Radiohead – Amnesiac [Number 1 Album in the UK – 10th June 2001]


Amnesiac – Full album –

Pyramid Song –

Knives Out –

I Might Be Wrong –


***                  Pablo Honey (Capitol, 1993)
*****              The Bends (Capitol, 1995)
*****              OK Computer (Capitol, 1997)
*****              Kid A (Capitol, 2000)
****1/2          Amnesiac (Capitol, 2001)

According to the script, Radiohead was supposed to disappear after its flukey 1993 smash, “Creep,” leaving only fond memories of Thom Yorke’s Martin-Short-after-electroshock yodel and that wukka-wukka guitar hook. Certainly nothing else on Pablo Honey hinted at things to come. But then Radiohead shocked the world with the wide-screen psychedelic glory of The Bends, the album that raised these pasty British boys to a very Seventies kind of U.K. art-rock godhead. The depressive ballad “Fake Plastic Trees” turned up in Clueless, in which Alicia Silverstone memorably tagged the band “complaint rock.” In big-bang dystopian epics like “High and Dry,” “Planet Telex,” and “Street Spirit (Fade Out),” Yorke’s choirboy whimper runs laps around Jonny Greenwood’s machine-head guitar heroics. U2 would have sold crack to nuns to make this record.

Radiohead officially became kings of rock with their next album, OK Computer, which zooms even further into futuristic mind games and headphone textures than The Bends, even if it’s not quite as lyrical. OK Computer kicks off with “Airbag,” the catchiest song ever written about a car crash, disintegrating into electronic chaos at the end as guitarists Jonny Greenwood and Ed O’Brien warp their instruments into a DJ Shadow–inspired glitch-core coda. Things only get bleaker from there, in darkly emotional ballads such as “Let Down,” “No Surprises,” and “Exit Music for a Film.” The seven-minute nervous breakdown “Paranoid Android” became a surprise U.K. pop hit. If Pink Floyd ever made an album this good, they kept it to themselves. Radiohead were claiming the high ground abandoned by Nirvana, Pearl Jam, U2, R.E.M., everybody; and fans around the world loved them for trying too hard at a time when nobody else was even bothering. Naturally, the band celebrated success with Meeting People Is Easy, a rockumentary about how depressed they were.

Radiohead’s response to all the acclaim was to get even weirder, laboring over the sessions that spawned Kid A and Amnesiac. Kid A is a detour into electronics riddled with anxiety and paranoia, but once again, Radiohead defied all expectations by reinventing themselves and only getting more popular. “Morning Bell,” “How to Disappear Completely,” and “Idioteque” were brutally beautiful ballads of emotional disintegration, caught between the lines “this isn’t happening” and “this is really happening.” Some fans hailed Kid A as a masterwork; others feared the band was turning into Jefferson Laptop. But Radiohead saved equally great songs for the second half, Amnesiac. “You and Whose Army?” beams in from the fifth side of the White Album; “I Might Be Wrong” rewires the Allman Brothers even as “Knives Out” rewires the Smiths’ The Queen Is Dead; and it all reaches an unlikely emotional peak in the two-minute guitar solo “Hunting Bears.” I Might Be Wrong is an ace live album featuring a new song, “True Love Waits.” Topping the charts with zero airplay, refusing to kiss a square inch of ass, too busy rewriting the rules to follow anyone else’s, Radiohead remained the kings, and the worst you could say is that they’re willing to fall on their faces.

The New Rolling Stone Album Guide (Fireside, 2004).


1 Packt Like Sardines In A Crushd Tin Box 4:00
2 Pyramid Song 4:48
3 Pulk/Pull Revolving Doors 4:07
4 You And Whose Army? 3:11
5 I Might Be Wrong 4:53
6 Knives Out 4:14
7 Morning Bell/Amnesiac 3:14
8 Dollars & Cents 4:51
9 Hunting Bears 2:01
10 Like Spinning Plates 3:57
11 Life In A Glasshouse 4:34


Artwork [Pictures Drawn By] – Tchocky

Artwork [Pictures Drawn By], Design – Stanley Donwood

Engineer [Assistant] – Gerard Navarro (tracks: 1 to 10), Graeme Stewart (tracks: 1 to 10)

Producer, Engineer – Nigel Godrich

Producer, Written By – Radiohead

Radiohead – Amnesiac (full album) [Number 1 Album in the UK – 10th June 2001]


Radiohead – Amnesiac [No. 1 Album – UK – 10th June 2001] –

Pyramid Song –

Knives Out –

I Might Be Wrong –

1. Packt Like Sardines In A Crushd Tin Box – 0:00
2. Pyramid Song – 4:00
3. Pulk/Pull Revolving Doors – 8:49
4. You And Whose Army? – 12:57
5. I Might Be Wrong – 16:07
6. Knives Out – 21:00
7. Morning Bell/Amnesiac – 25:14
8. Dollars and Cents – 28:30
9. Hunting Bears – 33:21
10. Like Spinning Plates – 35:22
11. Life in a Glasshouse – 39:19

Radiohead – Pyramid Song (single) – Amnesiac (album) [Number 1 Album in the UK – 10th June 2001]


Radiohead – Amnesiac [No. 1 Album – UK – 10th June 2001] –

Amnesiac – Full album –

Knives Out –

I Might Be Wrong –

Radiohead – I Might Be Wrong (single) – Amnesiac (album) [Number 1 Album in the UK – 10th June 2001]


Radiohead – Amnesiac [No. 1 Album – UK – 10th June 2001] –

Amnesiac – Full album –

Pyramid Song –

Knives Out –

Radiohead – Knives Out (single) – Amnesiac (album) [Number 1 Album in the UK – 10th June 2001]


Radiohead – Amnesiac [No. 1 Album – UK – 10th June 2001] –

Amnesiac – Full album –

Pyramid Song –

I Might Be Wrong –

29th May – Released Today – 2012 (Regina Spektor – What We Saw From The Cheap Seats)


What We Saw from the Cheap Seats is the sixth studio album by American alternative singer-songwriter Regina Spektor.

The album was recorded in Los Angeles during the summer of 2011 with Mike Elizondo, who has worked with artists such as Dr. Dre, Eminem, Fiona Apple, Nelly Furtado, Maroon 5 and Alanis Morissette.

What We Saw from the Cheap Seats is a collection of new material along with the very first studio recordings of several of Spektor’s older live songs.

“Spiking piano-driven songs of heartbreak with comic turns of phrase, cartoon voices and beatboxing outbursts, Regina Spektor has become her generation’s Joni Mitchell– a singer-songwriter who nail-guns emotional truths between wisecracks. Her latest, even tighter and more flamboyant than 2009’s Far, may be her best. Exhibit A: “Firewood,” which treats mortal illness (a recurring theme for her) with elegant surrealism, imagining a piano used for kindling while boldly telling a comrade to “Rise from your cold hospital bed/I tell you, you’re not dying.” Elsewhere, “Ballad of a Politician” is sharp satire, instructing a handshaking officeholder to “Shake it, shake it, baby!” Even apparent novelty songs carry a payload. “Oh Marcello” is a Mafioso narrative with outrageous accents and real pathos; “Open” employs a hysterical gasp for air as a percussive vocal device, to unnervingly powerful effect. “All the Rowboats,” which denounces museums as “public mausoleums,” is telling, coming from a classical-music defector. But more so is “Small Town Moon,” with its mouthful of “baby baby”s and “Whoo!”s, working a delicious metaphor for pursuing your own muse, damn the torpedoes. Here’s hoping Spektor never stops” – ***1/2, Will Hermes, Rolling Stone May 2012

Regina Spektor has come a mighty long way from the grotty East Village bars of the anti-folk scene at which she first started plying her hiccupping, jazz-garnished piano pop trade in at the start of the millennium. Yet even though her sixth album, ‘What We Saw From The Cheap Seats’, was recorded in the glossier surrounds of Los Angeles, on the cover she’s sporting a grandiose military-esque hat atop her ringlets, just like on her first major label record, 2004’s ‘Soviet Kitsch’. In another nod to her past she’s rehashed ‘Don’t Leave Me (Ne Me Quitte Pas)’ for this album, from 2002’s self-released ‘Songs’.

She’s done this before of course, when ‘Samson’ was swiped from the same record to go on 2006’s ‘Begin To Hope’. But why? “These songs come back because they’ve been on a really sparse record,” Spektor explained to NME last month. “I feel like I need to produce them properly, and I can’t rest until that’s done.” It’s true that the new version of ‘Don’t Leave Me…’ is a more polished, brass-boasting beast than the original, but it’s not the most sensational song here, despite being picked as the record’s second single.

As usual, it’s Spektor’s unforced way with a ballad – the sort that will have sensitive young women sobbing into their iPods on the last bus home – that cuts to the emotional quick. The elegant ‘Firewood’ is deceptively simple, managing to skip the schmaltz even when Spektor morphs into a wise auntie, brandishing a tissue and cup of sugary tea, promising: “Everyone knows you’re going to love/Though there’s still no cure for crying”. As remarkable is ‘How’, which is one bottle of Cristal away from being a ’90s R&B belter. Close your eyes and you can imagine Mariah crooning it in a multi-million dollar music video involving candelabras and corsetry while pointing to the sky. In Spektor’s hands it’s not a flashy exercise in the high art of cringe, but a welcoming salvo of true romance” – 8/10, Leonie Cooper, NME


1. Small Town Moon

2. Oh Marcello

3. Don’t Leave Me (Ne Me Quitte Pas)

4. Firewood

5. Patron Saint

6. How

7. All the Rowboats

8. Ballad of a Politician

9. Open

10. The Party

11. Jessica

All songs written by Spektor except 2 – Spektor w/ interpolation by Bennie Benjamin, Sol Marcus, and Gloria Caldwell (“Don’t Let Me Be Misunderstood”)


Regina Spektor: vocals, piano (1-10), keyboards (2-10), marimba (3), co-producer, songwriter

Mike Elizondo: producer, bass (1, 3, 5, 7-10), upright bass (2, 4, 6), electric guitar (1, 6, 7), acoustic guitars (11), programming (3, 5, 7)

Aaron Sterling: drums (1, 3-7, 9), percussion (1, 5, 7), marimba (3)

Jay Bellerose: drums (2, 7, 10), percussion (2, 10), bongos (10)

Danny T. Levin: trumpet (3)

David Moyer: baritone and tenor saxophone (3)

Jack Dishel: vocals (3, 5)

John Daversa: trumpet (10)

Regina Spektor – All the Rowboats (single) – What We Saw from the Cheap Seats (album)


All the Rowboats is the 1st single from Regina Spektor’s What We Saw from the Cheap Seats album.

Released February 2012.

Regina Spektor – Don’t Leave Me (Ne Me Quitte Pas) (single) – What We Saw From The Cheap Seats (album)

regina - 2nd single

Don’t Leave Me (Ne Me Quitte Pas) is the second single from Regina Spektor’s What We Saw From The Cheap Seats album.

It was released March 2012.

Regina Spektor – How (single) – What We Saw From The Cheap Seats (album)

Regina - How

How is the third single from Regina Spektor’s What We Saw From The Cheap Seats album.

Released October 2012.