Title:

Radiohead - The Bends album download

Performer:

Radiohead

Album:

The Bends

Style:

Alternative Pop/Rock,Alternative/Indie Rock,Britpop

Genre:

Pop/Rock

Duration:

48:31

MP3 archive size:

1388 mb

FLAC archive size:

1738 mb

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Rating:

4.4

Votes:

929

Radiohead Alternative Pop/Rock Alternative/Indie Rock Britpop

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The Bends ‎(Cass, Album, Promo). This could be a smaller run of pressings than the one with the Red Pound Trademark, when EMI & Radiohead were in love. Mummy didn't agree to the pocket money baby wanted for the next release. The 2014 issue with WEA on the cover (2 lines of text) is a smaller pressing run than others, as the change to XL recordings started to take effect 2016.

The Bends also marked an evolution to multi-layered song arrangements, and increasingly mysterious lyricism which moved away from Yorke’s previous themes of personal angst. Under pressure to match the success of Pablo Honey, Radiohead’s first two months working on the album proved to be a great challenge. Matched with a slow recording process, the band found it counterproductive to record several hit singles in succession, with producer John Leckie recalling: Everyone was pulling their hair out saying, ‘It’s not good enough!. e were trying too hard.

Radiohead, The Bends Album Mike McConnell SONGS. 1 planet telex (missing). high and dry. fake plastic trees. intro: D, C, B, C, B, C (x4) verse: E, G, C (x2).

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The Bends (1995) - download mp3 or listen online. On this page you can listen to the album, get information about the album, see the list of songs and much more. Listen online and stay in a good mood. Org Album: The Bends (1995).

Listen free to Radiohead – The Bends (Planet Telex, The Bends and more). The Bends, released on 13 March 1995 in the United Kingdom and on 4 April 1995 in the United States, is the second studio album released by the English rock band Radiohead. The album was dedicated to the late comedian Bill Hicks. The album contains singles "High and Dry", "Fake Plastic Trees", "Just", "My Iron Lung", and "Street Spirit (Fade Out)"

Radiohead's Album "The Bends". compilation put together by. Sergio Lucero [email protected] Sulk" added by Tex (randellous. corrections and additions welcome.

The Bends is like Star Wars - a neat, separate entity with lots of explosions but not much plot. And OK Computer is The Empire Strikes Back, more ambitious, more complex, with more loose ends, but ultimately much better". After several years of Radiohead listening, I've found some interesting levels of misconception surrounding the band. It's got it all you see, the vaguely geeky reference beloved of serious music fans, the fresh way of looking at the argument, and, above all, a clear truth behind it. Oh yeah, and like everything else Radiohead are ever going to do, OK Computer is used as a point of comparison.

The Bends is the second studio album by English alternative rock band Radiohead, released on 13 March 1995. The Bends was produced by John Leckie at EMI's studios in London, and engineered by Nigel Godrich, who would go on to produce all future albums by the band. Featuring five charting singles, the album also marked the beginning of a shift in aesthetics and themes for the band, with greater use of keyboards, and more abrasive guitar tracks balancing subtler ones. Although it lacked the instant success of later Radiohead albums, The Bends achieved triple platinum sales certifications in the UK and Canada and platinum sales in the US and the EU. In the years following its release, the album has frequently appeared in listener polls and critics' lists of best contemporary rock albums.

Track List

	Title/Composer	Performer	Time
1	Planet Telex Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke	Radiohead	4:19
2	The Bends Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke	Radiohead	4:06
3	High and Dry Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke	Radiohead	4:17
4	Fake Plastic Trees Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke	Radiohead	4:51
5	Bones Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke	Radiohead	3:09
6	Nice Dream Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke	Radiohead	3:53
7	Just Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke	Radiohead	3:54
8	My Iron Lung Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke	Radiohead	4:36
9	Bullet Proof ... I Wish I Was Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke	Radiohead	3:28
10	Black Star Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke	Radiohead	4:07
11	Sulk Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke	Radiohead	3:42
12	Street Spirit (Fade Out) Colin Greenwood / Jonny Greenwood / Ed O'Brien / Phil Selway / Thom Yorke	Radiohead	4:14

huckman

Q: Who won The Battle of Britpop, Blur or Oasis?A: Radiohead.This of course wasn't known in 1995. The Bends wasn't a Pinkerton-esque flop, but its relative lack of commercial success suggested that Radiohead would at best become some sort of cult act. Meanwhile, Oasis "won" and became the first (and only) Britpop band to break into America with the Morning Glory album. And yet two years later, as Oasis disappointed with Be Here Now and Blur fled to indie with its self-titled album, Radiohead's OK Computer was raved as an immediate classic album and the album that would position the band to reinvent British rock.We all know how the latter turned out: Radiohead went electronic and for the most part hasn't looked back, leaving its followup bands to interpret what legacy Radiohead's 90's work had. By that measure, the rock-ier Bends has been more influential than the more experimental OK Computer. Much has been said of how Coldplay wouldn't exist if it weren't for this album, but I would also add that for all of Muse's experimentation its foundation remains the rock of The Bends. It's easy to see why, in my opinion, because The Bends is the better album. Not only that, this is my favorite album of all-time.All 12 songs on The Bends are incredible in some way. The atmospheric "Planet Telex" immediately signals an expansion of the band's sound. "The Bends" returns to comparatively conventional ground but stands out with its take on sudden celebrity. "High and Dry", complete with its distinctive opening and Jonny Greenwood's best guitar performance, is a wonderful plea that Radiohead is delusional to dismiss. "Fake Plastic Trees" continues that musical beauty but combines it with lyrics that pity the lack of authenticity in the world, pointing towards OK Computer. "Bones" is probably the least impressive song on the album (which it's hard to fault it for considering the competition it has) but the lyrical imagery still makes you feel the song in, well, your bones. "Nice Dream" aches with its begging to belong coupled with Jonny's arpeggiated guitar. "Just" is the most grunge-y song on The Bends, which is not at all a bad thing as it combines that grunge sound Radiohead was previously associated with with a lyrical attack unlike anything else on the album. "My Iron Lung" also has grunge as a key element but chooses to build up to its loud peak that contains the album's hardest rock. "Bullet Proof" is a fragile little number that weaves its way into the heart. "Black Star"'s spacy imagery disguises the failing romance that is the center of the song. "Sulk" sounds the most arena-ready of all the songs on The Bends, which makes it odd that the song doesn't get played a lot in concert by the band. "Street Spirit" is the song people who dismiss Radiohead as a band for sad sacks are most likely thinking of, but that sadness is the song's strength, beginning the band's sequence of stunning album closers.A perfect album if there ever was one.

Ffel

The Bends is my favorite Radiohead album by far. The reason is simple: it is the one that I want to listen to. If I put on another Radiohead release I eventually have the same thought-why aren’t I listening to The Bends instead?

Micelhorav

You heard of Radiohead? Nah mate they are rubbish. One Hit wonders.Well that's what a friend of mine said after we knew of their hit the year or so ago with 'Creep' which was also funnily parodied by a crooner style singer in Australia. Blur and then Oasis were becoming a big deal. British Pop was the new sound and we were were wondering what was coming next(Suede and Pulp of course). I read a review in Loaded Magazine about the Album that followed the Iron Lung EP - The Bends. Loaded's review said it was huge and bigger than the very sum of it's parts. Fine, I'll give it a go.Holy Shit. It transcended the vacuum that became Brit Pop. Not just a few hits but full cohesion. 'Iron Lung' had a voracious sound and style that I was expecting Radiohead to use to break free from the effort of Pablo Honey. I love how it lyrically pokes fun at the hit of 'Creep'. The style of the whole album was not obviously British in sound, accent, nor was it even borrowing any specific style of rock/pop from any British era but from a lot of sources everywhere. The beautiful scathing lyrics cut into a lot of ideals."I wish it was it was the 60's. I wish we could be happy." - 'The Bends'Far out that lyric already says a lot about what Radiohead want to do with the current music scene at the time. They had so many songs to choose from for this album (from what I have heard) and this album distills the choices so well. One of those great albums you can listen to from end to end. While Radiohead have successfully indulged in the conceptual and experimental this was still placed within the boundaries of set pop songs but they all have a great character. 'Fake Plastic Trees' is so very sweet and somber. 'Bones', while being very radio friendly, especially for those grungy times, still cuts through with some brilliant guitar. All through it is that voice that snarls and then helps you sleep at night. What I enjoy is that the cover is probably meant to be your reaction to the music. A sweet revelation, a heavy medication with some harshness bound in an unnatural light. Lyrically 'Just' is amazing. It actually seems to use Brit Pop aspects against itself. At the time other British bands couldn't get close to this amazing album in it's deversity and reverence. It serves as an earnest template of how to strive on musically amidst a sea of mediocrity.You heard of Radiohead? Yeah, let's put this album on again.

Quashant

Admittedly, I wasnt a big fan of The Bends when I first heard it. What the band did here was accomplished better on OK computer, I thought. Going back recently, I sat down and played the record from start to finish and was blown away by what I heard. I had been an idiot to disregard such a record at first. Here, we see a group struggling to find their way after the mammoth success of their first single 'Creep'. But the grungy sounds from Pablo Honey are now gone and in its place are distorted guitars, softer guitar pieces and darker, more cryptic lyrics. The Bends is probably a contender for the saddest album ever made. Every song is drenched in angst and fear. Thom Yorke smashes it out of the park again with his singing and writing, perfectly complementing the lyrics and music. Tracks like the soft 'High and Dry' display a longing for affection and comfort, while the climatic 'Street Spirit (Fade Out)' takes a heavy more desperate tone. The group also deal with their rise in fame with the track 'My Iron Lung', and loneliness and desperatation in the titular track. The Bends is an incredibly satisfying record and one that COULD POSSIBLY top OK Computer. But who's to say really?Immerse your soul in love 5/5

Painbrand

Radiohead takes the best parts of Pablo Honey and adds a touching, haunting, and spectacular landscape--creating The Bends, a near-perfect rock album.

Stylish Monkey

With great lyrics and great songs that use a mix of alternative rock, folk, and a touch of punk rock, this album is definitely one of Radiohead's best, and is probably their best rock album of all time.

Marilore

I'm not saying this is the best Radiohead Album but it is definitely in their top one!

BOND

Art-rock adventure fuses with arena grandeur on the band’s first great leap forward. Given its recording was plagued by writer’s block and creative dead ends, Radiohead’s second album is remarkably confident and daring. The three guitarists build mesmerising layers within haunted balladry (“Fake Plastic Trees”), a thrilling Frankenstein’s monster of folk, grunge, psych and jazz (“Just”), and stunning, numinous closer “Street Spirit (Fade Out)”. Thom Yorke’s lyrics areequally nuanced and searching, creating an elegiac undertow from his anxieties about consumerism, narcissism, and the mind-melt of sudden fame

Sagda

Broadly speaking, most fans, listeners and critics who heard "Creep" in 1993 would have naturally believed that Radiohead were a grunge act, worse still, a "Nirvana lite" novelty band. Understandably, Thom Yorke and fellow band members were horrified that they were being categorized into a movement they had no intention of being part of. Having returned, exhausted from cross continental tours, and with little motivation to play anything from "Pablo Honey" ever again, they ensconced to RAK studios awaiting the arrival of chosen producer John Leckie who was making the finishing touches for fellow Oxford band Ride, and their album "Carnival Of Light". When Leckie arrived in February 1994, the band had a number of songs compiled for recording. Yorke cited that a major influence for the new record was the lyrics from John Lennon's "Plastic Ono Band" because in his words "it makes you feel really uncomfortable." For the singer and creator in chief, he felt that the consistency of his writing had to improve, be more complex, and musically more challenging than ever before. Given that Blur, Oasis and the burgeoning Britpop scene was ruling the charts it would have been understandable if the band followed in the slip stream, however their steadfast dedication to produce an album that neither reflected U.K. or U.S. trends makes "The Bends" a wholly unique experience. The resultant collection is a seismic sonic leap from its predecessor, a recording of crunching arena rock highs, tempered by sparsely acoustic intimacy.In many respects, "The Bends" is a miraculous record. Not only did the band cast off their reputation as grunge wannabe's; they laid the foundation for a magnificent career, and for better or worse, this record influenced Coldplay, Travis, Muse and many acts that would dominate the charts for the next two decades.It's a near perfect statement of intent; an artistic creation that satisfies both emotional and intellectual desires. Its place in British popular music is deservedly guaranteed amongst the best.

playboy

One of the best albums I've ever heard. Better, in my opinion, than OK Computer. I've read what Thom Yorke has said about OK Computer--that it's kind of a document of the information age--but it has a lot of the same (spectacular) guitar work by Johnny Greenwood that we heard on The Bends. However, I'm a big fan of "song craft" and The Bends has that in spades. OK Computer has elements of The Bends but there's also a big dollop of the "prog" rock, avant garde, and ambient sounds that characterized their later albums. I'm also a fan of the songwriting of Black Francis, and if you listen to Greenwood, without the Pixies, there would have been no Radiohead. On the other hand, without Radiohead, there would have been no Coldplay. It's kind of tough to decide if having Radiohead was worth also having Coldplay.I'll finish with this. This is one of those few albums that makes me feel like the band is way smarter than I am. Nearly every minute is stunning, INCLUDING (and maybe ESPECIALLY) the beautiful moments on this album. I don't understand how critics can dislike the lovely chords and melodies of Fake Plastic Trees, High and Dry, Nice Dream, and the beautiful harmonies of Black Star. The critics in 1995 gave the album relatively positive reviews, but there were quite a few middling and even poor reviews. I wonder if those critics even listened to the album, or if they suffered from the common inability of critics to listen outside the box when they're giving their reviews.

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