In the space of one album, though, Radiohead circumvented all that.

For every Suede, Blur, Pulp, or Elastica, there were many lesser, reactionary Oasis clones reviving the sullen, laddish classic rock stances new wave rightly rendered cornball. It came out amid the Britpop explosion, which brought out dodgy imitators just like grunge. Their second album, 1995’s The Bends, completely reversed my dismissal. Their clothes were godawful Yorke’s dancing was worse. we didn’t need these Brits stumbling about as if they too were shooting smack. There were plenty of second-hand, third-tier, fake-Seattle bands canvassing the U.S. I’d heard “Creep” as a perfect piece of outsider pop, an anthem for all of us who were told we “don’t belong here.” But Thom Yorke’s then-bleached Cobain-esque hair and the belabored dread of their other early songs suggested Radiohead secretly aspired to be insiders, which didn’t suit them. Slacker bands were suddenly aspiring to be rock stars like Nirvana, who hated being rock stars, and that contradiction made many-including Radiohead at this early stage-conflicted and awkward. Grunge was making every kind of rock heavier, often to a fault. sold nearly a million copies in 1993-a record-breaking achievement. I saw Radiohead open for college radio faves Belly the same week Pearl Jam’s Vs. But I’ll always remember writing about Radiohead’s OK Computer for SPIN 20 years ago.įirst, a little background. Having been a professional critic for several decades, I’ve reviewed something like a thousand records and concerts.

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