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4.1 out of 5 stars 759 customer reviews

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  • Kid A (Gatefold) (10 In.) (Vinyl)
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Product Details

  • Audio CD (Oct. 1 2013)
  • Number of Discs: 1
  • Label: Warner Music Canada
  • ASIN: B00005B4GU
  • Other Editions: Audio CD  |  Audio Cassette  |  LP Record
  • Average Customer Review: 4.1 out of 5 stars 759 customer reviews
  • Amazon Bestsellers Rank: #11,036 in Music (See Top 100 in Music)
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1. Packt like sardines in a crushd tin box
2. Pyramid song
3. Pulk/pull revolving doors
4. You and whose army?
5. I might be wrong
6. Knives out
7. Amnesiac/Morning bell
8. Dollars & cents
9. Hunting bears
10. Like spinning plates
11. Life in a glass house

Product Description


Though the songs on Amnesiac were recorded at the same time as those on its predecessor, Kid A, the gap between the releases of the pair suggests a determination on Radiohead's part that the two should not be perceived as halves of the same whole. However, there is little in the way of meaningful stylistic divergence between the two albums--Amnesiac shares with Kid A an atmosphere of defeated, vengeful paranoia, a heavy reliance on electronic noises and distorted vocals, a somewhat frustrating absence of Jonny Greenwood's guitar and the song "Morning Bell", which reappears on Amnesiac in a slightly less mournful arrangement. It may just be that Radiohead felt that it might have been a bit much to ask anyone, even Radiohead fans, to consume this entire lugubrious trove at once. Amnesiac, like Kid A is heavy going. And, also like Kid A, Amnesiac rewards repeated listenings generously. The more acute Thom Yorke's lyrical biliousness grows, the harder the band work to redeem matters with some moments of astonishing beauty. "You and Whose Army?" contains gorgeous knelling piano evocative of "Karma Police", "Like Spinning Plates" deploys a backwards backing track to bewitching effect, and the closing track, "Life in a Glasshouse", is an exuberant Laughing Clowns-style wig-out, featuring veteran jazz trumpeter Humphrey Lyttleton. Once again, it is not so much that Radiohead have not put a foot wrong, but that they're walking where nobody else has trodden. Amnesiac is another giant leap. --Andrew Mueller

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Top Customer Reviews

Format: Audio CD
There seem to be various and sundry reviews about Amnesiac: those that claim it to be the most astounding example of Radiohead's brilliance, and those that were less impressed by the collage of texture it presents. So, I offer more noise to the already confused clamor by examining the points of contention.
Well, I don't really see Amnesiac as a sequel to Kid A, but the two albums are obviously linked (hence, the revisted 'Morning Bell' as title cut). Many of the songs, such as 'I Might Be Wrong' and 'Knives Out,' first appeared during the Kid A tour and were probably penned around that album's production. Apples from the same tree, you could say.
While Kid A was a cohesive whole where each song led into the other, Amnesiac is more a complilation as each song exists in independent musical space. The crunchy bass textures of 'Pulk/Pull Revolving Doors' provides a claustrophobic backdrop to the processed vocals, while the thick piano chords of 'Pyramid Song' are adrift on ambient synth swoops and orchestral strings. 'Life in a Glasshouse' takes a trip to the swing era with a horn section, while 'Like Spinning Plates' plays the background backward while Yorke sing the melody foward but makes it sound backward with phrasing (confused yet?). One thing is for sure: there's a lot going on in every track!
I think Radiohead was trying to expand their creative boundaries here (if they have any :) by trying different approaches and techniques. The focus seems to be on the production methods and sound textures, as if they wanted to see what they could come up with.
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Format: LP Record
I think Capitol shorted themselves (and us) on this. For my ears, I really don't think they remastered this for vinyl. They simply took the compact disk mix and pressed it on wax. It's pretty pathetic when a company advertises something special and then fails at the most important point.

The sound is much the same as the digital version, plus the added noise of pops and click (and possible dullness) that comes with wax. On a good vinyl master there is a good deal more detail; with a noise floor that lets your ears peruse into the murky fuzz that only clouds an even higher resolution.

But on this pressing what you have is that murky fuzz minimally clouding off what you can already hear clearly on the digital version. For those of us that like the sound of vinyl, we can be somewhat happy. But for those of you that like respectable sound quality in regards to what is advertised... don't buy this.

I'm really quite disappointed in this, as I would love a proper pressing of this album along with KidA.
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Format: Audio CD
I would agree with some others that "Amnesiac" is not as good Kid A. It's slightly below the level of the other records Radiohead has releasted in the past half decade. However, even if it's a lessor effort, it is still a very good album. As a whole, the album isn't as strong or profound as their other works, but it does have a few individual sounds that are quite amazing.
Rathern than go into a long-winded review of the album, and analyze every aspect of the album, I'll leave that to the other reviews here.
However, I must take the opportunity to defend the track "Hunting Bears." Reading many of these reviews, most of them unfairly criticize this song, condemning it as mere "filler" and "a boring two-minute repetitive guitar bit." It's much more than that. Yes, it's just an instrumental, it's bascially two minute-long guitar bits played back to back--what's wrong with that? I find it altogether enigmatic, atmospheric, and tranquil. I also like how they throw in a soft whooshing sound in the background to support the guitar.
There is also a short instrumental on Kid A, "Treefingers." That song is also often unfairly dismissed. Both "Treefingers" and "Hunting Bears" are astounding, trance-inducing instrumentals that hit inner strings inside me that few other songs can.
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Format: Audio CD
Critics and fans alike haunt AMNESIAC, Radiohead's 2001 album, with accusations this record is little more than a KID B. Indeed, much of the controversy surrounding this album has to do with complex issues of album vs. single, and Radiohead's self-important reputation. It is rather funny how the actual music can get lost in all the shuffle.
In the early 1960s, rock music was a singles market, and people didn't think of albums as a piece of art. Through seminal releases from artists such as Dylan, The Beatles, The Who, Pink Floyd, Genesis, Jethro Tull, Led Zeppelin and so on, albums became important mediums of art. Radiohead, with their three very self-contained albums (THE BENDS, OK COMPUTER, and KID A) fell in with this tradition.
When 2001 came around, Radiohead and their record company began promoting AMNESIAC as a whole new album, and all the heavy conceptual ideals that a new Radiohead album entails went along with this announcement. They also said that AMNESIAC would be the 'real' sequel to OK COMPUTER, and there would be more guitars this time around. What did they give us? An album that doesn't sound much different than KID A, though a little more conventional and streamlined than its predecessor. Because KID A was designed to be a radical album, some of the simpler and more conventional tracks were left off it. Where did they go?
Why, AMNESIAC. And when AMNESIAC hit the market, people were more puzzled than they were with KID A, because they had been explicitly promised a return to the more guitar oriented sound of their pre-millennial work. Not only that, AMNESIAC was promoted very heavily an actual album, not as an outtakes album that got slapped together from KID A's cutting room floor.
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