Far from the ham-fisted Fake Plastic Trees, Polyethylene is all malevolent snarl, bouncing off the walls in defiance of middle-class ecological hubris.The impenetrable Amnesiac debunked industry rumours that Radiohead were primed for a bankable comeback – but amid that album lay this meat-and-potatoes rocker, its scurrying riffs, mystic ambience and cannibalistic lyrics qualifying as glorious light relief.Yorke once compared it to “staring the fucking devil right in the eyes” and knowing “he’ll get the last laugh”. Can a radical conscience coexist with suburban comforts, No Surprises asks? Like David Byrne before him, Yorke had renounced his authorship to flirt with self-erasure, yielding to gorgeously sunlit synths.A later-career treasure, Radiohead’s tribute to the last surviving combat soldier of the first world war shows how much ground they have barely touched. Yorke has never sounded gloomier, with poisonous murmurs rising to a bloodcurdling fever pitch.At first conjuring arthouse delirium – improv skronk, transistor radio babble, warbling ondes martenot – Kid A’s jazz-rock monster morphs into an electrical storm of brilliantly layered tension. Tellingly, it originates from the band’s youthful origins as On a Friday.Nigel Godrich settles into cruise control on this In Rainbows highlight, a rare haven from the band’s omnipresent dread. Paranoid Android stormed the castle and raised the drawbridge on rock’s imperial era. Kid Rock's "All Summer Long" is a mashup of "Werewolves Of London" and "Sweet Home Alabama." The tantalising, unresolved chords mock him, but enchant us.Post-Creep, Radiohead were poised between grunge and Britpop. Street Spirit makes for a spectacular showdown – a grand, doomed surrender. Song Notes "Come to Your Senses" Radiohead played "Come to Your Senses" in 2006 at a soundcheck at the Hearst Greek Theatre in Berkeley, California. On Kid A, the second option won out: sequestered away with Greenwood, Yorke produced much that haunts and a little – like the title track – that gleams.After decrying consumerism, swerving into outre avant-rock and selling millions of records anyway, Radiohead learned the hard way that condemning society would just make them even richer. With OK Computer’s salvo, they shed the skin of insurgent oddballs, ditched grungy radio rock and electrified the popular imagination.

Pinterest. Sarah Anderson. OK Computer’s opener took the bait then veered left: first the brain-melting deluge, then ripples of funk, a sexy drum lurch and some Maxinquaye basslines. Instead, Weird Fishes/Arpeggi evokes an all-too-perfect harmony: cascading arpeggios enchant while fragmentary lyrics caution against the lure of false prophets.Even when they’re not facing the abyss, Radiohead songs tend to operate in its general vicinity, albeit without revealing what led there. Seriously this really should be higher. 2+2=5 is his polemical anthem for the era of mass-broadcast deception and enhanced interrogation techniques, captured thrillingly in this Com Lag EP version.Kid A’s unorthodox breakup song was later resurrected as Morning Bell/Amnesia (“like a recurring dream,” Radiohead’s most misunderstood protagonist has it made: the house, the garden, the heart full up “like a landfill”, the “job that slowly kills you”… and how lovely it all sounds. The seven-minute odyssey plunders rock’s then-forbidden city with burbling basslines and guitar wizardry so breathtaking nobody bothered to revoke Greenwood’s daytime-radio visa. According to Consequence of Sound, the song "sounds like nothing else Radiohead has ever written", with country and folk elements. Then, a change of heart: perhaps it was “the most perfect day I’ve ever seen”, after all.Radiohead’s greatest (although, somehow, not first) antiplastic jeremiad, this Paranoid Android B-side thrashes and struts like The Bends’ glam evil twin. With Yorke “up in the clouds” and Greenwood making spaceship sounds, the rhythm section straps in and goes full New Order, hurtling towards an ecstatic climax.Where OK Computer declared “I am born again”, Kid A dives straight into obfuscation: its opener’s choppy vocal gibberish more closely resembles the “unborn chicken voices” plaguing the Paranoid Android. Yorke vaguely evokes horrors – surveillance-state ennui, digital isolation, the gaze of an unforgiving deity – in a death-row drawl. Yorke – summoned “back to save the universe” – presides over the melee like a despairing god.On In Rainbows, Radiohead’s cosiest album, Videotape is refreshingly, passionately despondent. The greatest Radiohead song ever because it reaches people and in particular teenagers in a way that few songs do, the expression of loneliness, frustration, rejection, isolation, burden, loss and disillusionment is among the finest out there. What, the interlopers wonder, is up with these oddballs? Finally entrusted to build an arrangement from scratch, he turned the live favourite Burn the Witch into this orchestral jaunt. Paranoid Android draws less from contemporaries than their ancestors, notably – audaciously – within prog. The top Contemporary Christian artist of all time on song inspirations and what she learned from Johnny Carson. “I want you to notice when I’m not around,” Yorke broods, a perfect lyric he probably hates. Radiohead fans are so accustomed to "Just," from "The Bends" LP, that it's easy to forget (just) how bizarre the song is.
List of songs with Songfacts entries for Radiohead. “Maybe you’ll be president,” Yorke rasps over writhing guitars. The iffy tour version – shorn of strings and charm – attests to his handiwork on the recording.Radiohead’s biggest hit is so beautiful and corny, it is impossible to accept it on its own terms. Elevated by Yorke’s apocalyptic babbling and heavenly falsetto, we witness operatic scale and drama (“The dust and the screaming! It’s not easy to pick a favorite Radiohead song, let alone create an entire top 100 list, but American Songwriter has managed to do just that.


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