Artist.......: Radiohead
Album........: Live aux EurockΘennes de Belfort
Label........: n/a
Genre........: Rock
Catnr........: n/a
Source.......: DVBS
Rip.date.....: 2012-06-10
Str.date.....: 2003-07-04
Quality......: 227kbps/48.0kHz/Joint Stereo
Url..........: http://radiohead.com/
track title time
1. Live aux EurockΘennes de Belfort 92:03
* There there
* 2 + 2 = 5
* Morning bell
* Lucky
* Talk show host
* Scatterbrain
* National anthem
* The gloaming
* Fake plastic tree
* Sail to the moon
* My iron lung
* Where I end and you begin
* Just
* Paranoid android
* Idioteque
* Everything in its right place
* Exit music
* Kid a
* Karma police
Runtime 92:03
Size 149.68
Release Notes:
Radiohead were 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 a while 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," gained a
small following, even as the British music press ignored the group.
Pablo Honey, Radiohead's 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 its 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 Brit-pop 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 reentered 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 pre-release 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 bandmembers 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. This was done without
the involvement of a record label. However, deals were eventually struck for
standard retail releases. In late December, XL issued the album in the U.K.,
where it topped the album chart. The feat was repeated the following month in
the U.S., where it was issued through the TBD label. Sonically and lyrically, In
Rainbows was one of their warmest and most direct albums to date.
Radiohead took a somewhat similar approach for the release of The King of Limbs.
On February 14, 2011, the band announced that the album would be issued in five
days as a fixed-price download with physical releases to follow. Standard CD and
vinyl versions were scheduled for late March via XL and TBD, while an
elaborately packaged double 10" vinyl/CD set was scheduled for early May. The
two-disc TKOL RMX 1234567 followed five months later, featuring 19 remixes of
King of Limbs tracks from the likes of Jamie xx, Caribou, Four Tet, and Nathan
Fake. The band also recorded a live set of songs from the album as part of the
From the Basement video series, and subsequently released the set, titled King
of Limbs: Live from the Basement, in 2012.