CD1

01.You [03:29]
02.Creep [03:56]
03.How Do You? [02:12]
04.Stop Whispering [05:26]
05.Thinking About You [02:42]
06.Anyone Can Play Guitar [03:38]
07.Ripcord [03:10]
08.Vegetable [03:13]
09.Prove Yourself [02:25]
10.I Can't [04:13]
11.Lurgee [03:08]
12.Blow Out [04:42]

CD2 

01.Prove Yourself (Demo) [02:33]
02.Stupid Car (Demo) [02:26]
03.You (Demo) [03:24]
04.Thinking About You (Demo) [02:16]
05.Inside My Head [03:12]
06.Million Dollar Question [03:18]
07.Yes I Am [04:26]
08.Blow Out (Remix) [04:19]
09.Inside My Head (Live) [03:06]
10.Creep (Acoustic) [04:19]
11.Vegetable (Live) [03:09]
12.Killer Cars (Live) [02:15]
13.Faithless The Wonder Boy [04:14]
14.Coke Babies [03:00]
15.Pop Is Dead [02:13]
16.Banana Co (Acoustic) [02:27]
17.Ripcord (Live) [03:15]
18.Stop Whispering (US Version) [04:11]
19.Prove Yourself (BBC Radio 1 Evening Session) [02:28]
20.Creep (BBC Radio 1 Evening Session) [04:02]
21.I Can't (BBC Radio 1 Evening Session) [03:55]
22.Nothing Touches Me (BBC Radio 1 Evening Session) [03:50]

Originally released in 1993, Pablo Honey harkens back to an era when Radiohead was just that new British band with the latest quiet verse/loud chorus song, 'Creep' (to their much-publicized chagrin). The album is now being re-released, along with The Bends and OK Computer, as a special collectors edition.

Pablo Honey is of its time; this is not the pensive Radiohead that emerged in subsequent recordings. The band on this album sounds more like grunge-influenced Brit-pop. Bucking this trend, 'Prove Yourself' is thoughtful and expansive and 'Blow Out' carries that even further, alternating between chill and dense layers of sound. A curious spirit of experimentation touches everything, foreshadowing the more complex musical exploration Radiohead would bring their next album, 'The Bends.'

Disc two gathers all major EPs, singles, b-sides and live recordings related to the album. Early and alternate versions tend to be simpler, without the layers of production and sound found on the album proper, and the performances are often more dynamic and engaging. From the pre-album 'Drill' EP, 'Prove Yourself' is raw and more vulnerable here and 'Thinking Of You' feels more like a punk tune played in a garage instead of the folk song sung out the window of a moving car vibe of its album counterpart.

Live tracks are solid and for the most part are passionate and energized; 'Inside Of My Head' and 'Killer Cars' from the single for 'Creep' are excellent examples. The final four tracks, from the BBC Sessions, are more subdued and cautious but still tight and interesting.

Almost all non-album songs stand on their own; very few could be classified as second-tier material. From the 'Anyone Can Play Guitar' single, 'Faithless, The Wonderboy' is catchy and complex and 'Coke Babies' gently carries the listener in a trance into a lush world of noise and sound. 'Pop Is Dead,' a stand-alone single, is clever and humorous rock satire.

Together, these tracks paint a picture of a band squarely focused on the music, with a gift for storytelling and creating emotional experiences, with a diverse musical vocabulary. It's a testament to the depth of Radiohead's talent and an indicator of great things to come.

This edition contains no previously unreleased material, so Radiohead completists may already have everything here. But for fans that for whatever reason have not scoured the planet for these recordings, having them neatly assembled will be greatly appreciated. Beyond that, viewed in its own context, the second disc adds something real and deepens the overall musical experience. ---ign.com

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CD1

1. Just
2. Paranoid Android
3. Karma Police
4. Creep
5. No Surprise
6. High and Dry
7. My Iron Lung
8. There There
9. Lucky
10. Optimistic
11. Fake Plastic Tree
12. Idioteque
13. 2+2=5
14. The Bends
15. Pyramid Song
16. Street Spirit(Fade Out)
17. Everything In Its Right Place

CD2

1. Airbag
2. I Might Be Wrong
3. Go to Sleep
4. Let Down
5. Planet Telex
6. Exit Music(For a Film)
7. The National Anthem
8. Knives Out
9. Talk Show Host
10. You
11. Anyone Can Play Guitar
12. How to Disappear Completely
13. True Love Waits

- Thom Yorke - vocals, guitars
- Jonny Greenwood - guitars
- Colin Greenwood - bass
- Ed O`Brien - guitars
- Phil Selway - drums

This review will be short, these last days the Radiohead fever has been spreading everywhere here in Mexico, the band will perform here (at last) the next March 15th and 16th, fortunately i am going to both shows, well the case is that fever led me to spend some minutes in writing a Radiohead review, i have reviewed so far almost all their albums, so one day i will complete the discography reviews.

This is the first compillation the band released oficially along with a DVD version of the same The Best of, there are 2 formats, a single CD or a 2CD set, and what this compillation offers are basically the better known songs from the band, a very popular and great band, so i bet any of you is familiar with at least 3 songs. you will find here their hits from their first album, Pablo Honey to Hail to the Thief, (no In Rainbows) with the addition of True Love Waits from the I Might Be Wrong Live EP and True Love Waits, whicc is a B-Side. Just to mention some of my favourite tracks, Lucky, Street Spirit, Just, How to Dissapear Completely, Fake Plastic Trees, My Iron Lung, There There among others.

This is a nice CD compillation for those who are not really fans of the band, if you do not want to spend your money getting their studio albums, you may find useful this Best Of. For newbies, it is not a bad introduction, though i always recommend first listening to an studio album rather than a Best Of. And for fans, get it and collect it, it wont harm. ---memowakeman, progarchives.com

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CD1
1 	15 Step	3:58
2 	Bodysnatchers 	4:02
3 	Nude 	4:15
4 	Weird Fishes/Arpeggi 	5:18
5 	All I Need 	3:48
6 	Faust Arp 	2:09
7 	Reckoner 	4:50
8 	House Of Cards 	5:28
9 	Jigsaw Falling Into Place 	4:08
10 	Videotape 	4:41

CD2
1 	Mk 1 	1:03
2 	Down Is The New Up 	4:59
3 	Go Slowly 	3:48
4 	Mk 2 	0:53
5 	Last Flowers 	4:26
6 	Up On The Ladder 	4:17
7 	Bangers + Mash 	3:19
8 	4 Minute Warning 	4:08

Radiohead Are:  Colin Greenwood, Ed O'Brien, Jonny Greenwood, Philip Selway, Thom Yorke
+
Backing Vocals – Matrix Music School (tracks: A1)
Concertmaster [Strings Led By] – Everton Nelson
Conductor [Strings] – Sally Herbert
Strings – The Millennia Ensemble 

The good news: With In Rainbows Radiohead may well have created their own Physical Graffiti. Drawn from over 10 years of sketches, outtakes and live renditions that finally get nailed, it's a veritable summation of everything you love about them – from rhythmically challenging jazz funk prog to droning repetitive exhumations of the socio-political conscience (rock 'n' roll…phew). Of course it's ironic that the band has finally released what to many fans will be the true heir to OK Computer as what is ostensibly a freebie. Their new marketing and distribution model may be making a mockery of conventional business models, but it’s also making a mockery of the critic's job too. How to sum up what is obviously a MAJOR work after just a morning's worth of plays?

In Rainbows proves, once and for all that Radiohead still have the will and desire to not just weird us all out, but to make achingly, desperately beautiful music. Beginning with some of that familiar Warp-inspired glitchiness, opener, "15 Step"'s children’s voices and odd-meter clapping is astoundingly uplifting. "Bodysnatchers" is the kind of crunchy guitar rock that we’d all given up hope that they’d ever record again and "Weird Fishes/Arpeggi" takes Johnny Greenwood’s orchestral piece and turns it into a chiming thing of post-rock wonder. Already they've made you feel guilty for not donating more money for your download…

Every song’s nuances are exquisite, but problems do arise when you try to get inside the lyrics. Sometimes In Rainbows seems almost wilfully mixed to obscure Yorke’s words. Like an early Can album, little dislocated phrases or repeated mantras jump out. Shorn of context and usually sung in a slurred delivery that’s become more pronounced, this can have a deeply (and one suspects deliberately) disturbing effect.

However themes do emerge: One being the surprising inclusion of several songs about ‘relationships’. But while the opening line on “House Of Cards”, (‘I don’t want to be your friend, I just want to be your lover’) may have you worrying that Thom's turning into Prince, this is still Radiohead we’re listening to. "All I Need" is a string-drenched song of desire and dependency, but comes equipped with lines like: 'I'm the next step waiting in the wings. I’m an atom bomb trapped in your hot car', How utterly romantic.

So, big sighs of relief all round. In Rainbows is the sound of a band who effortlessly straddle the avant garde/popular divide, and also sound like they actually enjoy being themselves again. They’re back at the top of their game. Now go back and pay some more, all you 50 pence donators. This is a band that needs all the support we can give them. ---Chris Jones, BBC Review

Twórczością Radiohead zainteresowałem się po obejrzeniu filmu "In Rainbows - From the Basement". To zarejestrowany w 2008 roku występ zespołu w telewizyjnym studiu londyńskiego The Hospital Club - na żywo, ale bez udziału publiczności. Materiał został później wyemitowany w telewizji, a następnie jego fragmenty udostępniono do pobrania w sklepie iTunes, oraz na DVD dołączonym do japońskiego wydania albumu "In Rainbows". Na repertuar złożyło się tylko kilka starszych kawałków (głównie z "Hail to the Thief"), a reszta materiału pochodziła z właśnie wydanego - początkowo wyłącznie w formie cyfrowych plików do ściągnięcia za dowolną kwotę, po dwóch miesiącach także fizycznie - "In Rainbows". Podczas tego występu zespół wypadł naprawdę intrygująco i porywająco, m.in. dzięki wysunięciu na pierwszy plan sekcji rytmicznej (z wyrazistymi partiami basu) i dziwaczne elektroniki, bardziej zakręconych partii gitar i mniej wyeksponowanego śpiewu.

Niestety, w albumowej wersji materiał ten już tak bardzo nie zachwyca. Początek jest nawet całkiem obiecujący. "15 Step" to kolejny w repertuarze grupy kawałek udatnie łączący elektroniczny podkład z tradycyjnymi brzmieniami gitarowymi. Natomiast następujący tuż po nim "Bodysnatchers" to dość pokręcony kawałek z mocno przesterowanym brzmieniem. Takie Radiohead lubię najbardziej. W tych dwóch kawałkach zespół najbardziej zbliżył się do tego, co zaprezentował na "From the Basement". Jednak już w trzecim na trackliście "Nude" robi się... nudno. To jedna z tych smętnych ballad, które zespół tak bardzo upodobał sobie w czasach "Ok Computer". Bardzo anemicznie i konwencjonalnie wypada także znaczna część kolejnych kawałków: "Weird Fishes / Arpeggi", akustyczny "Faust Arp", "Reckoner", a zwłaszcza do bólu zwyczajny i nijaki "House of Cards". Ciekawiej prezentuje się "All I Need" z bardziej elektronicznym podkładem i fajnym, niższym śpiewem Thoma Yorke'a. Nie można też przejść obojętnie obok bardziej dynamicznego i naprawdę chwytliwego "Jigsaw Falling into Place". A finałowa ballada "Videotape", choć znów nieco smętna i anemiczna, doskonale sprawdza się jako zakończenie albumu.

Na tym jednak nie koniec, bo niektóre fizyczne wydania albumu zawierają także dodatkowy dysk (wydany także oddzielnie, jako EP "In Rainbows Disk 2") z ośmioma bonusowymi nagraniami. Właściwie sześcioma, gdyż "MK 1" i "MK2" to tylko elektroniczne miniaturki. Pomijając smętne "Go Slowly" i "4 Minute Warning", jest to całkiem udany materiał. Utwory w rodzaju zadziornego "Up on the Ladder" i agresywnego "Bangers + Mash" zdecydowanie powinny zająć miejsce co słabszych fragmentów podstawowego wydania.

Ogólnie "In Rainbows" nie jest słabym longplayem, ale mocno nierównym (co zresztą jest problemem wszystkich albumów Radiohead, z wyjątkiem "Kid A", choć tutaj chyba najmocniej to dokucza). Jednak dzięki wersjom większości utworów z "From the Basement" można przekonać się, że to nie wina samych kompozycji, a ich wykonania, wygładzonego brzmienia i miksu, który nie uwypukla tego, co najciekawsze. ---Paweł Pałasz, pablosreviews.blogspot.com

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01 – Aribag
02 – No Suprises
03 – Paranoid Android
04 – Talk Show Host
05 – Wish You Were Here
06 – Killer Cars
07 – Wonderwall
08 – Blow Out
09 – Street Spirit
10 – Just

Members: 
Colin Greenwood, Ed O'Brien, Jonny Greenwood, Phil Selway, Thom Yorke

Radiohead is an English band from Oxfordshire, UK. Their name comes from the Talking Heads song, "Radio Head", from the "True Stories" album.

Formed by school friends in 1986, Radiohead did not release their first single until 1992’s “Drill EP”. The cathartic "Creep", from the debut album "Pablo Honey" (1993), became a worldwide hit as grunge music dominated radio airwaves.

Radiohead were initially branded as a one-hit wonder abroad, but caught on at home in the UK with their second album, "The Bends" (1995), earning fans with their dense guitar atmospheres and front man Thom Yorke’s expressive singing. The album featured the hits “High & Dry”, “Just” and "Fake Plastic Trees".

The band’s third album, "OK Computer" (1997), propelled them to greater attention. Popular both for its expansive sound and themes of modern alienation, the album has been acclaimed by critics as a landmark record of the 1990's, some critics go as far to consider it one of the best of all time. "Kid A" (2000) marked further evolution, containing influences from experimental electronic music.

"Hail To The Thief" (2003) was seen as a conventional return to the guitar and piano-led rock sound. After fulfilling their contract with EMI, Radiohead released "In Rainbows" (2007) famously via a pay-what-you-want model. Their latest album, "The King Of Limbs" was released in February 2011.

Radiohead’s original influences were cited as alternative rock and post-punk bands like The Smiths, Pixies, Magazine, Joy Division, and R.E.M. (with lead singer of the band, Thom Yorke, refering to himself as an 'R.E.M. groupie'). --- discogs.com

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1. "Bloom" – 5:14
2. "Morning Mr Magpie" – 4:40
3. "Little By Little" – 4:27		play
4. "Feral" – 3:12					play
5. "Lotus Flower" – 5:00
6. "Codex" – 4:46
7. "Give Up The Ghost" – 4:50
8. "Separator" – 5:20

Musicians:
Colin Greenwood, bass; 
Jonny Greenwood, guitar, keyboards; 
Ed O'Brien, guitar, vocals; 
Phil Selway, drums; 
Thorn E. Yorke, vocals, guitar.

Radiohead’s sense of timing is quite something. Just when it looks like Arcade Fire, on a high after victory at the Grammy and Brit awards, are set to become The Biggest Band In The World, the Oxford five-piece confirm that their eighth album isn’t only done, but yours for a few bucks in mere seconds – no need to get dressed, let alone leave the house. When it looks like teenage hip hop crew Odd Future are going to send Twitter into meltdown on the back of an alarming video, these old-timers position their own promo clip online, sit back and watch social networks collapse under the weight of a million thumbs-in-a-frenzy sorts expressing their adoration.

Their grasp of timing, in an arrangements-versus-attentions sense, is equally remarkable. Just as 2007’s In Rainbows shaved several minutes from the run-time of the preceding Hail to the Thief, so The King of Limbs cuts the(ir) full-length form down to a concise eight tracks and 37 minutes. It’s the band’s shortest-ever album, perfectly tuned to the listener of the 21st century – perhaps more likely to listen to music on the way in or out of work, on a commute, than at their leisure with a nice glass of red. Of course, the digital distribution of the band’s previous LP was so successful that this set was sure to follow a similar release pattern – something tangible will follow in March – but this is a remarkably neat-and-tidy package. Perhaps it wasn’t sequenced with succinctness in mind; but that it does its job in a short space of time is important.

Because if The King of Limbs dragged its… limbs… for too much longer, the impression left might be very different. For five tracks this album unfolds in a manner very similar to In Rainbows’ memorable array of electro-chirrups and synth-sweeps, all glitches and groans where, a decade previous, Radiohead were very much A Guitar Band. The staggering, off-kilter step of opener Bloom might not click with those holding a candle for The Return of the Gallagher a week from this record’s release, but to anyone with even half an ear tuned to In Rainbows it’ll seem very (although not over-) familiar indeed. Morning Mr Magpie plucks its way into a Foals-ian spin, the masters seemingly taking on board a few tips from their hometown pupils. Lotus Flower – the source of #thomdance Twitter activity once its video was unveiled – is another piece that looks backwards rather than projecting into bold, new sonic territories. It flails and flaps, but in a manner entirely in keeping with its makers’ predilection for the metronomic – to the wrong ears, it’s five minutes of the same beat, utterly unremarkable.

But that’s the beauty of Radiohead – they’ve never, certainly not since the breakthrough days of Creep, been a band for the people. They’re too idiosyncratic for that, and even though there are moments aplenty here that suggest the band hasn’t furthered their vision, subtle differences to a tested formula ensure The King of Limbs is another great album from Britain’s most consistently brilliant band. And come Codex, it truly strikes the listener dumb. Like Motion Picture Soundtrack, Street Spirit, Sail to the Moon, Nude – insert your own favourite slow-paced Radiohead numb-er here – it’s a piece of rarefied beauty. Thom says something about dragonflies, something else about nobody getting hurt; the words blur and blend, though, as beneath them the simplest, most strikingly gorgeous piano motif bores its way into the heart. And it’s here, not any of your limited-character blogging or video-sharing sites, that Radiohead trump all comers, again. ---Mike Diver, BBC Review

Po bardziej konwencjonalnym, rockowym "In Rainbows", muzycy postanowili wrócić do dziwniejszych brzmień. "The King of Limbs" to album mocno elektroniczny, mocno zrytmizowany, wypełniony utworami dalekimi od piosenkowych, schematycznych form. Gitary, jeśli w ogóle się w nich pojawiają, to na dalszym planie, wtopione w elektroniczne brzmienia. Efekt jest dość intrygujący, ale po pewnym czasie ten krótki album - znalazło się na nim osiem utworów o łącznym czasie trwanie nieprzekraczającym czterdziestu minut - zaczyna razić brakiem świeżości i wyrazistych kompozycji, a także nieco wysiloną dziwnością. Utwory w rodzaju "Bloom" i instrumentalnego "Feral" przyciągają uwagę jedynie ciekawym brzmieniem, bo melodycznie są kompletnie nijakie. W przeszłości te wszystkie dziwaczne eksperymenty zwykle szyły w parze z dobrymi melodiami. Tutaj udaje się to właściwie tylko w "Morning Mr Magpie", "Little by Little" i "Lotus Flower" - choć ten ostatni tylko do momentu, gdy Thom Yorke przechodzi w irytujący falset, a melodia zanadto się rozmywa. Męczące są także partie wokalne w "Give Up the Ghost" i "Separator". Paradoksalnie, najbardziej udanym utworem jest ten najbardziej konwencjonalny, czyli "Codex" - po prostu zgrabna, nastrojowa ballada z fortepianem. Podobnie, jak w przypadku "In Rainbows", materiał z "The King of Limbs" ciekawiej prezentuje się w wersji "From the Basement" - wideo przestawiające zespół grający na żywo, ale bez udziału publiczności, zostało wydane samodzielnie na DVD i Blu-rayu. Oprócz ciekawszych wersji wszystkich ośmiu albumowych utworów (z większym udziałem tradycyjnych instrumentów, ale wcale nie mniejszą rolą elektroniki, ponadto z lepszym brzmieniem, uwypuklającym linie basu), repertuar obejmuje dwie dodatkowe kompozycje: dość konwencjonalną balladę "The Daily Mail" i mocno elektroniczny, rytmiczny "Staircase", który okazuje się jednym z najlepszych momentów występu. Studyjne wersje tych utworów zostały wydane na niealbumowym singlu - jednym z dwóch wydanych w 2011 roku (na drugim znalazły się dwa inne odrzuty: "Supercollider" i "The Butcher"). Studyjny "The King of Limbs" pozostawia niestety sporo do życzenia. Szkoda, że muzycy nie chcą / nie potrafią zabrzmieć i zagrać w studiu tak, jak na koncertach - swobodniej, bardziej dynamicznie, z lepiej wyważonymi proporcami między poszczególnymi instrumentami i wokalem. Nagrywanie na żywo, zamiast trwającego wiele miesięcy dopracowywania, zdecydowanie wyszłoby im na dobre. A już na pewno wyszłoby na dobre słuchaczom. --- Paweł Pałasz, pablosreviews.blogspot.com

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