He had been involved in a car crash with his girlfriend, emerging unharmed due to the airbag installed in the car. This incident also inspired some of Radiohead's other lyrics, such as those from Stupid Car , and Killer Cars. Thom said in an interview about Airbag :. Retrieved 6 July Retrieved 2 July Drowned in Sound. The Guardian.
August The Observer. Retrieved 4 January Retrieved 1 July Retrieved 19 April Retrieved 21 May Retrieved 20 January Hung Medien. GfK Entertainment Charts. Retrieved July Polish Society of the Phonographic Industry. Retrieved 31 July Retrieved 1 June Randall, Mac Exit Music: The Radiohead Story. New York: Delta Trade Paperbacks. As such, track lengths shown are simply a best approximation. On her 70th birthday, we took her to Paris to see us play at the Zenith.
It was very sweet. Phil Selway drums : We realized there was something that had a lot of potential. Musically it was kind of exciting, but we hardly did any gigs for that first five years.
It was just us getting together in practice halls wherever we could find to rehearse. And I think you can actually acquire some fairly grandiose ideas about how good you are. Jonny Greenwood guitar : We just got loads of pleasure from rehearsing and writing music and recording. I can remember one winter they came back from college and we just rehearsed every day of the week up until Christmas Day. And then after Christmas everyone went back to college.
I guess we were just very into kind of hearing ourselves and hearing each other. Looking back now at those early songs, I realize how surprisingly well-written they were, and how good Thom was already when he was It was exploring. And musically we were exploring. By the end of that period, or the middle of that period, there was the Pixies, Happy Mondays and Stone Roses and all these things.
We dipped our toe, not very effectively, in each. But in doing so we came out with a sound. We came up with our thing. Thom Yorke: We got destroyed for signing to a major label. And they were the ones that believed in us. Colin Greenwood: A lot of those indie labels were labels that were owned by major labels. It was a weird bunch of coincidences more than anything.
It was [that] our managers knew people at the record company. It took off first in Tel Aviv and slowly broke all over the world over the course of a year.
They supported it with a tour that took them to America for the first time. We were giddy. Thom Yorke: Having a big hit was a bit of a mind-fuck on one level, but it was extremely useful on another level. It was like a pass that allowed us to do whatever the fuck we wanted for a few years. Thom Yorke: I remember we arrived in America the first time. And then suddenly, here, we had a tour bus and we were being woken up early in the morning to go and play on radio stations.
We were told we had to meet a lot of people and talk to a lot of people, so we met a lot of people, we talked to a lot of people, we played endlessly. Jonny Greenwood: We were always disgusted by the British attitude toward America, which was always quite condescending.
But we were just excited to go see San Francisco. See Portland. What could be more exciting than that? See the country. It was kind of more tourism than ambition, really. It was waking up early and being in a new city and having a whole day there before the concert. Just amazing. Then you do a concert, get on a bus and you fall asleep and you wake up somewhere else. We broke even on that first record.
They basically let us get on with it. Phil Selway: The initial sessions for The Bends were quite stilted. Some good stuff came out of it. The great thing about [ Bends producer] John Leckie was nothing seemed to phase him.
We were sort of rabbit-in-the-headlights some of the time. Colin Greenwood: Bless John Leckie. He was very patient with us. We were aware that what we were going to release would have scrutiny after the first record. We used to hang out with Nigel and he was amazing. We love him so much. Nigel Godrich: They were under intense pressure.
That they had a lot of material, a lot of good songs, and they were being pushed in a certain direction. People from the label would visit and it got very uncomfortable. Thom called me a few months after I thought the album was done and asked if I could record them in their rehearsal space. It also became very, very clear that Thom is a very, very gifted writer. IV: The Endless Bends Tour To support the Bends, Radiohead went on a grueling tour between early and late that would take them all over the planet many times over.
Jonny Greenwood: We never got into that fog of not knowing exactly where we were. It was fun. It was good. Always a blast. We played a lot of cards. I know it just from all the R. And you want to feel the real thing.
And personally speaking, I loved it. Everybody had a sense of purpose. We just had this thing about wanting to get better. What can we do? I loved and adored practically every second of it.
And the headliner would come on. My memory of that time was that everything was very sweaty. It's a thoroughly astonishing demonstration of musical virtuosity and becomes even more impressive with repeated listens, which reveal subtleties like electronica rhythms, eerie keyboards, odd time signatures, and complex syncopations.