The Bends (album)

From Wikipedia, the free encyclopedia

The Bends
Radioheadthebends.png
Studio album by
Radiohead
Released8 March 1995 (1995-03-08)
RecordedFebruary–November 1994
Studio
Genre
Length48:37
LabelParlophone
Producer
Radiohead chronology
My Iron Lung
(1994) 		The Bends
(1995) 		OK Computer
(1997)
Radiohead studio album chronology
Pablo Honey
(1993) 		The Bends
(1995) 		OK Computer
(1997)
Singles from The Bends
  1. "My Iron Lung"
    Released: 26 September 1994
  2. "High and Dry" / "Planet Telex"
    Released: 27 February 1995
  3. "Fake Plastic Trees"
    Released: 15 May 1995
  4. "Just"
    Released: 7 August 1995
  5. "Street Spirit (Fade Out)"
    Released: 22 January 1996
  6. "The Bends"
    Released: 26 July 1996

The Bends is the second studio album by the English rock band Radiohead, released on 8 March 1995 by Parlophone. Most tracks were produced by John Leckie, with extra production by Radiohead, Nigel Godrich and Jim Warren. It was the first Radiohead album with cover art by Stanley Donwood, who, with singer Thom Yorke, has produced all of Radiohead's artwork since.

Radiohead began work on The Bends at RAK Studios, London, in February 1994. Tensions were high, with pressure from the label to match sales of their debut hit single "Creep", and the group initially struggled to make progress. After an international tour in May and June, recording resumed at Abbey Road in London and the Manor in Oxfordshire. Radiohead moved away from the grunge style of their debut album Pablo Honey (1993), incorporating cryptic lyrics, greater use of keyboards, more abrasive guitar tracks and more restrained arrangements.

The Bends produced six charting singles: "My Iron Lung" (released as an EP in 1994), the double A-side "Planet Telex / High and Dry", "Fake Plastic Trees", "Just", Radiohead's first top-five UK single "Street Spirit (Fade Out)", and "The Bends". Though it reached number four on the UK Albums Chart, it failed to build on the success of "Creep" outside the UK, peaking on the United States pop chart at number 88. It has since been certified platinum in the UK and the US.

The Bends received greater acclaim than Pablo Honey, including a nomination for Best British Album at the 1996 Brit Awards; it elevated Radiohead from a one-hit-wonder into one of the most recognised British bands. It is credited for influencing a generation of post-Britpop acts, such as Oasis and Travis, and is frequently regarded as one of the greatest albums of all time; it was voted number 2 in Colin Larkin's All Time Top 1000 Albums 3rd Edition (2000) and ranked number 110 on Rolling Stone's 500 greatest albums of all time.

Background[]

After Radiohead finished recording their debut album Pablo Honey (1993), songwriter Thom Yorke played co-producer Paul Q Kolderie a demo tape of new material with the working title The Benz. Kolderie was shocked to discover the songs were "all better than anything on Pablo Honey".[1]

By the time Radiohead began their first US tour in early 1993, their debut single "Creep" had become a hit.[2] Tensions were high, as the band felt smothered by the success and mounting expectations.[3] Following a gruelling tour, they cancelled an appearance at Reading Festival after Yorke became ill; he told NME, "Physically I'm completely fucked and mentally I've had enough."[1] According to some reports, Radiohead's record company EMI gave them six months to "get sorted" or be dropped. A&R head Keith Wozencroft denied this, saying: "Experimental rock music was getting played and had commercial potential. People voice different paranoias, but for the label [Radiohead] were developing brilliantly from Pablo Honey."[1]

For their next album, Radiohead selected producer John Leckie, who had produced records by acts they admired,[4] including Magazine.[1] Drummer Philip Selway said Radiohead were reassured by how relaxed and open-minded Leckie was on their first meeting.[4] Recording was postponed so Leckie could work on the album Carnival of Light, by another Oxford band, Ride.[5] Radiohead used the extra time to rehearse their new material. Yorke said: "We had all of these songs and we really liked them, but we knew them almost too well ... so we had to sort of learn to like them again before we could record them, which is odd."[6]

Recording[]

The Bends sessions saw Radiohead's first collaboration with their future producer Nigel Godrich, then working under Leckie as an audio engineer.

Work began at RAK Studios in London in February 1994.[3] EMI gave Radiohead nine weeks to record,[1] planning to release the album in October 1994.[7] The band praised Leckie for demystifying the studio environment; guitarist Jonny Greenwood said, "He didn't treat us like he had some kind of witchcraft that only he understands. There's no mystery to it, which is so refreshing."[8] The sessions saw Radiohead's first collaboration with their future producer Nigel Godrich, who engineered the RAK sessions. When Leckie left the studio to attend a social engagement, Godrich and the band stayed to record B-sides; one song produced by Godrich, "Black Star", was included on the album.[7]

Yorke would arrive at the studio early and work alone at the piano; according to Leckie, "New songs were pouring out of him."[1] The Bends saw greater songwriting collaboration than on Pablo Honey, which was mostly written by Yorke. "Nice Dream" began as a simple four-chord song by Yorke, but was expanded with extra parts by guitarists Ed O'Brien and Greenwood. Much of "Just" was written by Greenwood, who, according to Yorke, "was trying to get as many chords as he could into a song".[7]

Whereas on Pablo Honey all three guitarists had often played identical parts, creating a "dense, fuzzy wall",[7] their Bends roles were more divided: Yorke generally played rhythm, Greenwood lead, and O'Brien effects.[7] They also created more restrained arrangements; in O'Brien's words, "We were very aware of something on The Bends that we weren’t aware of on Pablo Honey… If it sounded really great with Thom playing acoustic with Phil and [bassist Colin Greenwood], what was the point in trying to add something more?"[7] "Planet Telex" began with a drum loop taken from another song, the B-side "Killer Cars", and was written and recorded in a single evening at RAK.[9]

EMI instructed the group to deliver a followup to "Creep" for the American market. However, according to Leckie, Radiohead had disowned "Creep" and did not "think in terms of making hit singles".[1] "The Bends", "Nice Dream" and "Just" were identified as potential singles and became the focus of the early sessions, which created tension.[10] Leckie recalled: "We had to give those absolute attention, make them amazing, instant smash hits, number one in America. Everyone was pulling their hair out saying, 'It's not good enough!' We were trying too hard."[10] Yorke in particular struggled with the pressure, and the band's co-manager Chris Hufford considered quitting, citing Yorke's "mistrust of everybody".[10] Greenwood spent days testing new guitar equipment, searching for a distinctive sound, before reverting to his Telecaster.[10][1] According to Yorke, "We had days of painful self-analysis, a total fucking meltdown for two fucking months."[7]

With the October deadline abandoned, recording paused in May and June while Radiohead toured Europe, Japan and Australasia.[7] Their performance at the London Astoria was released in March 1995 as Live at the Astoria, with versions of future Bends tracks including "Fake Plastic Trees", "Black Star", "My Iron Lung", and "Street Spirit (Fade Out)".[11] Not satisfied with the versions of "My Iron Lung" recorded at RAK, Radiohead used the Astoria performance for the album, with Yorke's vocals replaced and the audience removed.[8]

The tour gave Radiohead a new sense of purpose, and their relationships improved; Hufford encouraged them to make the album they wanted, instead of worrying about "product and units".[10] Work resumed for two weeks in July at the Manor studio in Oxfordshire, where Radiohead completed songs including "Bones", "Sulk" and "The Bends".[10] In September, EMI released the My Iron Lung EP, comprising "My Iron Lung" plus Bends outtakes.[7] Recording ended in November 1994[7] at Abbey Road Studios in London;[12] Selway said the album was recorded in about four months total.[4] One song, "High and Dry", preceded the album sessions; it was recorded in 1993 at Courtyard Studios by Radiohead's live sound engineer, Jim Warren.[7] Yorke later said it was a "very bad" song that EMI had pressured him into releasing.[13]

Leckie mixed some of The Bends at Abbey Road.[12] With deadlines approaching, EMI grew concerned that he was taking too long; without his knowledge, they sent tracks to Pablo Honey producers Sean Slade and Paul Q. Kolderie to mix instead. Leckie disliked their mixes, finding them "brash", but later said: "I went through a bit of trauma at the time, but maybe they chose the best thing."[1] Only three of Leckie's mixes were used on the album.[1]

Music[]

The Bends has been described as an alternative rock,[14] Britpop[15][16] and indie rock album.[17] According to Kolderie, "The Bends was neither an English album nor an American album. It's an album made in the void of touring and travelling. It really had that feeling of, 'We don't live anywhere and we don't belong anywhere'".[10] Several songs evoke a "sense of a disintegrated or disconnected subject".[18] Rolling Stone described it as a "mix of sonic guitar anthems and striking ballads", with lyrics evoking a "haunted landscape" of sickness, consumerism, jealousy and longing.[19]

"Fake Plastic Trees" was inspired by the commercial development of Canary Wharf and a performance by Jeff Buckley seen by Yorke, who inspired him to use falsetto.[20][21] Yorke laments the effects of consumerism on modern relationships.[18] Sasha Frere-Jones compared its melody to the "second theme of a Schubert string quartet".[22] In "Just" Jonny and Colin create substantial space by playing octatonic scales that extend over four octaves.[23]

"Sulk" was written as a response to the Hungerford massacre.[24] "Street Spirit (Fade Out)" was inspired by the book The Famished Road by Ben Okri and the music of R.E.M.[25] The lyrics detail an escape from a oppressive reality.[18] Rob Sheffield dubbed "Street Spirit (Fade Out)"—as well as "Planet Telex" and "High and Dry"—a "big-band dystopian epic".[26]

Artwork[]

The Bends was the first Radiohead album with artwork by Stanley Donwood, who has created all of Radiohead's artwork since. Yorke and Donwood hired a cassette camera and filmed objects including road signs, packaging, and street lights. Inspired by the track "My Iron Lung", they entered a hospital to film an iron lung, but, according to Donwood, found that iron lungs "are not very interesting to look at". Instead, they used footage of a CPR mannequin, which Donwood described as having "a facial expression like that of an android discovering for the first time the sensations of ecstasy and agony, simultaneously". To create the cover image, the pair displayed the footage on a television set and photographed the screen.[27]

Marketing and sales[]

The Bends was released in Japan on 8 March 1995 by EMI,[28] in the UK on 13 March 1995 by Parlophone Records.[29] It spent 16 weeks on the UK Albums Chart, peaking at number four.[30] It was certified platinum by the British Phonographic Industry in February 1996 for sales of over 300,000 copies; in July 2013, it was certified 4x platinum.[31]

In the US, The Bends was released on 4 April[29] by the band's North American distributor, Capitol Records, "who almost refused to release the album, since it was lacking any obvious hit singles", according to the journalist Tim Footman.[32] The American lead single "Fake Plastic Trees" peaked at number 11 on Billboard's Modern Rock Tracks and number 65 on the Hot 100 Airplay chart. The album debuted at the bottom of the Billboard 200 in the week of 13 May,[33] before peaking at number 147 in the week of 24 June,[34] and dropping off the chart after nine weeks.[citation needed] "The Bends" was released as a single in Ireland, reaching number 26 on the Irish Singles Chart in August 1996.[35][36]

"High and Dry" reached number 78 on the Billboard Hot 100, one of Radiohead's highest US chartings,[37] while The Bends re-entered the Billboard chart in the week of 17 February 1996.[38] It eventually broke the Top 100 and peaked at number 88 on 20 April,[39] almost exactly a year after its release, and was certified gold by the RIAA for sales of half a million copies on 4 April.[40] According to Robert Christgau, this achievement resulted from Capitol's aggressive marketing.[41] The Bends remains Radiohead's lowest-charting album in the US, but was certified platinum in January 1999 for sales of one million copies.[42]

In 1995, Radiohead toured North America and Europe, this time in support of R.E.M., one of their formative influences and at the time one of the biggest rock bands in the world.[43] The buzz generated by such famous fans as R.E.M. singer Michael Stipe, along with distinctive music videos for "Just" and "Street Spirit", helped to sustain Radiohead's popularity outside the UK.[44] The night before a performance in Denver, Colorado, Radiohead's tour van was stolen, and with it their musical equipment. Yorke and Jonny Greenwood performed a stripped-down acoustic set with rented instruments and several shows were cancelled.[45] Their first live video, Live at the Astoria, was released in 1995, featuring many Bends songs.[46] In August 1996, Radiohead toured as the opening act for Alanis Morissette.[47]

Selway later credited the music videos for helping the album "gradually seep into people’s consciousness".[4] According to MTV host Matt Pinfield, other record companies would ask why MTV kept promoting The Bends when it was selling fewer copies than their albums. His reply was: "Because it’s great!"[48] Yorke thanked Pinfield by giving him a gold record of The Bends.[48] By the end of 1996, worldwide sales were around 2 million.[49]

Critical reception[]

Professional ratings
Contemporary reviews
Review scores
SourceRating
Chicago Tribune1/4 stars[50]
Entertainment WeeklyB+[51]
The Guardian4/4 stars[52]
Los Angeles Times3/4 stars[53]
NME9/10[17]
Q4/5 stars[54]
Rolling Stone3.5/5 stars[55]
Select4/5[56]
Spin5/10[57]
The Village VoiceC[41]

The Bends received critical acclaim in the United Kingdom.[58] Sheffield recalled that it "shocked the world", elevating Radiohead from "pasty British boys to a very 70s kind of UK art-rock godhead".[26] Guardian critic Caroline Sullivan felt that Radiohead had "transformed themselves from nondescript guitar-beaters to potential arena-fillers ... The grandeur may eventually pall, as it has with U2, but it's been years since big bumptious rock sounded this emotional."[52]

Q described The Bends as a "powerful, bruised, majestically desperate record of frighteningly good songs",[54] while NME's Mark Sutherland hailed it as a "classic" and "the consummate, all-encompassing, continent-straddling '90s rock record".[17] Dave Morrison of Select wrote that it "captures and clarifies a much wider trawl of moods than Pablo Honey" and praised Radiohead as "one of the UK's big league, big-rock assets".[56]

Critical reception in the United States was mixed. Chuck Eddy of Spin deemed much of the album "nodded-out nonsense mumble, not enough concrete emotion",[57] while Kevin McKeough from the Chicago Tribune panned Yorke's lyrics as "self-absorbed" and the music as overblown and pretentious.[50] In The Village Voice, Robert Christgau wrote that the guitar parts and expressions of angst were skilful and natural, but lacked depth: "The words achieve precisely the same pitch of aesthetic necessity as the music, which is none at all."[41] A positive review in the American press came from the Los Angeles Times' Sandy Morris, who described Yorke as "almost as enticingly enigmatic as Smashing Pumpkins' Billy Corgan, though of a more delicate constitution".[53]

Legacy[]

Professional ratings
Retrospective reviews
Review scores
SourceRating
AllMusic5/5 stars[59]
The A.V. ClubA[60]
Blender5/5 stars[61]
Encyclopedia of Popular Music5/5 stars[62]
Entertainment WeeklyA[63]
Pitchfork10/10[64]
Q5/5 stars[65]
Rolling Stone4/5 stars[66]
The Rolling Stone Album Guide5/5 stars[26]
Uncut4/5 stars[67]

In 1997, Jonny Greenwood said The Bends had been a "turning point" for Radiohead: "It started appearing in people's [best of] polls for the end of the year. That's when it started to feel like we made the right choice about being a band."[68] Two years after its release, Sullivan wrote that The Bends had elevated Radiohead beyond the realm of "indie one hit-wonder" and into the "premier league of respected British rock bands".[69] Nick Hornby felt that, with The Bends, Radiohead "found their voice ... No other contemporary band has managed to mix such a cocktail of rage, sarcasm, self-pity, exquisite tunefulness, and braininess."[70] In 2015, Selway said The Bends was the album where, with collaboration from Donwood, the "Radiohead aesthetic" began.[4] The success gave Radiohead the confidence to self-produce their next album, OK Computer (1997), with Godrich.[71]

The Bends influenced a generation of British pop-rock acts, including Coldplay, Keane, James Blunt, Muse, Athlete, Elbow, Snow Patrol, Kodaline, Turin Brakes and Travis.[16][20] Pitchfork credited songs as such as "High and Dry" and "Fake Plastic Trees" for anticipating the "airbrushed" post-Britpop of Coldplay and Travis.[16] After its release, acts including Garbage, R.E.M. and k.d. lang began to cite Radiohead as a favourite band.[72] In 2006, The Observer named it one of "the 50 albums that changed music", saying it had popularised an "angst-laden falsetto ... a thoughtful opposite to the chest-beating lad-rock personified by Oasis", which "eventually coalesced into an entire decade of sound".[73] According to Godrich, Yorke held contempt for the style of rock The Bends popularised, feeling other bands had copied it.[20]

In 2017, Pitchfork named The Bends the third-greatest Britpop album, writing that its "epic portrayal of drift and disenchantment secures its reluctant spot in Britpop's pantheon".[16] In 2000, in a vote of more than 200,000 music fans and journalists, The Bends was named the second greatest album of all time, behind to Revolver by the Beatles.[74] It took second place behind OK Computer in 1998 and 2006 reader polls in Q for the best album of all time.[75][76] It was also included in the 2005 book 1001 Albums You Must Hear Before You Die.[77] Rolling Stone placed it at number 110 on its original 2003 list of the 500 Greatest Albums of All Time, at 111 in its 2012 list,[78] and at 276 in its 2020 list.[79] In 2006, British Hit Singles & Albums and NME organised a poll in which 40,000 people worldwide voted for the 100 best albums; The Bends placed at number 10.[80] Paste named it the 11th greatest album of the 1990s.[81] In 2020, the Independent named it the best album of 1995, writing: "Downbeat, melancholic, yet wonderfully melodic and uplifting ... The Bends stood apart from Britpop and everything else in the storied year of 1995."[82]

Reissues[]

On 31 August 2009, EMI reissued The Bends and other Radiohead albums in a "Collector's Edition" compiling B-sides and live performances. Radiohead had no input into the reissue and the music was not remastered.[83] The "Collector's Editions" were discontinued after Radiohead's back catalogue was transferred to XL Recordings in 2016.[84] In May 2016, XL reissued Radiohead's back catalogue on vinyl, including The Bends.[85]

Track listing[]

All tracks are written by Radiohead.

No.TitleLength
1."Planet Telex"4:19
2."The Bends"4:06
3."High and Dry"4:17
4."Fake Plastic Trees"4:50
5."Bones"3:09
6."(Nice Dream)"3:53
7."Just"3:54
8."My Iron Lung"4:36
9."Bullet Proof..I Wish I Was"3:28
10."Black Star"4:07
11."Sulk"3:42
12."Street Spirit (Fade Out)"4:12

Personnel[]

Adapted from the liner notes.[86]

Charts[]

Certifications[]

Region Certification Certified units/sales
Argentina (CAPIF)[100] Gold 30,000^
Belgium (BEA)[101] Gold 25,000*
Canada (Music Canada)[102] 3× Platinum 300,000^
Netherlands (NVPI)[103] Gold 50,000^
New Zealand (RMNZ)[104] Platinum 15,000^
United Kingdom (BPI)[106] 4× Platinum 1,248,350[105]
United States (RIAA)[108] Platinum 1,540,000[107]
Summaries
Europe (IFPI)[109] Platinum 1,000,000*

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.

Notes and references[]

Notes[]

References[]

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Bibliography

  • Randall, Mac (2000). Exit Music: The Radiohead Story. Omnibus Press. ISBN 0-7119-7977-4.
  • Randall, Mac (2004). Exit Music: The Radiohead Story. ISBN 1-84449-183-8.
  • Randall, Mac (1 February 2012). Exit Music: The Radiohead Story Updated Edition. Backbeat Books. ISBN 978-1-4584-7147-5.

External links[]

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