RADIOHEAD: Albums Ranked

A running theme with these ‘ranking-the-catalog’ write-ups is that I tend to focus my efforts on artists or bands that I hold in the highest esteem. And if said band or artist is a little less ‘known,’ then even better! After all, why spend a solid chunk of my very finite time writing about, say, Metallica, when there are already ten million articles out there?

With that said, I’ve decided to share my thoughts on the incomparable Radiohead. Now, let me be clear, I’m very aware of just how much Radiohead-centric content there is out there. I fully recognize that I am tossing a bucket of words into a proverbial ocean. But, I freaking love this band, so here we are.

And unlike many of my other ‘desert island’ artists (Miles Davis, Led Zeppelin, etc.), I was there from the beginning. Radiohead’s artistic ascent coincides quite nicely with my formative years. And for that reason, my fandom’s tethered to a healthy dose of nostalgia. That said, I’ve never been a bigger fan of the band than I am today, a testament to the enduring genius of Radiohead’s forward-thinking ethos.

Now, before we get to the task at hand…

*Caveat Number One: The following list will only take into account Radiohead’s nine proper studio releases. That’s not to discount the treasure trove of b-sides, remixes and the odd live album, but I had to draw the line somewhere.

**Caveat Number Two: It should go without saying, but I’m going to say it regardless: I’m a massive fan of Radiohead. Any and all criticisms are subjective and should be taken with a grain of salt. 

***Caveat Number Three: I’d like to file anything that I’ve written below in the ever-so-subjective ‘prisoner of the moment’ category. If I were to repeat this process six months from now, my results would probably change (except for the top spot—that’s pretty much set in stone).

Ah, Pablo Honey, a.k.a., ‘the one with “Creep.”‘ I’ve always found it interesting that Radiohead spent the majority of their career disowning their biggest song (just check out those Spotify numbers). Full disclosure: the emo-tinged anthem did nothing for me when I first heard it way back in the fall of 1992, which is why I slept on Radiohead’s debut for a number of years. Fortunately for the band (and all of its future fans), “Creep” resonated with the masses, providing a foundation of clout with the powers that be that would soon pay off.

Pablo Honey might be a product of its time, but it’s still a damn fine collection of alt-rock jams. In a vacuum, the record is an angst-riddled, Brit-pop-tinged debut that captures a young band throwing everything at the wall just in case something might stick. The record is, if nothing else, an interesting listen. I mean, who would’ve guessed that the band behind ‘I’m a creep, I’m a weirdo’ was just a few years away from all that Grammy-nominated ‘redefining rock’ business? Sure as hell not me.

The bottom line is this: there are two types of Radiohead fans out there–those who have “Creep” (and only “Creep”) sitting on one of their Spotify playlists, and those who routinely skip over Pablo Honey and head straight to literally any other Radiohead album. Both are fine, of course, and even if Radiohead has all but disowned their debut, there are scores of bands out there that would kill for an introduction like Pablo Honey.

Flawed as it might have been, Pablo Honey succeeded at introducing Radiohead to the world. Sure, the band has all but disavowed the album, but let’s face it, without “Creep,” there’s probably no “Everything in its Right Place.”

All I Need (Highlights)

As with everything this band has released, there are loads of highlights here. “You,” “Anyone Can Play Guitar,” and even “Ripcord” are all standouts. However, the closing one-two punch of “Lurgee” and “Blow Out” represent the album’s peak, with the edge going to the album closer.

The Gloaming (Lowlights)

If for no other reason than I literally never need to hear it again, “Creep” is going to get the nod here. That said, the song’s ‘soft-loud’ formula is admittedly effective, and I get why it became an anthem.

True Love Waits (Favorite Lyric and/or Moment)

Everything I touch turns to stone — “Blow Out”

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The first time I listened to this album’s blistering opener, “2 + 2 = 5,” I distinctly remember thinking, ‘hey, this kinda reminds me of the Radiohead I used to know.’ Of course, it took all of three minutes for me to realize that Hail to the Thief wasn’t exactly the ‘return to rock’ album the press had made it out to be.

Still, at the time, I couldn’t wait for the band’s sixth full-length release. While I’ve come to hold Kid A in the highest regard, I wasn’t so sold on Radiohead’s guitar-less direction back in 2003. With Hail to the Thief, I assumed the band would either double-down on the electronica or rediscover their love for, well, being a rock band. The band opted for a combination of both, and in their attempt to make a record that pleased everyone, they wound up creating what many fans consider a bit of a mess.

What makes Hail to the Thief such a frustrating listen is that the album’s highs (“Sail to the Moon,” “Go to Sleep,” “There, There”) rank among the band’s best moments. But the record also contains some pretty deflating lows. Radiohead has but a handful of songs that fail to do anything for me, and three of them (“We Suck Young Blood,” “Myxomatosis,” “A Wolf at the Door”) can be found on this record. I revisit it often, but rarely do I listen to Hail to the Thief in its entirety. Trim this fourteen-track monster down to, say, nine or ten tracks and this probably jumps up a few spots on this list.

All I Need (Highlights)

In addition to that banger of an opener, the mid-tempo “A Punchup at a Wedding” has always put a smile on my face. The song is so much better than it has any right being, and it is definitely in contention for my favorite ‘deep cut.’

The Gloaming (Lowlights)

It’s far from my least favorite song, but as a follow-up to “2 + 2 = 5,” “Sit Down Stand Up” is a woefully misplaced, momentum-killing song that I’ve been skipping since day one.

True Love Waits (Favorite Lyric and/or Moment)

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Given that Radiohead’s fifth album, Amnesiac, was released a mere seven months after Kid A, you can hardly blame anyone for wondering if this was simply ‘the best of the rest.’ In truth, that’s precisely what Amnesiac was. I mean, the songs were written and recorded during the Kid A sessions, so how could it be anything else?

That said, for a while there, I half wondered if this was the better album of the pair, if for no other reason than I appreciated the collection’s eccentric, ‘anything goes’ vibe. All these years later, however, Kid A wins the day, largely due to its stark, cohesive vision. Still, despite its ‘odds and sods’ treatment, Amnesiac is far from a disappointment.

Sure, tracks like “Pulk/Pull…” and “Hunting Bears” severely stretch the definition of what constitutes a ‘song,’ but “Pyramid Song” and “Knives Out” are easily among the band’s best work. Add to that an electronica-fueled opener (“Packt Like Sardines…”), Kraut-rock excursions (“I Might Be Wrong”) and some jazz-tinged madness (“Life in a Glasshouse”), and you have yourself an album chock full of satisfying left turns and detours.

Amnesiac is perhaps best described as more than the sum of its parts–other than a pair of ‘must-listen’ singles, there’s little here that holds up outside the context of the album. But taken as a whole, this is one of Radiohead’s most intriguing statements.

All I Need (Highlights)

For a long time I was a fan of saying, ‘the best Radiohead album is the one that combines the best songs from Kid A and Amnesiac.’ I no longer subscribe to that opinion, but if you were to add “Pyramid Song” to Kid A, you might just have my all-time favorite album.

The Gloaming (Lowlights)

I have tried, and tried, and tried, but after all of these years, I am finally going to admit defeat. While I genuinely love its Kid A counterpart, there is something about “Morning Bell/Amnesiac” that I simply can’t stand. It is quite possibly the only Radiohead song I truly dislike. Like I said, I’ve tried to understand it, but I can’t–this treatment just grates on my ears.

True Love Waits (Favorite Lyric and/or Moment)

The perfectly-timed fill that introduces the rest of the band just might be the best thing Philip Selway has ever committed to tape — “Pyramid Song”

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Had I written this ranking ten years ago, 2011’s The King of Limbs would’ve come in dead last. So, yeah, it took a while for the album to grow on me, but grow on me it has. Initially, the album’s opening tracks felt like an impenetrable barrage of Thom Yorke crooning indecipherable musings over a bed of minimalistic drum-heavy vamps. 

But with the benefit of repeated listens, I slowly began to recognize the genius of this album. You see, The King of Limbs is less a collection of songs and more a summation of mood. Not unlike Miles Davis’ early ‘70s work (Big Fun for the win!) tracks like “Bloom” and “Little by Little” seep into one another not unlike movements in a larger piece.

In fact, the sonic palette remains defiantly monochromatic until the album reaches its de-facto climax, “Codex,” a haunting ballad that ranks among the band’s best. From there, the album closes with the incredibly effective one-two punch of “Give Up the Ghost” and “Separator.”

One of the many criticisms waged against The King of Limbs is the album’s thirty-seven minute run-time. And while ‘epic’ or ‘grand’ are hardly a fitting description of the band’s most concise work to date, I routinely revisit The King of Limbs as it’s the only Radiohead release that fits squarely within my morning commute.

All I Need (Highlights)

“Codex” or “Lotus Flower” are the obvious fan-favorites here, but for my money, “Give Up the Ghost” is a late-career highlight and earns my vote for the album’s best moment.

The Gloaming (Lowlights)

It might work within the context of the album, but “Feral” plays like an unfinished sketch, especially considering the ill-fitting, albeit evocative title.

True Love Waits (Favorite Lyric and/or Moment)

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By every measure, 1995’s The Bends was a success for Radiohead. The album sold even better than its predecessor, introduced the band to their ‘ride or die’ producer (Nigel Godrich), and even spawned a handful of singles that Thom Yorke didn’t immediately hate (well, save for “High and Dry”).

From the playing to the performances to the production, The Bends feels infinitely more confident and self-assured than its predecessor. Gone are Pablo Honey’s one-dimensional soft/loud arrangements, and in their place are a myriad of approaches. Sure, there’s still a few guitar-driven anthems (“The Bends,” “Bones”), but the majority of the album is steeped in sonic experimentation and acoustic guitars.

Of course, all of the above is aided by the band taking a massive leap forward in terms of songwriting. From the mid-tempo ‘rockers’ (“Just” and “Planet Telex”) to the ballads (“Nice Dream,” “Bullet Proof…I Wish I Was”), nuance is the dominant ingredient here. The album may ultimately be a snapshot of a band in transition, but, at the time, The Bends felt like a resounding affirmation–Radiohead were more than a ‘one-hit’ wonder.

All I Need (Highlights)

“High and Dry,” “Fake Plastic Trees,” and even “My Iron Lung” all deserve some mentioning here (with the first two enduring as a couple of Radiohead’s most well-known singles), but the album-closing “Street Spirit (Fade Out)” is, in my opinion, the record’s best moment. This is the song (and video) that sent me straight to the store to pick up my first Radiohead CD.

The Gloaming (Lowlights)

Wow, I’m barely halfway through this list and I’m already struggling to cite a ‘lowlight.’ That said, “Black Star” has always felt like a carry over from Pablo Honey, and thus, a little out of place on The Bends.

True Love Waits (Favorite Lyric and/or Moment)
“Ohh ohh ohh, ohh ohh ohh, ohh ohh ohh ohh — “Street Spirit (Fade Out)”

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Radiohead’s ninth (and last???) album, A Moon Shaped Pool, is awash in expansive arrangements, lush production, and some of Thom Yorke’s most poignant lyrical and vocal work to date. The album leans heavily on orchestral embellishments, something that’s apparent from the opening moments of “Burn the Witch.” Of course, the band’s all there as well, and in that regard, A Moon Shaped Pool is probably Radiohead’s most ‘organic’ sounding release.

That’s not to say that there aren’t electronic flourishes, but the laptop-beeps and squeaks largely feel ornamental. Where the band’s prior release (The King of Limbs) saw them fully embracing a drum-and-bass-indebted deconstruction of their sound, A Moon Shaped Pool features the welcome return of some actual guitar playing (mostly clean or acoustic). In fact, songs like “Desert Island Disk” and “The Numbers” could easily slide onto any ‘90s Radiohead release.

For his part, Yorke’s contributions this time around are as inspired as ever. Given the stories of divorce and death that circulated at the time of this album’s release, it’s difficult not to read into Yorke’s lyrics (songs like “Daydreaming” or “Glass Eyes” sound like he’s singing directly from his journal). For a man that typically deals in ambiguity, lines like “Hey, it’s me, I just got off the train, a frightening place” or “Different types of love are possible” hit especially hard.

A Moon Shaped Pool is, as of this writing, Radiohead’s most recent album. While nothing has been said to the contrary, as the year’s continue to mount, one can’t help but wonder if the album will ultimately be the band’s final statement. Hopefully not, but, oh, what a beautiful send-off it would be.

All I Need (Highlights)

This is tough, because I could easily cite half the album–“Daydreaming,” “Ful Stop,” and “Identikit” (that solo!) are all show-stoppers. Still, “The Numbers” has endured as an all-time favorite from the moment I first heard it, and if I had to pick just one song…

The Gloaming (Lowlights)

I’m tempted to list “True Love Waits” as this is my least favorite treatment of an otherwise incredible (and oft-recorded) song (for the record, the ‘live’ version from 2001’s I Might Be Wrong remains my ‘go-to’ version). Still, regardless of the instrumentation, the album-closer is way too strong to be a lowlight, so instead, I’m going with the somewhat meandering “Tinker Tailor…”

True Love Waits (Favorite Lyric and/or Moment)

It’s too late, the damage is done, this goes beyond me, beyond you — “Daydreaming”

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And now we’ve arrived at the album that many fans (and critics) feel is Radiohead’s best work. And deservingly so, as 1997’s Ok Computer certainly stands as one of the best things to come out of the nineties. Had the band simply ended here, their legacy would have been secure.

In just about every way, OK Computer finds Radiohead pushing against the boundaries of their sound. Universally lauded upon release, the album is the rare case of critics and fans alike falling over each other in unified praise. And who could blame them? Despite the stories of its tortured creation (a recurring theme), OK Computer is a brilliantly defiant statement from a band that had all but outgrown the traditional confines of guitar-rock.

Radiohead had pretty much perfected the formula established on Pablo Honey, which, of course, meant that it was time to tear it all down and start again. It might not feel all that revolutionary when compared to Kid A’s dystopian soundscapes, but in the context of 1997, OK Computer was a bold, counterintuitive step forward.

In many ways, OK Computer was the end of an era for Radiohead—a ridiculously high-water mark doubling as a first-act climax. Twenty years ago, this was universal regarded as Radiohead’s peak. The fact that it isn’t at the top of this list has little to do with OK Computer, and everything with the masterpieces that would follow.

All I Need (Highlights)

Take your pick–OK Computer marks the rare occurrence where an album’s singles rank amongst its best moments. And while I could easily make a case for “Paranoid Android” or “Karma Police,” for my money, “Exit Music (For a Film)” is one of the most haunting/moving things I’ve heard, period.

The Gloaming (Lowlights)

It’s a total copout, but it is what it is–”Fitter Happier” has been an instant skip for me since day one.

True Love Waits (Favorite Lyric and/or Moment)

The final crescendo from the moment Colin’s bass kicks in all the way through Thom’s final “we hope you choke” – “Exit Music (For a Film)”

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Truthfully, I was not a fan of Kid A the first time I heard it. I was working at a record store back in the fall of 2000, and as was the custom back in those days, we had the album blasting through the store speakers the moment we received our release-day delivery.

I’ll never forget the sense of, well, confusion is probably the best word for what I was feeling. Where were the guitars? In fact, I distinctly remember breathing a sigh of relief when “Optimistic” began to play, only to hang my head a few minutes later once I realized that it was the only ‘Radiohead-sounding’ song on the album.

Of course, looking back now, Kid A is hardly the sonic misstep I initially took it for. In fact, despite the lukewarm sales at the time, the album is now highly regarded by fans and critics alike. As for this writer, it only took a decade or so for the sheer genius of Yorke and Co.’s “celebration of what is possible when a bunch of people get together and forget about everything except trying to create work that speaks to them at that moment, in a sort of frenzied, last-days-on-Earth kind of way” to finally click. And once it did, I spent the next decade or so listening to the album incessantly.

Sure, when I revisit OK, Computer, it’s feels like reconnecting with an old-friend, but each time I listen to Kid A it’s like an awkward first date that ends with me proposing marriage. So, yeah, Kid A is every bit the certifiable masterpiece that everyone over at Pitchfork says it is. Of course, if you’re reading this, odds are you’ve known that longer than I have.

All I Need (Highlights)

From the onslaught of horns at the end of “The National Anthem” to the hidden instrumental tucked away in the final moments of “Motion Picture Soundtrack,” the highlights here are nearly endless. That said, “Everything in its Right Place” never fails to take my breath away (and is in contention for the band’s best album-opener).

The Gloaming (Lowlights)

I’d be lying if I said I never skipped  “Treefingers.” I like the idea of a four-minute instrumental drone closing out side one, but on some days. the track feels a minute or so too long.

True Love Waits (Favorite Lyric and/or Moment)

That there. That’s not me — “How to Disappear Completely”

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There’s a part of me that’s tempted to write: In Rainbows is the best/my favorite album of all time, and just leave it there. Obviously, the ‘best’ anything is inherently debatable, but when it comes to personal favorites, In Rainbows has long held that spot. In fact, I hold this album in such high regard the thought of putting my thoughts into words is downright intimidating. Still, I’m gonna try…

Let’s put it this way: if you took everything that made Radiohead what they are and tossed it into a blender, you’d have In Rainbows. It’s all there–Jonny’s orchestral embellishments, Colin’s brilliant bass-work, Philip’s unmistakable drumming, Ed’s integral guitar parts, and Thom Yorke delivering a career-high vocal performance. And thanks to the album’s spacious mix, everyone shines.

In one respect, In Rainbows was a point of convergence–a fusion of Radiohead, the alt-rock headliners and art-rock trailblazers. But independent of stylistic leanings and sonic aesthetics, what really sets In Rainbows apart is the songwriting. The upbeat tracks (“15 Step,” “Bodysnatchers,” and “Jigsaw”) show that the band is still capable of rocking, while “Weird Fishes/Arpeggi” and “Reckoner” find the band pairing their live playing with a healthy dose of atmosphere.

And for his part, Thom Yorke has never sounded more vulnerable or (depending on the song) self-assured (the same goes for the band as whole). Yorke’s trademark falsetto elevates tracks like the soul-tinged “Nude,” the moody “All I Need,” and the downright sultry “House of Cards” to otherworldly heights. And don’t even get me started on the jaw dropping lyrical work featured on “Faust Arp” and “Videotape.” Yeah, this album is good.

No matter what it is you’re looking for from Radiohead, In Rainbows has it. And yet, the album somehow maintains a singular identity—this is as focused as it gets.

So, call it whatever you want–a return to form, an unrivaled masterpiece, a high-water mark, In Rainbows fits the bill. Oh, and I haven’t even gotten to the whole second companion album featuring a handful of essential b-sides (“Down is the New Up” anybody?) Bottom line, in my opinion, this is Radiohead’s peak. And given some of the other albums on this list, that’s saying something.

All I Need (Highlights)

I almost always listen to In Rainbows in its entirety. Each and every track feels essential, making it difficult to parse out the ‘good, better, best’ of it all. That said, if I had to trace my love of this album back to a single song, it would probably be “House of Cards.” Tucked away on the album’s back half, the track is the perfect summation of everything I love about this band.

The Gloaming (Lowlights)

Um, nothing? I mean, I suppose I’m going with “Videotape” here, if only because the slightly-off-time percussion sample can be a tad distracting. Still, it’s a freaking genius song, so I’m really grasping at straws here.

True Love Waits (Favorite Lyric and/or Moment)

I don’t want to be your friend, I just want to be your lover – “House of Cards”

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A Final Note:

So, there you have it. Honestly, I struggle to think of a group where the quality from beginning to end is so high, especially for a band that experimented so recklessly with their sound. And not unlike the incomparable David Bowie, Radiohead’s penchant for reinvention will likely be there until the end.

Speaking of which, the band’s final act (hopefully) remains to be written, but there are a slew of side-projects that I highly recommend. As for predictions regarding LP number 10? Well, if it were my call, I’d tell the boys the strap on their guitars and go out with an amps-to-eleven banger. A swan song album full of arena-rock anthems just might be the most ‘Radiohead’ thing Radiohead could do.