Radiohead

小簡介
樂隊成員：
Thom Yorke
guitar/vocals/keyboard
Jonny Greenwood
guitar/keyboard/other instruments
Colin Greenwood
bass/synthesisers
Ed O'Brien
guitar/vocals
Phil Selway
drums/percussion
RADIOHEAD是真正跨世代的超級樂團，從第一張專輯就瘋狂征服排行榜的單曲Creep開始，到2003年6月的第六張專輯「HAIL TO THE THIEF」。從BRITPOP全盛時期的頂尖樂團，到電搖滾先峰，到發(fā)展出獨特難以模仿卻容易產(chǎn)生共鳴的獨特聲響。每位團員極高的自我要求跟天賦，又一次聽見了他們還是繼續(xù)在試驗自己的極限，而且精彩完美。
英國的牛津不僅擁有世界著名學(xué)府，也是英國搖滾名團的盛產(chǎn)地之一，除了 RADIOHEAD，另外兩個名噪一時的BRITPOP團體RIDE和SUPERGRASS也出身于此。RADIOHEAD的五位成員均是土生土長的牛津人，并且在風(fēng)景如畫的牛津近郊小鎮(zhèn) ABINGDON的私立男校里結(jié)識，開始了傳奇生涯。 RADIOHEAD的靈魂人物，主音歌手兼吉他手THOM YORKE 八歲那年得到平生的第一件樂器：母親送的一把西班牙吉他，兩年后他便開始組團，隨后加入了一支名為TNT的校園PUNK樂隊。THOM第一次唱歌時便意識到他需要更加默契的合作樂手。很快他認識了 COLIN GREENWOOD，"因為我們年齡相仿并且常常在同一個派對結(jié)束時碰上"。出于對JOY DIVISION，THE SMITH，MAGAZINE以及怪異著裝的喜愛，他們順理成章地結(jié)成死黨。另外一位校友ED O'BRIEN的加入是因為THOM認為他"很酷而且看上去象MORRISSEY"。舉止溫文爾雅的鼓手PHIL SELWAY隨后取代了鼓機， 在一個星期五形成了最初的四人陣容。不久，COLIN的弟弟，爵士樂迷JONNY經(jīng)過同哥哥及其朋友們的苦苦糾纏，終于作為口琴手加入進來。樂隊在一個周末于牛津的JERICHO TAVERN（現(xiàn)已不存在）做了第一場表演，他們增加了一對演奏薩克斯風(fēng)的姐妹，樂隊的風(fēng)格就象是年輕版的TALKING HEAD。 為了平息父母的憤怒和焦慮，除了JONNY外的成員們都開始了大學(xué)學(xué)業(yè)，樂隊尚在萌芽階段就被迫中止。THOM去了EXETER大學(xué)學(xué)習(xí)美術(shù)和文學(xué)，在那里他為一支名為FLICKERNOISE的TECHNO組合彈吉他；ED到曼徹斯特攻讀政治；COLIN在劍橋大學(xué)的PETERHOUSE學(xué)院當(dāng)上了娛樂文員；PHIL則進了利物浦工藝學(xué)院并在那里擔(dān)任了很多戲劇背景樂團的鼓手。 假期時成員們重新聚首，在一個周末派對中，他們翻玩了ELVIS COSTELLO的"PUMP IT UP"，融入管樂的巧妙構(gòu)思令人興奮不已。1991年的夏天，完成了學(xué)業(yè)的成員們在牛津重組（此時的JONNY已是一位羽翼豐滿的吉他手和鍵盤手），最終他們擯棄了管樂組，固定了五人陣容，并將團名定為RADIOHEAD，靈感來自于TALKING HEAD的專輯《TRUE STORIES》中的一首名為"RADIO HEAD"的歌曲。1991年7月，RADIOHEAD在HOLLYBUSH酒吧做了第一場正式的小型表演，之后便有不下二十家唱片公司向他們拋媚眼，最終他們選擇投身EMI。
RADIOHEAD在1991年發(fā)表了首張唱片《DRILL》，雖然只是一張僅在英國發(fā)行的EP，但已足以使他們獲得了為PJ HARVEY，TEARS FOR FEARS和JAMES等眾多大牌團體的巡演做暖場嘉賓的機會。他們的一首歌曲"PROVE YOURSELF"還被BBC RADIO 1的聽眾票選為"HAPPENING TRACK OF THE WEEK"（本周驚艷曲）。而這一切僅僅是個開端，因為一首名為"CREEP"的歌曲將要永遠改變他們的生涯。"CREEP"在1992年的下半年在英國的電臺中被大播特播并最終成為該年度和下一年度的英倫的最佳單曲之一。這首歌被認為是一首關(guān)于疏離的贊美詩，其中充滿自厭情緒的歌詞（"我是個懦夫，我是個怪胎，我不屬于這兒"），蔓延失控的吉他噪音以及堪稱點睛之筆的轟然爆響都成為樂迷津津樂道的經(jīng)典元素。而他們1993年推出的首張專輯《PABLO HONEY》中的其它作品都或多或少帶出與之相同的意味。事實上，有些樂迷對專輯內(nèi)其它歌曲表現(xiàn)出來的相對成熟內(nèi)斂的風(fēng)格感到失望，盡管更多的人迷戀于他們特立獨行的聲音。 這張?zhí)幣畬］嬍荝ADIOHEAD遠渡重洋到波士頓的FORT APACHE錄音室錄制完成的，這間錄音室的主人是美國新音樂大師BILLY BRAGG，RADIOHEAD還找來了MORPHINE，LEMONHEAD等美國名團的制作人PAUL Q.KOLDERIE與BUFFALO TOM，GOLD WATER FLAT等另類樂隊的制作人SEAN SLADE來掌控專輯的制作，這對于一個英國新樂隊來說相當(dāng)罕見，這使得這張專輯呈現(xiàn)出英倫團體中少有的粗獷暴戾之氣這也是與SUEDE等同期其他被譽為英倫獨立樂界希望之星的團體相比，RADIOHEAD在美國更具知名度和影響力的原因之一。 盡管人們普遍認為RADIOHEAD的音樂影響來自于THE BEATLES或THE SEX PISTOLS，但是他們自己卻宣稱受PINK FLOYD的教誨更多。1995年，RADIOHEAD甚至在英國巡演中裝備了一套非常FLOYD化的四軌環(huán)繞聲系統(tǒng)，向PINK FLOYD脫帽致敬！
Radiohead是90年代初為數(shù)不多地受華麗壯美的競技/舞臺搖滾影響的另類樂隊，樂隊最初的唱片帶有比較明顯的U2風(fēng)格。但是樂隊后來開始轉(zhuǎn)向創(chuàng)作較為史詩/敘事詩這樣的作品，用My Bloody Valentine、Pink Floyd、R.E.M. 和the Pixies音樂作為主要織體，層次豐富。主唱Thom Yorke灰暗的詞作在復(fù)雜的作品中傳遞著不安、疏遠的情緒。1993年，樂隊首張專輯《Pablo Honey》上市。原本樂隊并未對此抱什么希望，但是“Creep”很快成為了一首熱門單曲。當(dāng)時樂隊并不為評論界看好，認為他們只不過又是一支曇花一現(xiàn)的排行榜過客。但是樂隊第二張專輯《The Bends》讓所有的大跌眼鏡，它在英國獲得了巨大的成功，隨著巡演的延續(xù)，它徹底征服了先前對樂隊持成見的評論界，樂隊一舉成名。
樂隊由Thom Yorke(主唱、吉他)、Ed O’Brien (吉他、主唱), Jonny Greenwood (吉他), Colin Greenwood (貝司)和Phil Selway (鼓手)組成，那一年是1988年，他們還是幾個牛津大學(xué)的學(xué)生。1992年樂隊在創(chuàng)作小唱片《Drill》后和EMI/Capitol唱片公司后，樂隊錄制了單曲“Creep”，這首融合了R.E.M.和Nirvana的作品主要的亮點為和聲部分前突然暴發(fā)噪音部分，它成為了當(dāng)年另類搖滾的一首著名代表作品。此后的兩首單曲“Anyone Can Play Guitar”和“Pop is Dead”為樂隊贏得了一些好評，但英國唱片公司并未給予樂隊足夠的重視。樂隊的第一張專輯《Pablo Honey》在1993年上市，樂隊進行歐洲巡回演出。墻內(nèi)開化墻外香，“Creep”在美國突然大紅大紫，充斥著各大現(xiàn)代搖滾電臺和MTV音樂臺。在“Creep”地驅(qū)使下，樂隊遠赴美國演出，為Belly和Tears for Fears做暖場演出�！禤ablo Honey》最終成為金唱片，“Creep”也在英國再版銷售。1993年底，該單曲進入前10名。
“Creep”的意外成功招致了現(xiàn)代評論家的非議，樂隊一度被認定為歪打正著的幸運兒。樂隊在這種情況下再次走入錄音棚，開始創(chuàng)作第二張專輯《The Bends》。1995年專輯上市得到了壓倒性的好評，顯然人們樂于聽到樂隊更加深層、成熟的聲音。但是專輯銷量一開始卻不是很好，先前對樂隊較為買賬的美國也并未太主意這張專輯，樂隊無奈之下猹始在英國進行大規(guī)模巡演。直到年底，樂隊才在巡演和單曲“Just”的促銷下有所斬獲。專輯不僅成為了當(dāng)年英國最佳專輯之一而且在1996年處再次進入英國排行榜前10名，在美國也最終達到了金唱片銷量。1997年樂隊完成了他們的第三張專輯，也就是驚世之作的《OK Computer》��！
樂隊在2000 年推出了一張最受期待的大碟《Kid A》。自從 Radiohead 的《OK Computer》被譽為“宇宙最佳大碟”之后，Radiohead已經(jīng)成為The Beatles最具威脅樂隊，這新碟真是全球矚目。
不過《 Kid A 》大概會令不少 Radiohead 迷感到意外，因為全碟跟Radiohead以往的風(fēng)格非常不同！ 以往的強勁電吉他彈奏已蕩然無全，就連打幾下重鼓都沒有，換來大量飄渺迷離氣氛。Atmospheric 、Ambience 、Nightmarish、Moody、Sparse…… 是全碟的感覺，樂隊大玩電子效果，制造荒野般空曠迷失灰暗感，更加有一些爵士元素演奏，這更會令Radiohead迷詫異。全碟大大托闊了視野，作品深沉廣闊，氣氛極佳。這碟會是劃時代經(jīng)典嗎？
這張唱片出版后大受好評，幾乎所有音樂雜志都給予了最高評價，例如被《時代》雜志評為今年的音樂十佳�！稌r代》的對它的評價用了很華麗的詞句
2002年初，RADIOHEAD在家鄉(xiāng)Oxfordshire的錄音室開始為新輯制作demo， 2002年9月，制作人Nigel Godrich帶領(lǐng)RADIOHEAD到洛杉磯錄音工作。似乎是很不搭嘎的畫面阿！陰郁的RADIOHEAD和陽光普照的L.A.。再一次，RADIOHEAD又回到「THE BENDS」時期，大部份的歌曲都以現(xiàn)場演奏方式進行錄音，讓新專輯在陰郁的RADIOHEAD式煙霧中透進了暖暖陽光。你知道我的意思，這畫面不再重復(fù)卻也不見得全是甜美的氣氛。
破題曲2+2=5由吉他和簡單的節(jié)奏開場，中段Thom Yorke呢喃囈語，突然出現(xiàn)好久好久不見的狂暴的吉他搖滾，震撼的破題！宣告這不再是延續(xù)KID A和AMNESIAC的作品。第2首歌「Sit Down Stand Up」，主唱的反復(fù)Loop和復(fù)雜的鼓擊在和BASS瘋狂的推迭，此刻我搖頭晃腦而且失神起舞。「Sail to the Moon」是主唱Thom Yorke寫給兒子的歌曲，優(yōu)雅美麗，讓人聽不出來這居然不是一首4/4拍的歌曲。第五首「Go to Sleep 」前半段的木吉他很有鄉(xiāng)村/民謠的味道，有些喜感，有點溫暖，很不像RADIOHEAD，在鼓擊進來又是RADIOHEAD的氣派�！竁here I end and You begin」據(jù)說在五年前就已經(jīng)創(chuàng)作完成的歌曲，這首歌以鼓陣和80年代NEW ORDER式的BASS單音為主，特別是BASS的演出太精彩了，完全是這幕戲的主角。以拍手聲和鼓聲開始第一段的「We suck young blood」邪氣四溢，中間時而可以聽見的稀落鋼琴和吉他噪音，難以預(yù)期的，還有教堂人聲合音出現(xiàn)，為邪氣再加分，RADIOHEAD果真無所不能。
又一次，「The Gloaming」的機械聲響變成完全的背景音樂，和著Thom的歌聲，Johnny Greenwood又一次拋掉吉他玩弄合成器，德式電子和歌德音樂的合體，我一邊反復(fù)這首歌一邊想著，這會不會是RADIOHEAD的原型呢？因為不管甚么樣的編曲方式，我腦�？倳�出現(xiàn)那個「不可說」的畫面。「There There」是我在新輯中最喜歡的一首歌，穩(wěn)定的節(jié)奏組和神奇的吉他分解和弦，有點像RADIOHEAD因為好玩翻作和他們相去甚遠的Grunge。「Scatterbrain」的畫面又是雨天了，美式電視影集，在清晨，雨不是很大，你面無表情翻開報紙，很規(guī)律的讀著那些你可能想知道卻不是真的很關(guān)心的新聞，Johnny Greenwood的吉他分解和弦匪夷所思的提供了全部的畫面。最后一首歌「A wolf at the door」又是不同面貌的RADIOHEAD，NICK CAVE，這樣的聯(lián)想你覺得如何呢？！碎心的主副歌旋律，和過去的五張專輯相比，Thom Yorke的歌聲作了許多變化，顯得低沉而且厚實，更運用自如。
Radiohead was one of the few alternative bands of the early '90s to draw heavily from the grandiose arena rock that characterized U2's early albums. But the band internalized that epic sweep, turning it inside out to tell tortured, twisted tales of angst and alienation. Vocalist Thom Yorke's pained lyrics were brought to life by the group's three-guitar attack, which relied on texture — borrowing as much from My Bloody Valentine and Pink Floyd as R.E.M. and Pixies — instead of virtuosity. It took Radiohead awhile to formulate their signature sound. Their 1993 debut, Pablo Honey, only suggested their potential, and one of its songs, "Creep," became an unexpected international hit, its angst-ridden lyrics making it an alternative rock anthem. Many observers pigeonholed Radiohead as a one-hit wonder, but the group's second album, The Bends, was released to terrific reviews in the band's native Britain in early 1995, helping build a more stable fan base. Having demonstrated unexpected staying power, as well as increasing ambition, Radiohead next released OK Computer, a progressive, electronic-tinged masterpiece that became one of the most acclaimed albums of the '90s.
Thom Yorke (vocals, guitar), Ed O'Brien (guitar, vocals), Jonny Greenwood (guitar), Colin Greenwood (bass), and Phil Selway (drums) formed Radiohead as students at Oxford University in 1988. Initially called On a Friday, the band began pursuing a musical career in earnest in the early '90s, releasing the Drill EP in 1992. Shortly afterward, the group signed to EMI/Capitol and released the single "Creep," a fusion of R.E.M. and Nirvana highlighted by a noisy burst of feedback prior to the chorus. "Creep" was a moderate hit, and their next two singles, "Anyone Can Play Guitar" and "Pop Is Dead," built a small following, even as the British music press ignored the group.
Pablo Honey, Radiohead's debut album, was released to mixed reviews in the spring of 1993. As the band launched a European supporting tour, "Creep" became a sudden smash hit in America, earning heavy airplay on modern rock radio and MTV. On the back of the single's success, Radiohead toured the U.S. extensively, opening for Belly and Tears for Fears. All the exposure helped Pablo Honey go gold, and "Creep" was re-released in the U.K. at the end of 1993. This time, the single became a Top Ten hit, and the band spent the following summer touring the world.
Although "Creep" made Radiohead a success, it also led many observers to peg the band as a one-hit wonder. Conscious of such thinking, the group entered the studio with producer John Leckie to record their second album, The Bends. Upon its spring 1995 release, The Bends was greeted with overwhelmingly enthusiastic reviews, all of which praised the group's deeper, more mature sound. However, positive reviews didn't sell albums, as Radiohead struggled to be heard during the U.K.'s summer of Britpop and as American radio programmers and MTV ignored the record. The band continued to tour as the opening act on R.E.M.'s prestigious Monster tour. By the end of the year, The Bends began to catch on, thanks not only to the band's constant touring but also to the stark, startling video for "Just." The album made many year-end best-of lists in the U.K., and early in 1996 the record re-entered the British Top Ten and climbed to gold status in the U.S., helped in the latter by the video for "Fake Plastic Trees."
During the first half of 1996, Radiohead continued to tour before re-entering the studio that fall to record their third album, OK Computer, which was released in the summer of 1997. A devoted following of fans and a handful of enthusiastic critical supporters immediately embraced the album's majestic blend of unfettered prog rock, post-punk angst, eerie electronic textures, and assured songwriting. Since it skillfully teetered between rock classicism and futurism, it earned near-unanimous critical and popular support over the course of the year, which turned into unrestrained adoration in the final two years of the decade, even though its sales still hadn't climbed above gold status.
Expectations for Radiohead's fourth album were stratospheric, which placed additional pressure on the already perfectionist band, and led to several stumbling blocks along the way. An intense buzz of excitement among the band's still-growing following greeted the prerelease appearance of most of the album's tracks on the Internet in MP3 form; they displayed an all-out fascination with challenging, often minimalist electronica. Titled Kid A, the album was finally released in October 2000 and astonished many observers by debuting at number one on the U.S. album charts. While the band didn't release any singles or embark on a formal tour, the album met with a mixed critical response as the group was accused of creating a distant and radio-unfriendly record; however, it did remain a fan favorite.
In June of 2001, Radiohead quickly released an album under the name Amnesiac that consisted of material that was recorded during the Kid A sessions. The band made it very clear, though, that it was not to be considered an outtakes album; rather, they insisted that the two albums were of clear and separate concept. Regardless, Amnesiac debuted at number one in the U.K. and number two on the U.S. chart (behind then-stronghold Staind), while outselling Kid A in week one by 25,000 copies. The singles Pyramid Song and Knives Out were culled from Amnesiac with a subsequent world tour. While planning "I Might Be Wrong" for a third single, the idea expanded into a live "mini-album," titled after the track, that was released in November of 2001. Hail to the Thief, the proper follow-up to Amnesiac, was relatively direct in structure and peaked at number three on the U.S. chart. Sporadic recording sessions resumed in early 2005, but a projected release date for the band's seventh studio album remained 2007 as Yorke prepared a solo album, The Eraser, which was issued in July 2006.
On October 1, 2007, the band announced that they had finished their seventh album, In Rainbows, and that it would be "out" in a matter of ten days. Giving fans the option to pay whatever they'd like for the album as a zip file of MP3s, Radiohead also devised a pre-order system for the physical version of the album — a "discbox" containing a double-vinyl version, a CD copy with an enhanced six-track bonus disc, a lyric book, and photos — which they planned on shipping by early December. This was done without the involvement of a record label.