A as a "confused, aimless mess ... The only thing challenging about Kid A is the very real challenge to your attention span."[101]
Some critics felt the electronic elements were unoriginal. In the New York Times, Howard Hampton dismissed Radiohead as a "rock composite" and wrote that Kid A "recycles Pink Floyd's dark-side-of-the-moon solipsism to Me-Decade perfection".[105] Beaumont said Radiohead were "simply ploughing furrows dug by DJ Shadow and Brian Eno before them",[95] and Select wrote: "What do they want for sounding like the Aphex Twin circa 1993, a medal?"[106] Rob Sheffield of Rolling Stone later wrote that the "mastery of Warp-style electronic effects" had appeared "clumsy and dated".[106] In an NME editorial, James Oldham wrote that the electronic influences were "mired in compromise", with Radiohead still operating as a rock band, and concluded: "Time will judge it. But right now, Kid A has the ring of a lengthy, over-analysed mistake."[107] Warp co-founder Rob Mitchell felt Kid A represented "an honest interpretation of [Warp] influences" and was not gratuitously electronic. He predicted it might one day be seen in the same way as the 1977 David Bowie albums "Heroes" and Low, which alienated some Bowie fans but were later acclaimed.[108]
AllMusic gave Kid A a favourable review, but wrote that it "never is as visionary or stunning as OK Computer, nor does it really repay the intensive time it demands in order for it to sink in".[86] The NME review was also positive, but described some songs as "meandering" and "anticlimactic", and concluded: "For all its feats of brinkmanship, the patently magnificent construct called Kid A betrays a band playing one-handed just to prove they can, scared to commit itself emotionally."[6] In Rolling Stone, David Fricke called Kid A "a work of deliberately inky, often irritating obsession ... But this is pop, a music of ornery, glistening guile and honest ache, and it will feel good under your skin once you let it get there."[56]
Spin said Kid A was "not the act of career suicide or feat of self-indulgence it will be castigated as", and predicted that fans would recognise it as Radiohead's "best and bravest" album.[99] Billboard described it as "an ocean of unparalleled musical depth" and "the first truly groundbreaking album of the 21st century".[109] Robert Christgau wrote that Kid A is "an imaginative, imitative variation on a pop staple: sadness made pretty".[100] The Village Voice called it "oblique oblique oblique ... Also incredibly beautiful."[30] Brent DiCrescenzo of Pitchfork gave Kid A a perfect score, calling it "cacophonous yet tranquil, experimental yet familiar, foreign yet womb-like, spacious yet visceral, textured yet vaporous, awakening yet dreamlike". He concluded that Radiohead "must be the greatest band alive, if not the best since you know who".[97] The piece was one of the first Kid A reviews posted online; shared widely by Radiohead fans, it helped popularise Pitchfork and became notorious for its "obtuse" writing.[110]
At Metacritic, which aggregates ratings from critics, Kid A has a score of 80 based on 24 reviews, indicating "generally favourable reviews".[91] It was named one of the best albums of 2000 by publications including the Los Angeles Times, Spin, Melody Maker, Mojo, the NME, Pitchfork, Q, the Times, Uncut, and the Wire.[111] At the 2001 Grammy Awards, Kid A was nominated for Album of the Year and won for Best Alternative Album.[112][113]
Legacy
Retrospective reviews | |
---|---|
Review scores | |
Source | Rating |
AllMusic | [44] |
The A.V. Club | A[114] |
Pitchfork | 10/10[115] |
Q | [116] |
Record Collector | [117] |
The Rolling Stone Album Guide | [118] |
In the years following its release, Kid A attracted acclaim. In 2005, Pitchfork wrote that it had "challenged and confounded" Radiohead's audience, and subsequently "transformed into an intellectual symbol of sorts ... Owning it became 'getting it'; getting it became 'anointing it'."[119] In 2015, Rob Sheffield of Rolling Stone likened Radiohead's change in style to Bob Dylan's controversial move to rock music, writing: "There's no controversy over Kid A any more ... Nobody admits now they hated Kid A at the time ... Nobody wants to be the clod who didn't get it."[106] He described Kid A as the "defining moment in the Radiohead legend".[106] In an article for the album's 20th anniversary, the Quietus suggested that the negative reviews had been motivated by rockism, the tendency among music critics to venerate rock music over other genres.[120]
Some critics still disliked the album. In a 2011 Guardian article about his critical Melody Maker review, Beaumont wrote that though his opinion had not changed, "Kid A's status as a cultural cornerstone has proved me, if not wrong, then very much in the minority ... People whose opinions I trust claim it to be their favourite album ever."[121] In 2014, Brice Ezell of PopMatters wrote that Kid A is "more fun to think and write about than it is to actually listen to" and a "far less compelling representation of the band's talents than The Bends and OK Computer".[122] In 2016, Dorian Lysnkey wrote in the Guardian: "At times, Kid A is dull enough to make you fervently wish that they'd merged the highlights with the best bits of the similarly spotty Amnesiac ... Yorke had given up on coherent lyrics so one can only guess at what he was worrying about."[123]
Radiohead denied that they had set out to create "difficult" music. Jonny Greenwood argued that the tracks were short and melodic, and suggested that "people basically want their hands held through 12 'Mull Of Kintyre's".[4] Yorke said: "We're actually trying to communicate but, somewhere along the line, we just seemed to piss off a lot of people ... What we're doing isn't that radical."[124] He recalled that the band had been "white as a sheet" before early performances on the Kid A tour, thinking they had been "absolutely trashed". At the same time, the reaction motivated them: "There was a sense of a fight to convince people, which was actually really exciting."[125] He regretted having released no singles, feeling it meant much of the early judgement of the album came from critics.[73]
Grantland credited Kid A for pioneering the use of internet to stream and promote music, writing: "For many music fans of a certain age and persuasion, Kid A was the first album experienced primarily via the internet – it's where you went to hear it, read the reviews, and argue about whether it was a masterpiece ... Listen early, form an opinion quickly, state it publicly, and move on to the next big record by the official release date. In that way, Kid A invented modern music culture as we know it."[78] In his 2005 book Killing Yourself to Live, critic Chuck Klosterman interpreted Kid A as a prediction of the September 11 attacks.[121] Speaking at Radiohead's induction to the Rock and Roll Hall of Fame 2019, David Byrne of Talking Heads, one of Radiohead's formative influences, said: "What was really weird and very encouraging was that [Kid A] was popular. It was a hit! It proved to me that the artistic risk paid off and music fans sometimes are not stupid."[126]
Accolades
In 2020, Rolling Stone ranked Kid A number 20 on its updated list of the 500 greatest albums of all time, describing it as "a new, uniquely fearless kind of rock record for a new, increasingly fearful century ... [it] remains one of the more stunning sonic makeovers in music history."[127] In previous versions of the list, Kid A ranked at number 67 (2012)[128] and number 428 (2003).[129] In 2011, Rolling Stone named "Everything in its Right Place" the 24th best song of the 2000s, describing it as "oddness at its most hummable".[130]
In 2005, Stylus[131] and Pitchfork named Kid A the best album of the previous five years, with Pitchfork calling it "the perfect record for its time: ominous, surreal, and impossibly millennial".[119] In 2006, Time named Kid A one of the 100 best albums, calling it "the opposite of easy listening, and the weirdest album to ever sell a million copies, but ... also a testament to just how complicated pop music can be".[132] At the end of the decade, Rolling Stone,[133] Pitchfork[134] and the Times[135] ranked Kid A the greatest album of the 2000s. The Guardian ranked it second best, calling it "a jittery premonition of the troubled, disconnected, overloaded decade to come. The sound of today, in other words, a decade early."[136]
Publication | Country | Accolade | Year | Rank |
---|---|---|---|---|
Consequence of Sound | US | Top 100 Albums Ever[137] | 2010 | 73 |
Fact | UK | The 100 Best Albums of the 2000s[138] | 2010 | 7 |
The Guardian | UK | Albums of the decade[136] | 2009 | 2 |
The 100 Best Albums of the 21st Century[139] | 2019 | 16 | ||
Hot Press | Ireland | The 100 Best Albums Ever[140] | 2006 | 47 |
Mojo | UK | The 100 Greatest Albums of Our Lifetime 1993–2006[141] | 2006 | 7 |
NME | UK | The 100 Greatest British Albums Ever[142] | 2006 | 65 |
The Top 100 Greatest Albums of the Decade[143] | 2009 | 14 | ||
Paste | US | The 50 Best Albums Of The Decade[144] | 2010 | 4 |
Pitchfork | US | Top 200 Albums of the 2000s[145] | 2009 | 1 |
Platendraaier | The Netherlands | Top 30 Albums of the 2000s[146] | 2015 | 7 |
PopMatters | UK/US | The 100 Best Albums of the 2000s[147] | 2014 | 1 |
Porcys | Poland | The Best Albums of 2000-2009[148] | 2010 | 2 |
Rolling Stone | US | The 500 Greatest Albums of All Time[149] | 2020 | 20 |
The 100 Best Albums of the Decade[133] | 2009 | 1 | ||
The 40 Greatest Stoner Albums[150] | 2013 | 6 | ||
Spin | US | Top 100 Albums of the Last 20 Years[151] | 2005 | 48 |
Stylus | US | The 50 Best Albums of 2000–2004[152] | 2005 | 1 |
Time | US | The All-Time 100 Albums[153] | 2006 | * |
The Times | UK | The 100 Best Pop Albums of the Noughties[135] | 2009 | 1 |
1001 Albums You Must Hear Before You Die | US | 1001 Albums You Must Hear Before You Die[154] | 2010 | * |
Musikexpress | Germany | The 50 Best Albums of the New Millennium[155] | 2015 | 3 |
La Vanguardia | Spain | The Best Albums of the Decade[156] | 2010 | 1 |
(*) designates unordered list
Reissues
After a period of being out of print on vinyl, EMI reissued a double LP of Kid A on 19 August 2008 along with OK Computer, Amnesiac and Hail to the Thief as part of the "From the Capitol Vaults" series.[157] In August 2009, EMI reissued Kid A in a two-CD "Collector's Edition" and a "Special Collector's Edition" containing an additional DVD. Both versions feature live tracks, taken mostly from television performances. Radiohead, who left EMI in 2007,[158] had no input into the reissue and the music was not remastered.[159] The "Collector's Editions" were discontinued after Radiohead's back catalogue was transferred to XL Recordings in 2016.[160] In May 2016, XL reissued Kid A on vinyl, along with the rest of Radiohead's back catalogue.[161] In February 2020, Radiohead released an extended version of "Treefingers" to digital platforms.[162] A 20th Anniversary reissue is planned for release in late 2020, in a manner similar to the OK Computer 20th anniversary reissue.[163]
Track listing
All tracks are written by Radiohead (Colin Greenwood, Jonny Greenwood, Ed O'Brien, Philip Selway, Thom Yorke), except where noted.
No. | Title | Length |
---|---|---|
1. | "Everything in Its Right Place" | 4:11 |
2. | "Kid A" | 4:44 |
3. | "The National Anthem" | 5:51 |
4. | "How to Disappear Completely" | 5:56 |
5. | "Treefingers" | 3:42 |
6. | "Optimistic" | 5:15 |
7. | "In Limbo" | 3:31 |
8. | "Idioteque" (Radiohead, Paul Lansky, Arthur Kreiger) | 5:09 |
9. | "Morning Bell" | 4:35 |
10. | "Motion Picture Soundtrack" (song ends at 3:17; includes an untitled hidden track from 4:17 until 5:12, followed by 1:44 of silence) | 7:00 |
Total length: | 49:56 |
No. | Title | Length |
---|---|---|
1. | "Everything in Its Right Place" (BBC Radio 1 evening session, 15 November 2000) | 6:04 |
2. | "How to Disappear Completely" (BBC Radio 1 evening session, 15 November 2000) | 6:37 |
3. | "Idioteque" (BBC Radio 1 evening session, 15 November 2000) | 4:12 |
4. | "The National Anthem" (BBC Radio 1 evening session, 15 November 2000) | 4:44 |
5. | "Optimistic" (Lamacq Live in Concert: Victoria Park, Latchford, Warrington, Cheshire, England, 2 October 2000) | 4:39 |
6. | "Morning Bell" (Live at Canal+ Studios, Paris, France, 28 April 2001) | 4:26 |
7. | "The National Anthem" (Live at Canal+ Studios, Paris, France, 28 April 2001) | 5:01 |
8. | "How to Disappear Completely" (Live at Canal+ Studios, Paris, France, 28 April 2001) | 5:57 |
9. | "In Limbo" (Live at Canal+ Studios, Paris, France, 28 April 2001) | 4:42 |
10. | "Idioteque" (Live at Canal+ Studios, Paris, France, 28 April 2001) | 4:13 |
11. | "Everything in Its Right Place" (Live at Canal+ Studios, Paris, France, 28 April 2001) | 6:43 |
12. | "Motion Picture Soundtrack" (Live at Canal+ Studios, Paris, France, 28 April 2001) | 3:55 |
13. | "True Love Waits" (from I Might Be Wrong: Live Recordings, 2001) | 5:05 |
Total length: | 66:04 |
No. | Title | Length |
---|---|---|
1. | "The National Anthem" (Live on Later... with Jools Holland, 9 June 2001) | |
2. | "Morning Bell" (Live on Later ... with Jools Holland, 9 June 2001) | |
3. | "Idioteque" (Live on Later ... with Jools Holland, 9 June 2001) |
Notes
- "Idioteque" contains two samples from the Odyssey record First Recordings – Electronic Music Winners (1976): Paul Lansky's "Mild und Leise" and Arthur Kreiger's "Short Piece".
Personnel
Credits adapted from liner notes.
Production
|
Additional musicians
|
Charts
Weekly charts
|
Year-end charts
|
Certifications
Region | Certification | Certified units/sales |
---|---|---|
Australia (ARIA)[188] | Platinum | 70,000^ |
Canada (Music Canada)[189] | 2× Platinum | 200,000 |
France (SNEP)[190] | Platinum | 200,000* |
Japan (RIAJ)[191] | Platinum | 200,000^ |
New Zealand (RMNZ)[192] | Gold | 7,500^ |
Norway (IFPI Norway)[193] | Gold | 25,000* |
United Kingdom (BPI)[194] | Platinum | 300,000^ |
United States (RIAA)[195] | Platinum | 1,480,000[196] |
Summaries | ||
Europe (IFPI)[197] | Platinum | 1,000,000* |
* Sales figures based on certification alone. |
Notes
References
- Zoric, Lauren (22 September 2000). "I think I'm meant to be dead ..." The Guardian. Archived from the original on 2 January 2014. Retrieved 18 May 2007.
- Kot, Greg (2000). "Radiohead sends out new signals with 'Kid A'". Nigelgodrich.com. Archived from the original on 13 March 2016. Retrieved 18 March 2007.
- Cavanagh, David (October 2000). "I Can See The Monsters". Q: 96–104.
- Reynolds, Simon (July 2001). "Walking on Thin Ice". The Wire. Archived from the original on 4 February 2012. Retrieved 17 March 2007.
- Radiohead (interviews) (30 November 1998). Meeting People Is Easy. Seventh art releasing. Archived from the original on 14 March 2007. Retrieved 18 March 2007.
- "Radiohead: Kid A". NME. 23 December 2000. Archived from the original on 4 March 2020. Retrieved 4 May 2020.
- Smith, Andrew (1 October 2000). "Sound and fury". The Observer. Archived from the original on 10 November 2013. Retrieved 19 May 2007.
- "Splitting atoms with Thom Yorke". Dazed. 12 February 2013. Archived from the original on 18 April 2016. Retrieved 9 July 2016.
- Fricke, David (14 December 2000). "People of the Year: Thom Yorke of Radiohead". Rolling Stone. Archived from the original on 5 January 2019. Retrieved 5 January 2019.
- "The Friday interview: Thom Yorke | The Guardian | guardian.co.uk". www.theguardian.com. The Guardian. 22 September 2000. Archived from the original on 3 January 2015. Retrieved 11 April 2015.
- "Radiohead's Guitarist Created His Own Instrument and Helped Change the Band's Music". Esquire. 14 November 2017. Archived from the original on 15 November 2017. Retrieved 14 November 2017.
- Sterner, Daniel (July 2019). "Talk: Thom Yorke". Elektronauts. Archived from the original on 10 July 2019. Retrieved 12 July 2019.
- "The Best You Can Is Good Enough: Radiohead vs. The Corporate Machine < Features | PopMatters". www.popmatters.com. Archived from the original on 4 October 2015. Retrieved 3 October 2015.
- Vanhorn, Teri (12 November 1999). "Radiohead debut song during webcast". MTV News. Archived from the original on 12 November 2018. Retrieved 11 November 2018.
- O'Brien, Ed (22 July 2000 – 26 June 2000). "Ed's Diary". Archived from the original on 13 April 2007. Retrieved 19 May 2007.
- Yago, Gideon (18 July 2001). "Played in Full". MTV. Viacom. Archived from the original on 15 July 2014. Retrieved 14 July 2014.
- Kot, Greg (31 July 2001). "'It's difficult justifying being a rock band'". Chicago Tribune. Archived from the original on 12 December 2013. Retrieved 27 March 2012.
- Yamasaki, Yoichiro; Yamashita, Erica (December 2000). "I Don't Want To Be In A Rock Band Any More". Select. EMAP.
- "Radiohead guitarist Ed O'Brien steps up". The Face. Archived from the original on 24 April 2020. Retrieved 18 April 2020.
- Southall, Brian; Vince, Peter; Rouse, Allan (2011). Abbey Road: The Story of the World's Most Famous Recording Studios. Omnibus Press. ISBN 978-0-85712-676-4.
- Greenwood, Jonny; Greenwood, Colin (20 October 2000). "An Interview With Jonny And Colin Greenwood". Morning Becomes Eclectic (Interview). Interviewed by Nic Harcourt. Los Angeles: KCRW.
- "The 14 synthesizers that shaped modern music". The Vinyl Factory. 4 March 2014. Archived from the original on 5 March 2018. Retrieved 5 March 2018.
- Nic, Harcourt (20 October 2000). "Radiohead – Morning Becomes Eclectic". Morning Becomes Eclectic (Interview). Jonny and Colin Greenwood. KCRW. Archived from the original on 26 January 2018. Retrieved 25 January 2018.
- Swenson, Kylee (January 2001). "A Spy In the House of Music: Radiohead's Ed O'Brien Discusses Sonic Espionage". MC2 Magazine: 44–47. Archived from the original on 29 November 2014. Retrieved 19 November 2014.
I can't help but hear Björk influences on Kid A.
I think we've all been envious about the way Björk has been able to reinvent music. Also, I've been influenced by Aphex Twin, Boards of Canada, and Autechre. They truly seem to be the pioneers of new sound at the moment. While the band format is still valid, the really exciting things going on in music now are created in people's bedrooms. - Zoric, Lauren (1 October 2000). "Fitter, Happier, More Productive". Juice Magazine. Archived from the original on 9 March 2016. Retrieved 19 May 2007.
- "Radiohead Revealed: The Inside Story of the Year's Most Important Album". Melody Maker. 29 March 2000. Archived from the original on 11 July 2007. Retrieved 18 March 2007.
- "Radiohead Warm Up with 'Amnesiac'". Rolling Stone. 24 May 2001. Archived from the original on 8 April 2016. Retrieved 6 June 2016.
- Pappademas, Alex (9 March 2012). "Jonny Greenwood, Radiohead's Runaway Guitarist". The New York Times. ISSN 0362-4331. Archived from the original on 20 May 2016. Retrieved 22 June 2016.
- Zoric, Lauren (October 2000). "Fitter, Happier, More Productive". Juice.
- "Thom Yorke Talks About Life in the Public Eye". 12 July 2016. Archived from the original on 20 February 2009. Retrieved 29 March 2009.
- Atkins, Jamie (22 June 2017). "OK Computer – OKNOTOK 1997–2017". Record Collector. Archived from the original on 25 June 2017. Retrieved 23 June 2017.
- Sandall, Robert; Russell, Mark (20 January 2001). "Interview with Jonny & Colin". Mixing It (Interview). Jonny and Colin Greenwood. BBC Radio. Archived from the original on 22 February 2018. Retrieved 22 February 2018.
- "The Music Producers | Word Magazine". 3 July 2011. Archived from the original on 3 July 2011. Retrieved 16 August 2016.
- Yoo, Noah; Monroe, Jazz (3 May 2016). "Watch Radiohead's Video for New Song 'Burn the Witch'". Pitchfork. Archived from the original on 3 May 2016. Retrieved 3 May 2016.
- Reilly, Dan (10 May 2016). "The 21-Year History of Radiohead's 'True Love Waits,' a Fan Favorite Two Decades in the Making". Vulture. Archived from the original on 7 September 2016. Retrieved 10 September 2016.
- Greenwood, Jonny. "Jonny Greenwood interview". Ne Pas Avaler (Interview). Archived from the original on 1 April 2007. Retrieved 1 April 2007.
- NME (1 November 2000). "No more Thom for guitar rock". NME. Archived from the original on 1 December 2017. Retrieved 30 November 2017.
- Lin, Marvin (2010). Radiohead's Kid A. A & C Black. ISBN 978-0-8264-2343-6. Archived from the original on 16 February 2016. Retrieved 20 November 2014.
- Dickey, Jack (22 September 2011). "Put A Björk In It: How A 14-Year-Old Album Is Still Influencing Music". Musicweek2011. Deadspin. Archived from the original on 15 November 2014. Retrieved 20 November 2014.
- Taylor, Steve (27 September 2006). The A to X of Alternative Music. London: A&C Black. p. 32. ISBN 0-8264-8217-1.
- "Radiohead: The Escape Artists, Part Two". The Word. 7 May 2008. Archived from the original on 7 December 2008. Retrieved 6 November 2008.
- Gill, Andy (31 October 2003). "So long to Jonny guitar". The Independent. Archived from the original on 13 August 2017. Retrieved 18 June 2017.
- Kennedy, Jake (November 2000). "Kid A Rock". Record Collector. Archived from the original on 9 March 2016. Retrieved 17 March 2007.
- Erlewine, Stephen Thomas. "Kid A – Radiohead". AllMusic. Archived from the original on 3 June 2012. Retrieved 8 September 2011.
- Segal, David (6 June 2001). "'Amnesiac': Radiohead To Remember". The Washington Post. Retrieved 10 March 2019.
- Cross, Alan (2012). Radiohead: the secret history. Joe Books. ISBN 9781927002308.
- Paoletta, Michael (7 October 2000). "Reviews & Previews – Albums". Billboard. Archived from the original on 4 May 2016. Retrieved 19 January 2015.
- Hegarty, Paul; Halliwell, Martin (2011). Beyond and Before: Progressive Rock since the 1960s. Bloomsbury Publishing. ISBN 978-1-84574-065-8. Archived from the original on 17 May 2016. Retrieved 19 January 2015.
- Welsh, April Clare (2 October 2015). "Radiohead's 'Kid A' – The Album's Tracks Ranked In Order Of Greatness". NME. Archived from the original on 15 December 2018. Retrieved 13 December 2018.
- Reynolds, Simon (October 2000). "Radio Chaos". Spin. Archived from the original on 27 September 2007. Retrieved 23 April 2007.
- "Radiohead – Kid A". Sputnikmusic. Archived from the original on 21 November 2018. Retrieved 20 November 2018.
- Kearney, Ryan (31 May 2016). "The Radiohead Racket". New Republic. Archived from the original on 8 November 2016.
- "The 40 Greatest Stoner Albums". Rolling Stone. 18 April 2020. Archived from the original on 17 January 2016. Retrieved 6 January 2016.
- Nicholas, Taylor (11 May 2001). "Recovering the Memory of Pop Radiohead's 'Amnesiac'". PopMatters. Archived from the original on 24 September 2015. Retrieved 1 September 2015.
- Saunders, Luke (12 March 2020). "10 records to introduce you to the world of art-rock". Happy Mag. Retrieved 28 June 2020.
- Fricke, David (12 October 2000). "Kid A". Rolling Stone. Archived from the original on 24 April 2012. Retrieved 23 May 2012.
- "Radiohead: Kid A: Special Collectors Edition". Archived from the original on 3 July 2015. Retrieved 4 July 2015.
- Radiohead (December 2000). "Radiohead: They're Not So Angst-ridden Once You Get to Know Them" (Interview). Interviewed by NY Rock. Archived from the original on 31 December 2005. Retrieved 1 April 2007.
- Fricke, David (2 August 2001). "Radiohead: Making Music That Matters". Rolling Stone. Archived from the original on 6 January 2019. Retrieved 6 January 2019.
- "'How To Disappear Completely' – Readers' Poll: The 10 Best Radiohead Songs". Rolling Stone. 12 October 2011. Archived from the original on 17 January 2015. Retrieved 8 March 2015.
- Yamasaki, Yoichiro Yamasaki; Yamashita, Erica (December 2000). "I Don't Want To Be In A Rock Band Any More". Select.
- Smith, Andrew (1 October 2000). "Sound and fury". The Observer. Archived from the original on 10 November 2013. Retrieved 19 May 2007.
- Goodman, Elizabeth (12 June 2006). "Radiohead's Secret Weapon". Rolling Stone. Archived from the original on 3 March 2018. Retrieved 3 March 2018.
- "Arts Diary". The Guardian. 22 November 2006. Archived from the original on 26 September 2014. Retrieved 24 April 2007.
- Yorke, Thom (23 March 2008). "Thom Yorke: why I'm a climate optimist". Guardian. Archived from the original on 18 May 2015. Retrieved 26 April 2015.
- Jones, Lucy (27 September 2013). "Stanley Donwood on the Stories Behind His Radiohead Album Covers". NME. Archived from the original on 27 September 2013. Retrieved 28 September 2013.
- Donwood, Stanley. "Bear over a swimming pool". Slowly Downward. Archived from the original on 10 June 2007. Retrieved 25 April 2007.
- O'Connor, Roisin (19 October 2016). "Glastonbury Festival 2017: Mysterious 'symbol' on Pyramid Stage ground sends Radiohead fans into frenzy". The Independent. Archived from the original on 27 February 2017. Retrieved 25 July 2017.
- "Radiohead – Modified Bear and Logo – 1.25" Button / Pin". Archived from the original on 13 August 2017. Retrieved 25 July 2017.
- Robinson, Joe. "Radiohead – Best Band Logos". Diffuser.fm. Archived from the original on 21 October 2016.
- "Source". Blender. July 2001. Archived from the original on 24 April 2008. Retrieved 25 July 2017.
- Borow, Zev (November 2000). "The difference engine". Spin Magazine. Archived from the original on 5 March 2007. Retrieved 20 March 2007.
- Archive-Sorelle-Saidman. "Radiohead Plan Singles, Videos For Amnesiac, Yorke Says". MTV News. Archived from the original on 25 April 2019. Retrieved 25 April 2019.
- "'Difficult' Radiohead album is a hit". BBC News. 4 October 2000. Archived from the original on 3 February 2009. Retrieved 22 March 2007.
- Goldsmith, Charles (18 September 2000). "Radiohead's New Marketing". The Wall Street Journal. Archived from the original on 27 September 2007. Retrieved 22 March 2007.
- "New Radiohead Album Floods The Internet". Billboard.com. 31 March 2003. Archived from the original on 22 September 2014. Retrieved 22 March 2007.
- Gold, Kerry (16 September 2000). "Control Freaks". The Vancouver Sun. Archived from the original on 9 March 2016. Retrieved 22 March 2007.
- Hyden, Steven. "How Radiohead's 'Kid A' Kicked Off the Streaming Revolution". Archived from the original on 30 September 2015. Retrieved 30 September 2015.
- Cohen, Warren (11 October 2000). "With Radiohead's Kid A, Capitol Busts Out of a Big-Time Slump. (Thanks, Napster.)". Inside.com. Archived from the original on 26 September 2015. Retrieved 20 March 2007.
- Harrison, Andrew (August 2020). "Almost Famous: Tales from Q's Frontline". Q. H Bauer Publishing: 50–51.
- Farley, Christopher John (23 October 2000). "Radioactive". Time Europe. 156 (17). Archived from the original on 11 March 2011. Retrieved 22 March 2007.
- Oldham, James (24 June 2000). "Radiohead – Their Stupendous Return". NME. Archived from the original on 11 March 2016. Retrieved 15 May 2007.
- "Radiohead take Aimster". BBC News. 2 October 2000. Archived from the original on 7 March 2006. Retrieved 17 March 2007.
- Zoric, Lauren (22 September 2000). "I think I'm meant to be dead ..." The Guardian. Archived from the original on 2 January 2014. Retrieved 18 May 2007.
- Ross, Alex (21 August 2001). "The Searchers: Radiohead's unquiet revolution". The New Yorker. Archived from the original on 25 May 2007. Retrieved 14 June 2007.
- Marianne Tatom Letts (8 November 2010). Radiohead and the Resistant Concept Album: How to Disappear Completely. Indiana University Press. pp. 158, 167, 219. ISBN 978-0-253-00491-8. Archived from the original on 26 December 2016.
- "US adopts Kid A". BBC News. 12 October 2000. Archived from the original on 3 February 2009. Retrieved 22 March 2007.
- "Radiohead sales fall, but 'Kid' still No. 1". Archived from the original on 31 October 2004. Retrieved 18 April 2020.
- "US Success for Radiohead". BBC News. 14 June 2001. Archived from the original on 13 March 2007. Retrieved 22 March 2007.
- Petridis, Alexis (1 June 2001). "CD of the week: Radiohead: Amnesiac". The Guardian. Archived from the original on 6 September 2019. Retrieved 13 September 2020.
- "Reviews for Kid A by Radiohead". Metacritic. Archived from the original on 25 June 2015. Retrieved 14 July 2015.
- DeRogatis, Jim (3 October 2000). "'Kid A' tops new album class". Chicago Sun-Times. Archived from the original on 8 October 2016. Retrieved 8 July 2015.
- Browne, David (6 October 2000). "Kid A". Entertainment Weekly (562). ISSN 1049-0434. Archived from the original on 15 July 2015. Retrieved 8 September 2011.
- Sweeting, Adam (29 September 2000). "Mourning glories". The Guardian. Archived from the original on 13 March 2016. Retrieved 3 July 2017.
- Beaumont, Mark (20 September 2000). "Radiohead Kid A". Melody Maker. Archived from the original on 28 May 2016. Retrieved 25 April 2007.
- Cameron, Keith (26 September 2000). "Radiohead – Kid A". NME. Archived from the original on 17 October 2000. Retrieved 15 March 2015.
- DiCrescenzo, Brent (2 October 2000). "Radiohead: Kid A". Pitchfork. Archived from the original on 22 August 2011. Retrieved 8 September 2011.
- Maconie, Stuart (November 2000). "Radio Ga Ga". Q (170): 96.
- Reynolds, Simon (October 2000). "Radio Chaos". Spin. 16 (10): 171–72. Archived from the original on 26 December 2016. Retrieved 8 July 2015.
- Christgau, Robert (13 February 2001). "Pazz & Jop Preview". The Village Voice. Archived from the original on 16 September 2018. Retrieved 8 July 2015.
- "Are Radiohead OK?". The Irish Times. Retrieved 15 November 2018.
- Irvin, Jim (October 2000). "Boys in the bubble". Mojo.
- Hornby, Nick (30 October 2000). "Beyond the Pale". The New Yorker. Archived from the original on 2 April 2015. Retrieved 14 March 2015.
- Petridis, Alexis (1 July 2001). "CD of the week: Radiohead: Amnesiac". The Guardian. Archived from the original on 11 November 2018. Retrieved 11 November 2018.
- Hampton, Howard. "MUSIC; 70's Rock: The Bad Vibes Continue". Archived from the original on 2 December 2018. Retrieved 1 December 2018.
- Sheffield, Rob (2 October 2015). "How Radiohead Shocked the World: A 15th-Anniversary Salute to 'Kid A'". Rolling Stone. Archived from the original on 3 August 2017. Retrieved 24 June 2017.
- James, Oldham (30 September 2000). "I was a complete fucking mess when OK Computer finished". NME.
- Oldham, James (2020). "I was basically becoming unhinged... completely unhinged". Uncut Ultimate Music Guide: Radiohead: 55.
- "RADIOHEAD Kid A". Billboard. Archived from the original on 4 December 2000. Retrieved 15 March 2015.
- Leonard, Devin (3 May 2017). "Pitchfork Grows Up". www.bloomberg.com. Archived from the original on 21 November 2018. Retrieved 21 November 2018.
- "Kid A". Acclaimed Music. Archived from the original on 20 May 2007. Retrieved 31 March 2007.
- "43rd Annual Grammy Awards Winners". Grammy.com. Archived from the original on 2 April 2015. Retrieved 8 March 2015.
- "43rd Annual Grammy Awards – 2001". Rock on the Net. Archived from the original on 11 March 2015. Retrieved 9 March 2015.
- Phipps, Keith (1 September 2009). "Radiohead: Kid A / Amnesiac / Hail To The Thief (Deluxe Editions)". The A.V. Club. Archived from the original on 9 October 2014. Retrieved 8 September 2011.
- Mitchum, Rob (25 August 2009). "Radiohead: Kid A: Special Collectors Edition". Pitchfork. Archived from the original on 25 August 2011. Retrieved 8 September 2011.
- "Radiohead: Kid A". Q (362): 107. August 2016.
- "Radiohead: Kid A". Record Collector: 92.
[S]uitably liberated... These are recordings with soul...
- Sheffield, Rob (2004). "Radiohead". In Brackett, Nathan; Hoard, Christian (eds.). The New Rolling Stone Album Guide (4th ed.). Simon & Schuster. pp. 671–72. ISBN 0-7432-0169-8.
- "Top 100 albums of 2000–2004". Pitchfork. Archived from the original on 30 March 2015. Retrieved 15 March 2015.
- Cornish, Dale (28 September 2020). "Talking Heads Gone Bleep Techno: Radiohead's Kid A Turns 20". The Quietus. Retrieved 28 September 2020.
- Beaumont, Mark (11 October 2010). "Radiohead's Kid A: still not much cop". The Guardian. Archived from the original on 2 April 2015. Retrieved 15 March 2015.
- Ezell, Brice. "Is Everything in Its Right Place? A (Polite) Dissent to 'Kid A'". PopMatters. Archived from the original on 29 June 2017.
- Lynskey, Dorian (14 January 2016). "From Kid A to Straight Outta Compton – five flawed albums that became classics". The Guardian. Archived from the original on 29 May 2017. Retrieved 24 June 2017.
- Kent, Nick (1 June 2001). "Happy now?". Mojo.
- Frost, Thomas (May 2019). "Thom Yorke: Daydream nation". Crack Magazine. Archived from the original on 20 June 2019. Retrieved 21 June 2019.
- Blistein, Jon; Wang, Amy X. (30 March 2019). "Read David Byrne's Rock and Roll Hall of Fame Tribute to Radiohead". Rolling Stone. Archived from the original on 30 March 2019. Retrieved 30 March 2019.
- "The 500 Greatest Albums of All Time". Rolling Stone. 22 September 2020. Retrieved 23 September 2020.
- "Radiohead, 'Kid A' – 500 Greatest Albums of All Time". Rolling Stone. 31 May 2012. Archived from the original on 2 March 2015. Retrieved 8 March 2015.
- "RollingStone, '500 Greatest Albums of All Time". Archived from the original on 5 September 2014.
- "100 Best Songs of the 2000s". Rolling Stone. 17 June 2011. Archived from the original on 16 June 2018. Retrieved 16 June 2018.
- "The Top 50 albums, 2000–2005". Stylus magazine. 18 January 2005. Archived from the original on 6 March 2005. Retrieved 1 April 2007.
- "The All-Time 100 Albums". Time. 13 November 2006. Archived from the original on 24 April 2011. Retrieved 3 March 2009.
- "100 Best Albums of the Decade (2000–2009)" Archived 6 June 2017 at the Wayback Machine. Rolling Stone. Archived at rockonthenet.com. Retrieved 22 June 2010.
- "The Top 200 Albums of the 2000s: 20–1". Pitchfork. 2 October 2009. Archived from the original on 7 March 2016. Retrieved 2 October 2009.
- "The 100 best pop albums of the Noughties". The Times. 21 November 2009. Retrieved 26 December 2009.
- Thomson, Graeme (27 November 2009). "Albums of the decade No 2: Radiohead – Kid A". The Guardian. Archived from the original on 8 September 2013. Retrieved 10 October 2011.
- "Consequence of Sound's Top 100 Albums Ever". Consequence of Sound. 15 September 2010. Archived from the original on 16 November 2018. Retrieved 1 November 2019.
- "The 100 Best Albums of the 2000s". Fact. 1 December 2010. Archived from the original on 19 July 2017. Retrieved 25 July 2017.
- "The 100 best albums of the 21st century". The Guardian. 13 September 2019. Archived from the original on 13 September 2019. Retrieved 13 September 2019.
- "The 100 Best Albums Ever". Hot Press. 2006. Archived from the original on 9 July 2013. Retrieved 14 May 2007.
- "The 100 Greatest Albums of Our Lifetime 1993–2006". 2006. Archived from the original on 9 July 2013. Retrieved 25 April 2007.
- "The 100 Greatest British Albums Ever". NME. 2006. Archived from the original on 2 February 2015. Retrieved 25 April 2007.
- "The Top 100 Greatest Albums of The Decade". NME. 11 November 2009. Archived from the original on 11 July 2017. Retrieved 25 July 2017.
- Brandon Stosuy (2 November 2009). "Paste's 50 Best Albums Of The Decade". Paste. Archived from the original on 3 May 2019. Retrieved 1 November 2019.
- "The Top 200 Albums of the 2000s". Pitchfork. 2009. Archived from the original on 14 March 2016. Retrieved 19 October 2009.
- "Top 30 albums van de jaren 00". Platendraaier. 2015. Retrieved 16 September 2015.
- "The 100 Best Albums of the 2000s: 5-1". PopMatters. 9 October 2014. Archived from the original on 1 November 2019. Retrieved 1 November 2019.
- "100 Płyt 2000-2009 Na Świecie". Porcys. 2010. Retrieved 22 August 2020.
- "The 500 Greatest Albums of All Time". Rolling Stone. 2020. Retrieved 2 October 2020.
- "The 40 Greatest Stoner Albums: Radiohead, 'Kid A'". Rolling Stone. 2013. Archived from the original on 30 April 2014. Retrieved 13 July 2014.
- "100 Greatest Albums, 1985–2005". Spin Magazine. 2005. Archived from the original on 4 August 2009. Retrieved 14 May 2007.
- "The 50 Best Albums of 2000–2004". Stylus Magazine. 2005. Archived from the original on 6 March 2005. Retrieved 25 April 2007.
- Tyrangiel, Josh; Light, Alan (13 November 2006). "The All-Time 100 albums". Time. Archived from the original on 21 October 2011. Retrieved 5 May 2007.
- Robert Dimery; Michael Lydon (23 March 2010). 1001 Albums You Must Hear Before You Die: Revised and Updated Edition. Universe. ISBN 978-0-7893-2074-2.
- "2000-2015: The 50 best albums of the new millennium". Musikexpress. 23 July 2015. Archived from the original on 24 June 2019. Retrieved 24 February 2020.
- Josep Massot (27 December 2009). "'La Vanguardia' elige los álbumes de la década". La Vanguardia (in Spanish). Archived from the original on 5 April 2010. Retrieved 4 March 2020.
- "Coldplay, Radiohead to be reissued on vinyl". NME. 10 July 2008. Archived from the original on 16 February 2012. Retrieved 2 November 2011.
- Sherwin, Adam (28 December 2007). "EMI accuses Radiohead after group's demands for more fell on deaf ears". The Times. Archived from the original on 6 July 2008. Retrieved 29 August 2011.
- McCarthy, Sean (18 December 2009). "The Best Re-Issues of 2009: 18: Radiohead: Pablo Honey / The Bends / OK Computer / Kid A / Amnesiac / Hail to the Thief". PopMatters. Archived from the original on 20 December 2009. Retrieved 29 August 2011.
- Christman, Ed (4 April 2016). "Radiohead's Early Catalog Moves From Warner Bros. to XL". Billboard. Retrieved 6 May 2017.
- Spice, Anton (6 May 2016). "Radiohead to reissue entire catalogue on vinyl". thevinylfactory.com. Archived from the original on 26 August 2016. Retrieved 6 May 2017.
- "Radiohead Share Extended Version of Kid A's "Treefingers"". Pitchfork. Archived from the original on 21 February 2020. Retrieved 21 February 2020.
- Vozick-Levinson, Simon (9 May 2020). "Thom Yorke Discusses Anxious, Dystopian New Solo LP, 'Kid A' Anniversary Plans". Rolling Stone. Retrieved 12 August 2020.
- "Amazon.com: Radiohead: Kid A (Collector's Edition): Music". Amazon. Archived from the original on 12 April 2015. Retrieved 5 April 2015.
- "RADIOHEAD – Kid A [2CD+DVD] 2009 [COLLECTOR'S EDITION] Box Set: €24.95". Silver Tentacle, Music Store. Archived from the original on 12 April 2015. Retrieved 5 April 2015.
- "Australiancharts.com – Radiohead – Kid A". Hung Medien. Retrieved 18 June 2017.
- "Austriancharts.at – Radiohead – Kid A" (in German). Hung Medien. Retrieved 18 June 2017.
- "Ultratop.be – Radiohead – Kid A" (in Dutch). Hung Medien. Retrieved 18 June 2017.
- "Ultratop.be – Radiohead – Kid A" (in French). Hung Medien. Retrieved 18 June 2017.
- "Radiohead Chart History (Canadian Albums)". Billboard. Retrieved 18 June 2017.
- "Dutchcharts.nl – Radiohead – Kid A" (in Dutch). Hung Medien. Retrieved 18 June 2017.
- "Lescharts.com – Radiohead – Kid A". Hung Medien. Retrieved 18 June 2017.
- "GFK Chart-Track Albums: Week 40, 2000". Chart-Track. IRMA. Retrieved 18 June 2017.
- "Italiancharts.com – Radiohead – Kid A". Hung Medien. Retrieved 18 June 2017.
- "Charts.nz – Radiohead – Kid A". Hung Medien. Retrieved 18 June 2017.
- Salaverri, Fernando (September 2005). Sólo éxitos: año a año, 1959–2002 (1st ed.). Spain: Fundación Autor-SGAE. ISBN 84-8048-639-2.
- "Swedishcharts.com – Radiohead – Kid A". Hung Medien. Retrieved 18 June 2017.
- "Swisscharts.com – Radiohead – Kid A". Hung Medien. Retrieved 18 June 2017.
- "Official Albums Chart Top 100". Official Charts Company. Retrieved 18 June 2017.
- "Radiohead Chart History (Billboard 200)". Billboard. Retrieved 18 June 2017.
- "ARIA End of Year Albums Chart 2000". Australian Recording Industry Association. Retrieved 8 September 2020.
- "Jaaroverzichten 2000". Ultratop. Retrieved 8 September 2020.
- "Rapports Annuels 2000". Ultratop. Retrieved 8 September 2020.
- "Jaaroverzichten – Album 2000". dutchcharts.nl. Retrieved 8 September 2020.
- "Top de l'année Top Albums 2000" (in French). SNEP. Retrieved 8 September 2020.
- "End of Year Album Chart Top 100 – 2000". Official Charts Company. Retrieved 17 August 2020.
- "Billboard 200 - 2000 Year-end charts". Billboard. Retrieved 1 June 2020.
- "ARIA Charts – Accreditations – 2001 Albums". Australian Recording Industry Association. Archived from the original on 10 August 2020.
- "Canadian album certifications – Radiohead – Kid A". Music Canada. Retrieved 5 September 2018.
- "French album certifications – Radiohead – Kid A" (in French). Syndicat National de l'Édition Phonographique. Retrieved 24 April 2018.
- "Japanese album certifications – Radiohead – Kid A" (in Japanese). Recording Industry Association of Japan. Retrieved 5 October 2019. Select 2001年6月 on the drop-down menu
- "New Zealand album certifications – Radiohead – Kid A". Recorded Music NZ. Retrieved 4 June 2019.
- "IFPI Norsk platebransje Trofeer 1993–2011" (in Norwegian). IFPI Norway.
- "British album certifications – Radiohead – Kid A". British Phonographic Industry. Retrieved 17 June 2017. Select albums in the Format field. Select Platinum in the Certification field. Type Kid A in the "Search BPI Awards" field and then press Enter.
- "American album certifications – Radiohead – Kid A". Recording Industry Association of America. Retrieved 17 June 2017. If necessary, click Advanced, then click Format, then select Album, then click SEARCH.
- DeSantis, Nick. "Radiohead's Digital Album Sales, Visualized". Archived from the original on 22 February 2019. Retrieved 30 January 2018.
- "IFPI Platinum Europe Awards – 2000". International Federation of the Phonographic Industry. Retrieved 2 February 2020.
Further reading
- Lin, Marvin (25 November 2010). Radiohead's Kid A. 33⅓ series. New York: Continuum International Publishing Group. ISBN 978-0-8264-2343-6.
- Ed's Diary: Ed O'Brien's studio diary from Kid A/Amnesiac recording sessions, 1999–2000 (archived at Green Plastic)
- Marzorati, Gerald. "The Post-Rock Band". The New York Times. 1 October 2000. Retrieved on 4 November 2010.
- "All Things Reconsidered: The 10th Anniversary of Radiohead's 'Kid A'" (a collection of articles). PopMatters. November 2010. Retrieved on 4 November 2010.