Radioheads OK Computer (33 1/3)
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The concept album emerged. Through the entire album era, music made by innovators like Marvin Gaye, Stevie Wonder, Prince, Kate Bush, and Public Enemy had made its way into the rock-stuffed canon, but they were often the exception. The Beatles opened the floodgates with Sgt. But such dire predictions were unwarranted, and albums maintained their supremacy. They opened for R.
Calling all rock critics for the 33 1/3 series open submissions
The group bought their own recording equipment and got to work—first in a mobile studio called Canned Applause and then in a 15th-century mansion owned by actress Jane Seymour—with producer Nigel Godrich. Apparently, a Macintosh robot voice droning about frozen shit did not scream superstardom. Capitol glued promo copies inside 1, cassette players and sent them to the press, radio stations, and retailers.
Enter the critics. Many of the reviews, including a out-of exaltation from influential UK weekly NME , appeared to take the primacy of rock as a given.
This gloomy, fidgety album about alien abductions and crushed bugs was a huge sensation. Whether or not Radiohead knew it, the technological warnings implicit on OK Computer would soon come to pass in a way that would disrupt the idea of an album, as a commercial and aesthetic unit, forever.
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Print journalism, which had thrown all of its weight behind OK Computer , saw its business collapse around the same time and for similar reasons. Though other rock groups had dabbled in techno flourishes before, Kid A once again sounded like the future. Rock lost what remained of its commercial and cultural centrality in the years that followed.
Radiohead's OK Computer (33 1/3 Series)
The burgeoning critical consensus that chart titans could be as significant as rock auteurs earned a name: poptimism. Over the last few years, the traditional album has faced new problems. The shape of the album to come remains to be envisioned.
In , OK Computer sits comfortably as a cultural touchstone, its inventiveness somewhat worn down by ubiquity. Library of Congress archive. Its songs have turned into boilerplate TV shorthand for dystopian alienation. Twenty years later, is this what we get? What binds this series together, and what brings it to life, is that all of the authors - musicians, scholars, and writers - are deeply in love with the album they have chosen.
Previous titles in this now well-established series have beaten sales expectations and received excellent review coverage - the third batch is sure to continue this success. More titles follow in the spring of Toggle navigation.
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