Albums That Changed Music: Radiohead - The Bends

rodeo head are one of the most creative and admired acts in the history of rock the band has become iconic by setting the bar for experimental boundary breaking rock so much so that the band is sometimes credited with saving rock music itself in their pursuit of intelligent imaginative and inspired music radiohead have won six grammy awards sold 30 million albums and were inducted into the rock and roll hall of fame in 2019 today radiohead is still admired as one of the few bands that continues to innovate and renew itself rock music in the 21st century has largely gone out of fashion and some might say that radiohead have single-handedly kept it relevant [Music] in the u.s radiohead's stellar reputation to a large degree is based on their third album okay computer released in 1997 and their fourth kid a released in 2000. both of these won a grammy award for best alternative album despite an early hit in the us with the 1992 song creep ok computer marked radiohead's american breakthrough their follow up kid a was radiohead's first american number one it is less well known particularly in the us that was in fact the band's second album the benz released in 1995 that first showed radiohead's experimental tendencies and established their ambitious new musical direction their first album pablo honey released in 1992 was strongly influenced by grunge it established the band as a force to be reckoned with but it was far from groundbreaking compared with the albums that were to follow all that changed with the benz this album was radiohead's big leap forward into unknown musical territory it also managed to distinguish them from the brit pop movement the songwriting is incredibly strong throughout and it is enhanced by striking arrangements extraordinary sonic landscapes and majestic production courtesy of producer john lecke the benz is ground zero for what has been called the radiohead aesthetic the bends influence artists like coldplay muse garbage rem d lang and countless more as well as being featured in countless lists and polls as one of the greatest albums of all time for example in 2000 the benz came second in virgin's top 1000 albums of all time after the beatles revolver many people regard the benz as radiohead's best and one of the most important albums ever made so how did radiohead manage to make a masterpiece with their second effort how do they manage to avoid the dreaded second album syndrome normally a group or artist spends years developing their sound and repertoire and having poured everything into their debut album a second album often is a big challenge or a disappointment to their fans this is even more so in the case of when the pressure is to repeat the success of a first album or single as was the case with radiohead being far better than its predecessor the benz broke the mould of what has been called the sofa more slump however in one way it did conform to the sofa more stereotype the fact that it was a very difficult album to make bass player colin greenwood has described the ben sessions as eight weeks of hell and torture tom york recalled i couldn't have been more freaked out we had days of painful self-analysis a total effing meltdown for two effing months much of the stress came from the record company wanting a quick follow-up single to creep as a result radiohead's journey with the benz involved turning some serious pain into lots of gain by the middle of 1993 the band found themselves in an odd place that enjoyed some minor success with pablo honey which had been released earlier that year but the lead single creep had bombed in their homeland as it had been declared too depressing by the bbc and was excluded from radio playlists strangely enough the song had by that point become an enormous hit in israel following an iconic performance of creep on mtv in the summer of 1993 the sun became a hit in several other countries as well it even gained popularity in the u.s as a slacker anthem similar to nirvana's smells like teen spirit and beck's loser york complained that the song was misunderstood and was ambivalent about its success despite the band's reservations emi re-released creep in the uk in september 1993 it promptly went to number seven the pressure on radiohead to capitalize on the success of creep intensified the band did not feel comfortable with this at all and after a cancelled concert tom york stated physically i'm completely and mentally i've had enough reportedly emi gave radiohead six months to sort themselves out that the record company has denied this saying that art rock actually had serious commercial potential at the time and that they were completely happy with the direction radiohead was taking pablo honey had been engineered mixed and produced by americans sean slade and paul q caldery ready head chose british producer john lecky to work with on the new album in part because they found him very relaxed and hoped that he would alleviate some of the pressure they felt the ban were also big fans of magazines 1978 debut album real life which was engineered and produced by lekki in 1993 he was a big name in the uk alternative rock scene having worked with xtc simple minds the full dukes of stratosphere the stone roses and countless others a particular record it was magazine they were fans of johnny greenwood particularly and i guess at the time i was was to say i was hot emi the record company wanted to do it the managers chris hufford and bryce the two managers of radiohead had been in a band and i turned them down i met them they sent me the demos and i said yeah i'll do it i like the voice of course you know the voice and and the songs were really different you know there was uh as you say loud and quiet you know it was um there was sensitivity there and and there was what can i say balls there was there was punch and aggression just at the right time radiohead and lekki started work at rack studios in north london in february 1994. leckie worked regularly at the studio and deemed it very suitable for a live playing band like radiohead they'd already booked nine weeks at rack studios rack studio one living in as well uh booked in for nine weeks there and was it okay if i could do it there and of course i'd work there loads of times yeah it's perfect for me and they lived in the accommodation the apartments upstairs and for all that time i don't think we work weekends we might work saturdays i think at that time i was doing this thing where i'd i'd come in saturday afternoon finish at six o'clock on a saturday and then start again six o'clock sunday night so you know just as you're getting bored kind of thing you can come back in the studio on six o'clock monday sunday night so you know although you have a day off it's actually only um 24 hours off really it came to work and everyone loved it because you worked really hard on a saturday afternoon went home early and also came in sunday night for the playback really everyone was a lot more relaxed recorded something it didn't matter because you could go through the week's work so this is uh that's how we recorded it really and the band were great the band were really well rehearsed i think they had about 36 songs i think in all i recorded 26 songs or something more than what the album was i did all the b-sides and everything helping lekki out was rack tape-op nigel goldrich who went on to produce all future radiohead albums the album was initially scheduled for release in october 1994 but with the band resenting the pressure tensions grew high studio sessions were going nowhere and the band's manager at one point nearly quit leckie concluded they were trying too hard tom york put it this way in 1996. no matter what we came up with we were thinking my god people are going to hate us after creep and the fatigue of all the touring we were scared really and people were interfering we had to claim our creative freedom according to leckie the early focus was on the tracks nice dream the bends just and my iron lung the latter is a reference to creep with york's lyrics complaining about being defined by the song in lines like this is our new song just like the last one a total waste of time but the main thing was from the record company point of view getting us a follow-up single to creep you know what they were really interested in and whether the band had that or not no one was prepared to say not even the band or the record company or the manager well the manager thought you know they think everything was great and you know pick anyone and it could be a single which is probably true you know anyway we had this big meeting at the band's rehearsal room and they played about 30 35 songs and there was the a r from america flower flew over capitol records uh the uk london office all came up to oxford and the manager and we all sat in this rehearsal room and the band were fantastic they had everything together and it was like a show you know they were jumping around and everything was cranked up and well which one you know we need a short list of four songs for the singles you know from this album before you go in you know and of course no one could decide and i think we ended up with um nice dream the benz i'm trying to think of who what the other song would be there were four songs and it was our priority to record them first and make them into number one hit singles you know and then of course which they were desperate to release and then of course they wanted b side so at that time whenever they released a single cd there would be three at least two b sides if not three or four because they would often release the single twice but with different b sides so the fans would have to buy the same a side to get the two b sides you know uh which were considered obscure you know the sessions could easily have broken down or yielded substandard material however despite the stressful circumstances progress was eventually made leckie had set the band up in the huge live room of rack studio one which is a former ballroom with tons of space and daylight the band members were separated by sliding doors and baffles leki remembers that the microphones on the drums involved were an akg d25 on the kick ashore sm57 or neumann km 84 on the snare sennheiser md421 on the toms neumann km 84 on the hi-hat and the overheads vary between pairs of neumann u87s km84s or u47s coles 4038 akg 414s and 451s bass was recorded via a di and using an akg d12 electro voice re20 or neumann u47 on the amp guitars were recorded using a neumann u67 and ashore sm57 recorded without any eq and the final sound being a balance between the two mics some of the outboard that was used includes compressors like yuri 1176 black faces and dpx 160s bassist colin greenwood used a 1972 fender mustang and occasionally an aria bass going through an ampeg svt for guitars many reports state a lot of the time was spent on getting the right guitar sounds with different guitars amps and effects nevertheless guitarist johnny greenwood eventually went back to his tried and true fender telecasters he used two telecaster plus models one with the tobacco burst finish and the other in ebony frost both going through blues breaker and digitech whammy wh1 pedals and a fender twin reverb amp i remember when we started and tom said the first thing we've got to do is find a great guitar sound for johnny okay right we can do that so we rented in all these different amplifiers and guitars and after a few days john is just standing there with his telecaster and his fender twin and his blues breaker pedal and there's like what's wrong with this right so the whole record he's really done on his set you know on his setup and even though we went through i don't know marshall soldanos and and pegs and all sorts of lisa boogies but ended up just with his fender twin and that telecaster that you've probably seen he still plays i think or i don't know he was always every time i saw him on stage he had that telly ed o'brien played a guitar that he had made with the band's guitar tech planck the guitar was appropriately called the planck ed1 and his amplifier was a mesa boogie acoustic guitars were recorded with a neumann u67 and maybe a neumann km84 with no di but also using the api's eq sadly all of these guitars were stolen just before a concert in denver in october 1995. that night the band performed an acoustic set on rented instruments the light at the end of the tunnel with the rack sessions appeared one night after everyone had been out to a greek restaurant resulting in a session that became the album's opener planet telex planet telex was written in the studio at the time it was the only one that was not demoed or not rehearsed you know we've kind of made planet telex up in the studio late one night it was crazy with with some drum loops that nigel had got together on the on the sound tools it wasn't even called pro tools it was called sound tools and we looped some drum loops from killer cars there was a b site called killer cars and we took two uh patterns from that and made the planet telex and i think we were doing an overdub with the echo on the piano stab so you know when you stab the world so i had this repeat delay going on shimmery also turning up the feedback and eq in the feedback so it goes off it spins off you know we were doing that messing around and that became part of the track you know it was quite magic the way it all happened you know with planet telex and everyone seemed to have a part and yet the song was kind of being made up as it went along and about two o'clock in the morning i said to tom you know it's two o'clock tom i think you should get out there and do the vocal okay and he goes out there and he just sang what you hear on the record is what he's saying you know almost like first go you know no no drop-ins or no second take and that's that's the opening track of the record you know so uh i love that i mean it was so pleasing you know amazing to come in the next day and everyone loving it and loving it even more the next day was also good good feeling yeah original title was panic xerox that's right yes it was always called on the tape box it would be planet xerox and they couldn't get clearance from the xerox company the copying company [Music] you know so that's why it's called telex for some reason sound tools 2 was an early version of pro tools and godrej ran it on a mac 2fx also a roland space echo is used at the beginning of the song john leckie shared more in a post on gear space in 2009 the roads with the delay was set up by johnny trying something on another track and the sound was driven by me turning up the graphic eq on the delay return which was set on point of feedback ed's guitar tone was awesome and colin's baseline took no time to get down i don't know where it all came from because we had really been struggling over some of these songs and this had just materialized and was just done and completed in just a few hours another highlight was the song fake plastic trees which took the band weeks of trying to find the right approach fake plastic trees yes yeah um that was uh well that was always what can i say it was always considered a masterpiece that was always too good for this record and you know too much to even consider as a single it was beyond being a single it was in another realm to pop singles so it was i guess never on the list it was a single it happened let me see it would happen kind of halfway through i mean halfway through the nine week session and we had a nice dream i think which we had strings on we had the strings coming in which was really one of their friends whose name i can't remember a kind of student friend of john is and they wanted a cello player they said did i know a cello player and i'd been working with this girl called caroline lavelle who's really good and she was my go-to cello person you know anyway this was happening on the wednesday and tuesday afternoon i said tom we haven't even got a backing track they're coming they're coming tomorrow we need to get back in track for fake plastic trees tom went out and sang it he got really frustrated by the by i don't know the song or people not respecting the song enough or something and it was like all right well we're doing another you know it's not that important it's not you know we can always do it another time no no we got then he knew he was kind of on the line to do it he just went out and i think i gave him a click and it was just him playing the song and the vocal to a click by himself in the studio and i always remember because uh on his guitar i had a 67 acoustic guitar 67 and the 57 i think just there and as soon as he started playing the 67 went noisy just started hissing and crackling and so luckily i i had the 57 and that's what the guitar sound is and it was a really resonant guitar i don't know what make of acoustic guitar it was but it was very loud but it wasn't like a martin it wasn't kind of deep and rich it was more kind of resonant it sounded like i had too much reverb on already you know but tom plays it very gen you know he's really sensitive with his playing and everything yeah so i i'm pretty certain that is that acoustic guitar and vocal is the soul of of uh what we hear of fake plastic trees you know it's the starting point and it's what everything's built around you know and they came in and did the strings but what we next did of course was um the hammond organ which kind of took a day to do with johnny playing the little answer things the little drony thing on the ham and organ with different drawbars and you know just getting it just dead right and sitting just right the guitar was most likely a takamini en 10c which york played regularly at the time drummer philip selway also remembered that york had been to see jeff buckley perform that evening and that was a major influence on york's guitar vocal take of fake plastic trees selway called it a magical moment york later commented jeff buckley gave me the confidence to sing falsetto as an aside bassist colin played a rented 1960 fender precision base on the song by this stage the band had settled on several new working methods they later recognized that lekki had taught them how to use the studio and how to get the best out of our material using the studio as a musical instrument became a major part of their approach also there was a shift in their songwriting which until then had been more or less the domain of tom york on the benz it became a much more collaborative effort the song just for example was largely written by johnny greenwood with york commenting that the guitarist had tried to get as many chords as he could into a single song it was just like writing a melody the main guitar riff also is almost a cover of magazine song shot by both sides and the song uses the symmetric scale meaning alternating whole and half notes greenwood would later use this skull in some of his film compositions [Music] so [Music] [Applause] [Music] [Music] so let's kick things off by taking a look at just i'm choosing to look at the verse and the chorus progression just to give you some examples of the rhythm guitars and the lead guitars both electric and acoustic let's take a look first of all at tom york's acoustic rhythm part that's played throughout the verse [Music] so [Music] okay let's take a look at the chorus chord progression here we go [Music] [Music] okay then we go to the second half of the chorus progression where we re-introduced the intro riff i was really really wanted to include this riff this is why i've looked at this portion basically to study the verse to look at the chorus because there's some great chords in the chorus as well as looking at the intro riff because this intro riff is a real nod to nirvana it has that post grunge feel to it but the chord progression really echoes nirvana with the uh the minor third intervals you're going from c [Music] up to the e flat then down to d [Music] and then back up again to f so you know it's almost a little bit reminiscent of something nirvana would have played with those minor third intervals [Music] so let's take a look at what johnny greenwood is playing during the verse we had this little repeating melody which is played over the e flat chord but he rakes [Music] so you kind of hear that root note and then he moves that up a whole tone [Music] over the f chord and then we see that same progression again with the uh the little figure over the e flat chord [Music] and then we drop it down to b flat then we have this next part which is absolute genius we have this little a minor pentatonic figure over the a minor chord then we drop down [Music] [Applause] so again we're kind of echoing that original melody [Music] and then we have this fantastic angular sounding pattern which is [Music] i love that part that's over the g so you're outlining that g major chord [Music] that's over [Music] that f sharp major chord and then we're bending from the e flat note up to the f note so you if we put it together you get something like this [Music] so let's have a look now at the electric guitar parts played by ed and johnny during the chorus section again this is following the chords played by tom york on the acoustic guitar but during this section they're adding a little bit more color to the sound of the chords by including open strings so we get something like this [Music] next up we're going to look at johnny's very fast tremolo picked ascending octave shapes that ascend through a diminished whole half scale starting from c so we have this [Music] get as far as the 12th fret going you're using that tremolo picking [Music] at this point here this is the hard bit i always thought it just continued but on closer inspection johnny actually jumps to the top strings so now he's playing the octave shape on the g and the e so we continue [Music] so the whole part moving up [Music] [Music] now let's take a look at a couple of parts from high and dry this is an absolutely fantastic song and it's just such a a wonderful guitar part this octave part that just shifts through the the e major scale so you have this [Music] [Applause] [Music] [Applause] now it's really important to mute our unwanted strings there but at the same time enable the top strings to ring out so you've got to keep that very sort of loose rhythm with your strumming hand [Music] [Applause] so there you are muting that sixth string and the d string as well so you're you're muting the sixth and the fourth strings [Music] and then we're taking that mute away on the low e to give us that root note now a really interesting part that also features during the introduction is johnny's coin bow yes he uses a coin as a bow just kind of scratching and sliding on the strings but it's laced with reverb and echo i've noticed that uh on videos i've seen him playing live he was playing it more on the top string but i must confess you know i've learned these parts for this breakdown this is something that i've never done before so uh you know you're trying to get into the mind of uh of a of a kind of avant-garde guitar genius this is so not the way i play so please any big radiohead fans out there forgive me if this isn't up to par i found it a little bit easier to play this on the b string okay so what he's doing here he's kind of soaring at the string he's playing the b note [Music] just brushing it's like it's really hard and also to try not to get too much unwanted noise i'm muting out the strings then you're sliding down as you keep that motion going [Music] but obviously using the echo and the reverb sort of takes that harshness of this off of the sound but it's just again another another very inventive soundscape approach that johnny used to create sound effects on on on the tracks you know it's such an unorthodox approach to playing the guitar they also had worked out a labor division between the three guitar players whereas on pablo honey the tendency was for all to play similar parts creating a wall of guitar sounds on the benz york started focusing more on rhythm guitar o'brien on textural effect laden parts and greenwood on lead guitar greenwood also extended his palette to playing keyboards and synthesizers as well as writing string arrangements the recordings clearly took longer than expected and the record company abandoned the planned october release date at one point leckie went over to abbey road studios to mix several of the songs contrary to reports that he'd been at a wedding or some sort of social occasion during his absence the band and godrich recorded some b-sides including black star which appeared on the benz and for which godrej receives a producer credit with the album still incomplete the sessions were put on hold because in may and june the band went on tour playing in spain italy switzerland germany the uk japan hong kong australia and new zealand they also appeared at several summer festivals including glastonbury and reading in england and ross kilda in denmark we went to the manor after there was a few songs like the benz and bulletproof and a couple of others which we we weren't happy with and the band wanted to go off and my iron lung actually as well and the band wanted to go off and they were doing one of these tours of the far east they went off and of course tried out the new songs on the on that audience and came back and they were like much better you know we're full of it now you know we're gonna really do it now and go to the manor and do that ready ahead and lecky without godridge reconvened at the manor in july the mana is a residential studio with an ssl located close to oxford where the banner from artists who had worked at the studio before radiohead include van morrison xtc inexcess and black sabbath a year later in 1995 the studio was closed by emi the sessions at the manor lasted a mere two weeks but were extremely productive due to the band's newfound confidence and practice they gained from their world tour where they had worked out new arrangements for many of the songs several the songs were re-recorded from scratch namely the benz bones bulletproof i wish i was punch drunk lovesick sing-along banana co and sulk the atmosphere was even relaxed enough for all five members of the band to play acoustic guitars for the recording of nice dream while sitting in the lawn dressed in bathing suits and headphones leki's idea had been to create a phil spector-like wall of sound using only acoustic guitars the remaining overdubs for all of the songs were completed at the manor as well it has been widely reported that my iron lung was based on an mtv live recording by radiohead at the london astoria on may the 27th 1994 which was released on vhs in 1995 and on dvd in 2005 as live at the astoria leckie explains that it is in fact a combination of live and studio recordings so we go to the manner we go to the manor and um we've got we've got uh with the intention of re-recording my online and um we watch it uh they just done an mtv astoria gig an mtv show which they had the tape of and so we settled down one evening to watch this and immediately my iron lung came on they knew that the chorus was just much better than what we recorded so instead of re-recording the whole thing because we i don't know why but we struggled over it we we used the verses from uh our version from rack and the chorus we managed to get the multi-track tape from mtv and i guess they owned it i think uh and that is in it did a multi-track edit and it all worked you know i think i might have copied their tape and set some levels to make the edit work on the multi-track and so that's it it's like it opens up with the rack version and then when it hits there the chorus kind of part that kind of run down it edits into live at the astoria and then back to rack for the for the verse and another chorus kind of thing [Music] [Applause] [Music] [Applause] so [Music] [Music] [Music] [Music] so now what i want to talk about is how johnny greenwood uses effects in a creative way and he uses effects to actually construct and orchestrate parts now this is a little bit of a rabbit hole that we could have gone down his guitar effects board boasts many unorthodox effects units he makes use of ring modulators and envelope filters a whole list of effects to crafty sound but i thought i'd look at a slightly more popular pedal which is the whammy pedal and this is a pedal that maybe some of you have in your collection or at least may have access to in a multi-effects units or computer-based software amp packages now i'm using an original whammy one that i've had since i think 1995 and the part that i want to talk about is my eye and lung now many people obviously know the whammy pedal is having the ability to pitch bend notes but the way that johnny uses it here is that he sets it an octave higher depresses the uh pedal down so you're only hearing the harmony and you get this low bit rate sort of stuttering sound and this kind it's almost a little bit like a nashville tuning if you like where all the notes are an octave higher but they have this kind of very low-fi quality to them [Music] [Applause] [Music] now i also thought it was worth mentioning ed o'brien's part that he plays over the introduction of my iron lung where he uses the ebo and he uses the ebo quite a lot to build textures in fact i'm sure that he has a sustainer built into his signature strap now he plays a very simplistic line but it just adds this pad with all the delay against this very sort of awkward and angular sounding uh chord arpeggio that johnny's playing so let's have a listen to ed's part now in stark contrast to that the chorus section from my iron lung is absolutely superb this is incredibly aggressive it really adds to the dynamic of the track now on the little play through that i did i actually included part of ed's guitar part when when this section starts johnny has this descending [Music] this repeating chromatic figure that we see throughout where he's playing very aggressively he's really kind of whacking the strings but ed plays this part which is based around some six so i actually started the little demonstration of the chorus progression with that part we then launch into this sort of slightly hendrix inspired i guess hendrix in another dimension it very much reminds me of jimi hendrix with the groove and the choice of notes so you're hearing lots of sort of slides and mutes this this isn't a very precise part it's all about the aggression you know they're really kind of throwing themselves at the guitar and that's the thing you go from these incredible sort of beautiful uh sort of progressive sounding sections into these very very aggressive very distorted sections and that's very apparent on my iron lung so we start the chorus with this then the next part [Music] [Music] getting you know really kind of whacking the guitar almost throwing yourself at the guitar and it's as i said it's not a precise part you really have to sort of control some of the mutes you know control the open strings but i don't think it really matters if some of those sort of uh rear their head a little bit adds to the character and the feel of this section [Music] uh following the mana sessions leckie and chris brown went to abbey road studio 3 where they started mixing the album reportedly because emi felt that leki was taking too long on the mixes the label decided to have the songs mixed by pablo honey producers sean slade and paul q caldery in a strange twist they chose not to tell leckie about this the producer recalled it wasn't until someone from the abbey road tape library came down asking for a multi-track of nice dream that they knew something was up the tape was to be copied and sent to the u.s all slade and culdery mixes were done off of copy tapes the tapes we use were 3m 995 tapes at 30 ips recorded at plus 9 db without dolby lecky ended up with a mix credit on three songs he added most of those guitar effects and sounds are on tape if you played those two inch tapes with the desk faders at zero you get a pretty good mix and an approximation of a finished record the vocals were dry it's funny because when we were mixing at abbey road all the reverb we added was frowned upon but when the u.s mixes came back they were wet the benz was finally released on march the 13th 1995 in the uk on parlor phone records and on april the 4th in the u.s on capitol records featuring artwork by stanley dawnwood it was immediately successful in their homeland spanning 160 weeks on the uk album charts peaking at number four although it didn't find the same instant success in the us touring as an opening act for rem and alanis morissette boosted american sales to some degree as did the fact that radiohead was dominating mtv with high profile original music videos the reviews in the uk were also overwhelmingly positive with the guardian writing that radiohead had transformed themselves from nondescript guitar beaters to potential arena fillers q magazine called the album a powerful bruised majestically desperate record a frighteningly good songs and the new musical express praised it as a classic and the consummate all-encompassing continent straddling 90s rock record at this point many american reviewers weren't getting it yet and reviews were often negative calling the music overblown and pretentious nevertheless the benz put radiohead on course to become one of the biggest and most influential rock acts in the world the band itself recognized the album as a turning point in their career and were well aware that it had an immediate impact on their contemporaries as can be expected tom york wasn't too impressed feeling that many were simply copying radiohead he made no secret of not being a fan of followers like coldplay and travis however michael stipe of rem had no problem publicly singing the praises of the band and the same continues to be the case for many other notable artists the legacy of the benz continues to shine in 2006 it was included in a list of 50 albums that changed music and that was published in the prestigious british newspaper the observer in 2009 emi reissued a special collector's edition of the album with many of the additional tracks that had been recorded at rack and the manor these included b-sides songs released on eps and demos today 26 years after its release many regard it as radiohead's magnum opus a review in all music concludes what makes the bend so remarkable is that it marries such ambitious and often challenging instrumental soundscapes to songs that are at their core hauntingly melodic and accessible with the bends ready ahead have reinvented anthemic rock a review in billboard in 2015 summed it up like this the benz is seen as the jumping off point for a group that's been jumping around ever since it's experimental but it also rocks and if there were one radiohead album everyone could agree on this might be it it really is a truly remarkable body of work that album and the ep that came before it are two of the most powerful pieces of music i heard in the 90s and every band i knew in the 90s was obsessed by it there's a handful of albums from that period guitar albums that we all loved and inspired so many other other records other artists other bands absolutely incredible stuff and like jeff buckley at that time there was no more powerful voices in our industry in europe so i hope you enjoyed that please if you have any other suggestions for other videos please leave them below um don't forget to leave any comments and questions and of course check out the other videos in the series have a marvelous time thank you so much for watching so long farewell video au revoir adios adios goodbye

Channel: Produce Like A Pro

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Keywords: Warren Huart, Produce Like A Pro, Home studio, Home recording, Recording Audio, Music Production, Record Producer, Recording Studio

Id: NK9iM9au70A

Length: 48min 3sec (2883 seconds)

Published: Wed Aug 11 2021

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[u/Gumbyonbathsalts]

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