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'Creep' is the first single released by the English alternative rock band Radiohead, and is a track on their debut album (1993). It was written by the band's singer, and released in the United Kingdom initially in September 1992. When it was first given limited release, however, Radio 1 found it 'too depressing', and removed it from their playlist after airing it only twice.

However, it subsequently became one of the band's biggest hits, and became their only Top 40 hit in the United States until 2008's 'Nude', des.

. 'Released: 26 September 1994. ' / 'Released: 27 February 1995. 'Released: 15 May 1995. 'Released: 21 August 1995. 'Released: 22 January 1996The Bends is the second studio album by the English band, released on 13 March 1995 by in the United Kingdom and in the United States. It was produced by, and engineered by, who has produced all of Radiohead's subsequent studio albums.

It was the first Radiohead album with cover art by, who, with singer, has produced all of Radiohead's artwork since.With The Bends, Radiohead moved away from the -influenced style of their debut album (1993), incorporating cryptic lyrics, greater use of, and more abrasive tracks. It produced five charting: ' (released as an EP in 1994), ', ', ', and Radiohead's first top-five UK single, '.The Bends reached number four on the. However, it failed to build on the success of their single ' outside the United Kingdom, and peaked on the United States charts at number 88. It achieved certifications in the UK and and platinum in the United States. The Bends received greater acclaim than Pablo Honey, and frequently appears on best-of lists. It was voted number 2 in 's 3rd Edition (2000).

In 2003, it was ranked number 110 on. Contents.Background After Radiohead had finished recording their debut album (1993), songwriter played co-producer a demo of new material titled The Benz. According to Kolderie, 'I was a little shocked when suddenly he pops out a batch of songs that are all better than anything on Pablo Honey.' By the time Radiohead began their first US tour in early 1993, their debut single was in heavy rotation on and had achieved top-ten chart positions in the UK and the US when reissued in 1993. The sound of Pablo Honey had led critics to dismiss Radiohead as '-lite', and neither the album nor the singles ' and ' matched the chart success of 'Creep'.

Radiohead nearly broke up due to the pressure of sudden success as the tour extended into its second year. The band described the tour as a miserable experience, as towards its end they were 'still playing the same songs that they had recorded two years previously. Almost like being held in a time warp.' Tensions were high, as the band felt smothered by the success of 'Creep' and the mounting expectations for a superior follow-up.The band sought a change of scenery, touring and the in an attempt to reduce the pressure.

However, confronted again by their popularity, Yorke became disenchanted at being 'right at the sharp end of the sexy, sassy, MTV eye-candy lifestyle' he felt he was helping to sell to the world. The 1994, featuring the single of the same title, was Radiohead's reaction, marking a transition towards the greater depth they aimed for on their second album.

The album is dedicated to the comedian. One song, 'High and Dry', preceded the album recording, having been recorded in 1993 at Courtyard Studios by the band’s live sound engineer Jim Warren. Worked as an engineer on The Bends, and produced one track, 'Black Star'. Godrich has produced all of Radiohead's subsequent studio albums.In early 1994, Radiohead moved into, London, to develop the demos. Yorke would rise early and work on songs alone at the piano; according to producer, 'New songs were pouring out of him.'

Whereas Yorke had written most of their early songs, The Bends saw greater writing collaboration. 'Nice Dream' began as a simple four-chord song by Yorke, but was expanded with extra parts by guitarists and, such as the introduction.

Much of 'Just' was written by Greenwood, who, according to Yorke, 'was trying to get as many chords as he could into a song'.On Pablo Honey, all three guitarists had tended to play identical parts, creating a 'dense, fuzzy wall'. For The Bends, their roles were more divided; Yorke generally played rhythm, Greenwood lead, and O'Brien effects. 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 drummer and bassist , what was the point in trying to add something more?' Recording Recording was due to begin at London's in January with Leckie.

However, fellow Oxford band asked Leckie to perform some last-minute work on their forthcoming album. Radiohead postponed recording to 24 February, and used the extra time to practice their songs; 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.' The first two months of work were difficult. While Radiohead were pleased with their work with Leckie and engineer, they felt pressured to follow up Pablo Honey with a superior release. Their record label, EMI, set an October 1994 release date, and suggested Radiohead should record the lead single first. No one could agree on what the lead single should be, so the band worked on four candidates: 'Sulk', 'The Bends', ', and '(Nice Dream)'.

The approach proved counter-productive; Leckie recalled, 'Everyone was pulling their hair out saying, 'It's not good enough!' We were trying too hard.' The recording process slowed further as guitarist Jonny Greenwood experimented with several rented guitars and amplifiers to discover 'a really special sound', despite Leckie's belief that Greenwood already had one.

According to Leckie, whenever a record company representative or the group's management came to check their progress, all the band would have to show them was 'a drum sound or something'.In an attempt to defuse tensions between Yorke and the rest of the band over whether they should take a break that April, Leckie suggested Yorke record some songs by himself on guitar. Radiohead had a tour scheduled for May until mid-June, which meant that the album would not be completed by October as planned. By the end of the sessions at RAK, Radiohead had recorded several songs that would appear on the album, as well as most of the tracks that would appear on their My Iron Lung EP. They resumed recording on 16 June at 's Oxfordshire studio complex,. Unlike the sessions at RAK, progress was fast; Leckie felt the break gave Radiohead confidence in the songs again.Recording ended at in London, where Leckie also mixed some of the songs. Due to the poor commercial performance of the My Iron Lung EP, EMI had Pablo Honey producers and remix the album in the United States. Leckie did not realise what was happening until EMI asked him for copies of the multitrack tapes.

He said, 'EMI had been going on about trying to get an American sound for the record from the minute I got involved.' Kolderie insisted he and Slade had not lobbied to remix the album, and that Radiohead had supported it after hearing Pablo Honey play over a sound system during an in-store appearance. Leckie did not always like what Slade and Kolderie produced, but later said it was a sound decision to have others represent the music with a fresh mindset.

Three of Leckie's mixes were used, and nine of Slade and Kolderie's. 'Fake Plastic Trees' was partly inspired by the commercial development of 'Problems playing these files? See.The Bends has been described as an, and album. 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 ' and 'Subterranean Homesick Alien', respectively. 'Fake Plastic Trees' was partly inspired by the commercial development of, while 'Sulk' was written as a response to the. According to Yorke, 'Street Spirit (Fade Out)' was inspired by the book by as well as the music ofThe lyrics to the songs on The Bends, particularly those of 'My Iron Lung', were cited in the British music press as an example of Yorke's alleged. Ran an article around the time of the album's release which suggested Yorke would be the next 'rock 'n roll martyr' or suicide. Artwork The Bends was the first Radiohead album with artwork by, 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, but, according to Donwood, found that iron lungs 'are not very interesting to look at'. Instead, they used footage of a 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. Sales In the UK, The Bends reached number four, stayed on the chart for 160 weeks and was certified Triple Platinum in the UK.

Acts including, R.E.M. And began to cite Radiohead as a favourite band.In the US, the American lead single ' fared relatively well, peaking at number 11 on Billboard's and number 65 on the chart, the album received an initially lukewarm commercial reception, entering at the very bottom of the in the week of 13 May 1995, before peaking at number 147 in the week of 24 June and dropping off the chart after a mere nine weeks. However, the album's reputation steadily built Stateside as the band opened for. Much-talked about videos for singles ' and ' drew attention, before the release of ' (the album's original UK lead single) in early 1996 – with a new, -styled music video – reignited interest in the album. 'High and Dry' reached number 78 on the, one of their highest chartings there, while The Bends re-entered the Billboard chart in the week of 17 February 1996. It eventually broke the Top 100 and peaked at number 88 on 20 April, almost exactly a year after its release, and was certified Gold by the for sales of half a million copies on April 4. The Bends remains Radiohead's lowest-charting album in the US but eventually turned platinum.

By the end of 1996, worldwide sales were around 2 million. Critical reception Professional ratingsContemporary reviewsReview scoresSourceRatingB+9/104/55/10CThe Bends received critical acclaim in the United Kingdom. While the album was released during the height of the movement in the band's home country, Radiohead's music was rarely grouped with, and other so-called 'Britpop' acts, instead earning acclaim for diverging from the fashionable aspects of the scene. According to 's Caroline Sullivan, it elevated Radiohead from 'indie one-hit-wonderville into the premier league of respected British rock bands'. In her original review, she said the band 'transformed themselves from nondescript guitar-beaters to potential arena-fillers' similar to; concluding, 'the grandeur may eventually pall, as it has with U2, but it's been years since big bumptious rock sounded this emotional.' Dave Morrison of 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.'

Described The Bends as a 'powerful, bruised, majestically desperate record of frighteningly good songs', while 's Mark Sutherland hailed it as a 'classic' and 'the consummate, all-encompassing, continent-straddling '90s rock record'.Critical reception in the US was mixed. Of magazine, was less impressed, deeming much of the album 'nodded-out nonsense mumble, not enough concrete emotion', while Kevin McKeough from the panned Yorke's lyrics as 'self-absorbed' and the music as overblown and pretentious. Critic felt 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.' A positive review in the American press came from the ' Sandy Morris, who described Yorke as 'almost as enticingly enigmatic as ', though of a more delicate constitution.' Legacy Professional ratingsRetrospective reviewsReview scoresSourceRatingAA10/10'We didn't really realise that loads of people like The Bends,' said Colin Greenwood. 'Tucked away in Oxford, you occasionally see someone in a ' T-shirt, and that's it. But then we went all round the world and found that loads of people wanted to 'hang' with us because of that album.

Which was nice.' The Bends influenced a generation of British pop bands. In 2006, listed it as one of 'the 50 albums that changed music', saying, 'Thom Yorke popularised the angst-laden falsetto, a thoughtful opposite to the chest-beating lad-rock personified by 's.

Singing in a higher octave-range and falsetto voice to a backdrop of churning guitars became a much-copied idea, however, one that eventually coalesced into an entire decade of sound. Without this, would not exist, nor, nor.' The Bends took second place behind in both 1998 and 2006 reader polls in for the best album of all time.

In 2003, the album was ranked number 110 on, and 111 in a 2012 revised list. The Bends was the highest of three Radiohead albums to make the list ( OK Computer and being the others), until an updated list in 2012, in which Kid A moved to number 67. In 2000, 'Top 1000 Albums of All Time' ranked The Bends at number two, second only to. The album was also included in the book.In 2006, and organised a poll in which 40,000 people worldwide voted for the 100 best albums ever. The Bends was placed at number 10. Ranked it 11th on a list of the greatest albums of the 1990s.

Although Radiohead were never a Britpop band, The Bends is often considered the band's closest Britpop record. A 2017 poll by Pitchfork listed the record at no. 3 in its list, 'The 50 Best Britpop Albums.' 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. The 'Collector's Editions' were discontinued after Radiohead's back catalogue was transferred to in 2016. In May 2016, XL reissued Radiohead's back catalogue on vinyl, including The Bends.

Track listing All tracks are written by Radiohead. The Bends'4:063.' (Nice Dream)'3:537.' Bullet Proof.I Wish I Was'3:2810.' Black Star'4:0711.' '4:12Japan Edition Bonus TracksNo.TitleLength13.'

How Can You Be Sure?' Killer Cars'3:03'Collector's Edition'/'Special Collector's Edition' Disc 2No.TitleLength1.' The Trickster'4:402.'

Punchdrunk Lovesick Singalong'4:383.' Lozenge of Love'2:144.' Lewis (Mistreated)'3:175.' Permanent Daylight'2:476.'

You Never Wash Up After Yourself'1:427.' Killer Cars'3:029.'

India Rubber'3:2410.' How Can You Be Sure?' Fake Plastic Trees' 4:4112.' Bullet Proof.I Wish I Was' (Acoustic version)3:3413.'

Street Spirit (Fade Out)' (Acoustic version)4:2614.' Talk Show Host'4:3915.' Bishop's Robes'3:2316.'

Just' ( session, 14/09/94)3:4419.' Maquiladora' ( Radio 1 session, 14/09/94)3:2820.' Street Spirit (Fade Out)' (BBC Radio 1 session, 14/09/94)4:1921.' Bones' (BBC Radio 1 session, 14/09/94)3:01'Special Collector's Edition' DVDNo.TitleLength1.'

High and Dry' (UK Version)2.' High and Dry' (U.S. Fake Plastic Trees'4.' Street Spirit (Fade Out)'6.' Bones' (, 27/05/94)7.'

Black Star' ( Live at the, 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, the, 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' (, 27/05/95)19.' High and Dry' ( Later. With Jools Holland, 27/05/95)20.' High and Dry' (, 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. Roberts, David, ed.

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