Underground pioneers of the digital revolution.
Never settling for genre archetypes, Radiohead incorporated a wide variety of musical influences - from Pink Floyd to R.E.M. - that challenge even the most dedicated fan. They flipped the music industry on its head.
Founded in the mid-Eighties by schoolboys from outside Oxford, England, Radiohead – who took the name from a Talking Heads song – are the most compelling paradox in modern rock: a worldwide commercial sensation with a restless, experimental vision and underground-pioneer spirit.
Radiohead’s blistering 1992 single “Creep” took a year to move into Britain’s Top Ten and the American Top Forty but became a smash. Singer-lyricist Thom Yorke, bassist Colin Greenwood, drummer Philip Selway, and guitarists Ed O’Brien and Jonny Greenwood (Colin’s younger brother) – reacted to that breakthrough with a dramatic turn away from the mainstream. The jarring guitar dynamics and harrowing balladry of 1995’s The Bends was a gripping prelude to the majestic art-rock futurism and dystopian warning of the 1997 masterpiece and multi-platinum best-seller, OK Computer.
Heralded as their era’s answer to Pink Floyd and the Beatles, Radiohead again turned their backs on success and expectation, entering the next century with two albums that set Yorke’s seething introspection and heated, social argument in unpredictable whirls of electronic minimalism, slashing-guitar turbulence and radical textural invention - Kid A (2000)and Amnesiac (2001).
Kid A, ironically, was Radiohead’s first Number One album in America, affirming the band’s drive to continually challenge itself and its audience over the next two decades through critical and commercial triumphs such as In Rainbows (2007) and A Moon Shaped Pool (2016). Radiohead have also been instrumental in the digital transformation of the record industry, setting precedents with the pay-what-you-want release of In Rainbows and the sudden, digital drop of The King Of Limbs (2011).
But, as O’Brien once said, the secret to Radiohead’s innovation and independence is simple: “We start with what we don’t want to do next.” They continue to fill arenas, connect with audiences, and serve as role models for new bands.
“Creep” (1992) • “My Iron Lung,” “Street Spirit (Fade Out),” The Bends (1995) • “Paranoid Android,” “Karma Police,” OK Computer (1997) • “Everything In Its Right Place,” “The National Anthem,” Kid A (2000) • “Knives Out,” Amnesiac (2001) • “There, There,” Hail To The Thief (2003) • “Nude,” In Rainbows (2007) • The King Of Limbs (2011) • “Burn The Witch,” “Daydreaming,” A Moon Shaped Pool (2016)
Beginning October 9 and continuing through 11:59 p.m. EST on December 9, 2018, fans can cast votes for who they believe to be most deserving of induction into the Rock & Roll Hall of Fame.
The top five artists, as selected by the public, will comprise a “fans’ ballot” that will be tallied along with the other ballots to choose the 2019 inductees. Fans will need to login to vote. Voting is capped at one ballot per day.