The Bends (album)

The Bends is the second studio album by the English rock band Radiohead, originally released on 13 March 1995 by Parlophone. It was produced by John Leckie, and engineered by Nigel Godrich, who has produced all of Radiohead's subsequent studio albums. 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.

The Bends
Studio album by
Radiohead
Released13 March 1995
RecordedFebruary–November 1994
Studio
Genre
Length48:37
LabelParlophone
ProducerJohn Leckie[lower-alpha 1]
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: 21 August 1995
  5. "Street Spirit (Fade Out)"
    Released: 22 January 1996
  6. "The Bends"
    Released: 1996

With Radiohead's debut single "Creep" becoming a hit, tensions were high, as the band felt pressured to exceed expectations with their follow-up to their debut album Pablo Honey (1993). As experimental rock music was on the rise, Radiohead moved away from the grunge-influenced style of their debut album Pablo Honey, incorporating cryptic lyrics, greater use of keyboards, and more abrasive guitar tracks. According to the band, the album marked the beginning of a gradual transition in Yorke's songwriting from personal angst to the more cryptic lyrics and social and global themes that would come to feature in their later albums.

The album 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". The Bends reached number four on the UK Albums Chart and has since been certified 4× platinum by the BPI, however, it failed to build on the success of "Creep" outside the United Kingdom. The album peaked on the United States pop chart at only number 88, though has since received a platinum certification in the country.

The Bends received greater acclaim than Pablo Honey, elevating the band from an "indie one-hit-wonder" into one of the most recognised British rock bands, and being nominated for Best British Album at the 1996 Brit Awards. It is credited for influencing a generation of post-Britpop acts, 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 the 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 Phil 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
Nigel Godrich worked as an engineer on The Bends, and produced one track, "Black Star". Godrich has produced all of Radiohead's subsequent albums.

Work began at RAK Studios in London in February 1994.[3] EMI gave the group nine weeks to record the album,[7] planning to release it in October 1994.[8] The band praised Leckie for demystifying the studio environment: "He didn't treat us like he had some kind of witchcraft that only he understands," said guitarist Jonny Greenwood. "There's no mystery to it, which is so refreshing."[9] Yorke would arrive at the studio early and work alone at the piano; according to Leckie, "New songs were pouring out of him."[7]

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] and the sessions were tense. "Sulk", "The Bends", "Nice Dream" and "Just" were identified as potential singles and became the focus of the early sessions.[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."[8]

The Bends 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 songs for B-sides; one, "Black Star", was included on the album.[8]

With the October deadline abandoned, recording paused in May and June while Radiohead toured Europe, Japan and Australasia.[8] 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] The tour gave them 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] In July, work on the album resumed for two weeks at the Manor studio in Oxfordshire, where Radiohead completed songs including "Bones", "Sulk" and "The Bends".[10] Recording ended in November 1995[8] at Abbey Road Studios in London, where Leckie also mixed some of the songs.[12]

With deadlines approaching, EMI grew concerned that Leckie was taking too long to mix the album; 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."[7] Only three of Leckie's mixes were used on the album.[7]

Whereas Yorke had written most of Radiohead's early songs, The Bends saw greater collaboration. "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".[8] Whereas on Pablo Honey, all three guitarists had often played identical parts, creating a "dense, fuzzy wall",[8] their Bends roles were more divided: Yorke generally played rhythm, Greenwood lead, and O'Brien effects.[8] 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?"[8] Selway said the album was recorded in about four months total.[4]

"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. "My Iron Lung" was taken from Radiohead's performance at the London Astoria, with Yorke's vocals replaced and the audience removed.[9] According to Leckie, "Considering it was recorded in the back of a truck outside the hall – not the best sound to get something from – we did quite well."[13] "High and Dry" preceded the album sessions; it was recorded in 1993 at Courtyard Studios by Radiohead's live sound engineer, Jim Warren.[8] Yorke later said it was a "very bad" song that EMI had pressured him into releasing.[14]

Music

The Bends has been described as an alternative rock,[15] Britpop,[16][17] indie rock[18] and post-grunge album.[19] According to the band, the album marked the start of a gradual turn in Yorke's songwriting from personal angst to the more cryptic lyrics and social and global themes that would come to dominate their later work. Most of the album was seen to continue the lyrical concerns of Pablo Honey, although in more mature fashion. The songs "My Iron Lung" and "Bullet Proof..I Wish I Was" have been compared to the band's later work, namely "Paranoid Android" and "Subterranean Homesick Alien", respectively.[20] "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.[21][22] "Sulk" was written as a response to the Hungerford massacre.[23] According to Yorke, "Street Spirit (Fade Out)" was inspired by the book The Famished Road by Ben Okri and the music of R.E.M.[24]

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.[25]

Marketing and sales

The Bends was first released on 13 March 1995 in the UK by Parlophone Records.[26] On the UK albums chart, it spent 160 weeks and peaked at number four,[27] eventually receiving a triple platinum certification from the British Phonographic Industry.[28]

In the US, the album was released on 4 April[26] 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.[29] 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 itself debuted at the bottom of the Billboard 200 in the week of 13 May,[30] before peaking at number 147 in the week of 24 June,[31] and dropping off the chart after a mere nine weeks.

The album received more commercial exposure in the US from Radiohead's performances as an opening act for R.E.M. and Alanis Morissette, as well as highly publicised videos for the singles "Just" and "Street Spirit (Fade Out)", and the release of "High and Dry" (the album's original UK lead single) in early 1996 – backed by a new, Quentin Tarantino-styled music video. "High and Dry" reached number 78 on the Billboard Hot 100, one of their highest chartings there,[32] while The Bends re-entered the Billboard chart in the week of 17 February 1996.[33] It eventually broke the Top 100 and peaked at number 88 on 20 April,[34] almost exactly a year after its release, and was certified Gold by the RIAA for sales of half a million copies on 4 April.[35] According to Robert Christgau, this achievement resulted from Capitol's aggressive marketing for the album.[36]

The Bends remains Radiohead's lowest-charting album in the US but eventually turned platinum.[37] By the end of 1996, worldwide sales were around 2 million.[38] Selway later credited the videos for "Fake Plastic Trees", "Just" and "Street Spirit" for establishing the album and helping it "gradually seep into people’s consciousness".[4]

The single "The Bends", released in Ireland, reached number 26 on the Irish Singles Chart in August 1996.[39][40]

Critical reception
Professional ratings
Contemporary reviews
Review scores
SourceRating
Chicago Tribune[41]
Entertainment WeeklyB+[42]
The Guardian[43]
Los Angeles Times[44]
NME9/10[18]
Q[45]
Rolling Stone[46]
Select4/5[47]
Spin5/10[48]
The Village VoiceC[36]

The Bends received critical acclaim in the United Kingdom.[49] In her Guardian review, Caroline Sullivan wrote 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."[43] Dave Morrison of Select wrote that the album "captures and clarifies a much wider trawl of moods than Pablo Honey" and praised the band as "one of the UK's big league, big-rock assets".[47] Q described The Bends as a "powerful, bruised, majestically desperate record of frighteningly good songs",[45] while the NME's Mark Sutherland hailed it as a "classic" and "the consummate, all-encompassing, continent-straddling '90s rock record".[18]

Critical reception in the United States was mixed. Chuck Eddy of Spin was unimpressed, deeming much of the album "nodded-out nonsense mumble, not enough concrete emotion",[48] while Kevin McKeough from the Chicago Tribune panned Yorke's lyrics as "self-absorbed" and the music as overblown and pretentious.[41] Writing in The Village Voice, Christgau said that the guitar parts and expressions of angst come skillfully and naturally to the band but nonetheless lack depth: "The words achieve precisely the same pitch of aesthetic necessity as the music, which is none at all."[36] 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".[44]

Legacy
Professional ratings
Retrospective reviews
Review scores
SourceRating
AllMusic[50]
The A.V. ClubA[51]
Blender[52]
Encyclopedia of Popular Music[53]
Entertainment WeeklyA[54]
Pitchfork10/10[55]
Q[56]
Rolling Stone[57]
The Rolling Stone Album Guide[58]
Uncut[59]

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."[60] Selway said The Bends was the album where, with collaboration from Donwood, the "Radiohead aesthetic" began.[4]

Guardian journalist Caroline Sullivan wrote that it had elevated Radiohead from "indie one-hit-wonderville into the premier league of respected British rock bands".[61] The success gave Radiohead the confidence to self-produce their next album, OK Computer (1997), with Godrich.[62]

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.[17][21] After its release, Acts including Garbage, R.E.M. and k.d. lang began to cite Radiohead as a favourite band.[63] In 2006, The Observer listed it as one of "the 50 albums that changed music", saying that it had popularised an "angst-laden falsetto ... a thoughtful opposite to the chest-beating lad-rock personified by Oasis" and which "eventually coalesced into an entire decade of sound".[64] According to Godrich, Yorke held contempt for the style of rock The Bends popularised, feeling as though the bands that played it "copied" him.[21]

In 2017, Pitchfork named The Bends the third greatest Britpop album.,[17][16] Pitchfork wrote that album's "epic portrayal of drift and disenchantment secures its reluctant spot in Britpop's pantheon".[17] Pitchfork credited songs as such as "High and Dry" and "Fake Plastic Trees" for anticipating the "airbrushed" post-Britpop of Coldplay and Travis.[17]

In 2000, Virgin's "Top 1000 Albums of All Time" ranked The Bends at number two, second only to Revolver by the Beatles.[65] The Bends took second place behind OK Computer in both 1998 and 2006 reader polls in Q for the best album of all time.[66][67] The album was also included in the 2005 book 1001 Albums You Must Hear Before You Die.[68] It appears at number 110 on Rolling Stone's 500 Greatest Albums of All Time, and 111 in a 2012 revised list.[69] The Bends was the highest of three Radiohead albums to make the list, until an updated list in 2012 placed Kid A higher.[70] In 2020, Rolling Stone ranked The Bends at 276 on their list of 500 Best Albums of all time.[71] In 2006, British Hit Singles & Albums and the NME organised a poll in which 40,000 people worldwide voted for the 100 best albums; The Bends placed at number 10.[72] Paste ranked it 11th on a list of the greatest albums of the 1990s.[73] 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."[74]

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.[75] The "Collector's Editions" were discontinued after Radiohead's back catalogue was transferred to XL Recordings in 2016.[76] In May 2016, XL reissued Radiohead's back catalogue on vinyl, including The Bends.[77]

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
"Collector's Edition"/"Special Collector's Edition" Disc 2
No.TitleLength
1."The Trickster"4:40
2."Punchdrunk Lovesick Singalong"4:38
3."Lozenge of Love"2:14
4."Lewis (Mistreated)"3:17
5."Permanent Daylight"2:47
6."You Never Wash Up After Yourself"1:42
7."Maquiladora"3:25
8."Killer Cars"3:02
9."India Rubber"3:24
10."How Can You Be Sure?"4:20
11."Fake Plastic Trees" (Acoustic version)4:41
12."Bullet Proof..I Wish I Was" (Acoustic version)3:34
13."Street Spirit (Fade Out)" (Acoustic version)4:26
14."Talk Show Host"4:39
15."Bishop's Robes"3:23
16."Banana Co."2:20
17."Molasses"2:25
18."Just" (BBC Radio 1 session, 14/09/94)3:44
19."Maquiladora" (BBC Radio 1 session, 14/09/94)3:28
20."Street Spirit (Fade Out)" (BBC Radio 1 session, 14/09/94)4:19
21."Bones" (BBC Radio 1 session, 14/09/94)3:01
"Special Collector's Edition" DVD
No.TitleLength
1."High and Dry" (UK Version) 
2."High and Dry" (U.S. Version) 
3."Fake Plastic Trees" 
4."Just" 
5."Street Spirit (Fade Out)" 
6."Bones" (Live at the Astoria, London, England, 27/05/94) 
7."Black Star" (Live at the Astoria, London, England, 27/05/94) 
8."The Bends" (Live at the Astoria, London, England, 27/05/94) 
9."My Iron Lung" (Live at the Astoria, London, England, 27/05/94) 
10."Maquiladora" (Live at the Astoria, London, England, 27/05/94) 
11."Fake Plastic Trees" (Live at the Astoria, London, England, 27/05/94) 
12."Just" (Live at the Astoria, London, England, 27/05/94) 
13."Street Spirit (Fade Out)" (Live at the Astoria, London, England, 27/05/94) 
14."My Iron Lung" (2 Meter Session, Hilversum, the Netherlands, 27/02/95) 
15."High and Dry" (2 Meter Session, Hilversum, the Netherlands, 27/02/95) 
16."Fake Plastic Trees" (2 Meter Session, Hilversum, the Netherlands, 27/02/95) 
17."Street Spirit (Fade Out)" (2 Meter Session, Hilversum, the Netherlands, 27/02/95) 
18."The Bends" (Later... with Jools Holland, 27/05/95) 
19."High and Dry" (Later... with Jools Holland, 27/05/95) 
20."High and Dry" (Top of the Pops, 09/03/95) 
21."Fake Plastic Trees" (Top of the Pops, 01/06/95) 
22."Street Spirit (Fade Out)" (Top of the Pops, 01/02/96) 

Personnel

All personnel adapted from the album's liner notes.[78]

Charts

Certifications
Region CertificationCertified units/sales
Argentina (CAPIF)[92] Gold 30,000^
Belgium (BEA)[93] Gold 25,000*
Canada (Music Canada)[94] 3× Platinum 300,000^
Netherlands (NVPI)[95] Gold 50,000^
New Zealand (RMNZ)[96] Platinum 15,000^
United Kingdom (BPI)[97] 4× Platinum 1,248,350[98]
United States (RIAA)[99] Platinum 1,540,000[100]
Summaries
Europe (IFPI)[101] Platinum 1,000,000*

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

Notes and references

Notes
  1. Except "Black Star" produced by Radiohead with Nigel Godrich and Leckie, and "High and Dry" produced by Radiohead and Jim Warren

References
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Bibliography

  • Randall, Mac. Exit Music: The Radiohead Story. Delta, 2000. ISBN 0-385-33393-5
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