Amnesiac (Collectors Edition) [Collector's Edition]

Radiohead | Format: Audio CD

Product Details

• Audio CD (August 25, 2009)
• Original Release Date: 2001
• Number of Discs: 2
• Format: Collector's Edition
• Label: Capitol
• ASIN: B002BF96IY
• Also Available in: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
• Average Customer Review: 4.2 out of 5 stars  See all reviews (806 customer reviews)
• Amazon Best Sellers Rank: #53,279 in Music (See Top 100 in Music)

Editorial Reviews

Amazon.com's Best of 2001

More song-driven and acoustic than Kid A, Radiohead's Amnesiac isn't quite "Kid B," but it is unquestionably cut from the same far-out cloth, as the band revels in fascinating quirks and abject nihilism. It's also the first time in Radiohead's career that a new record hasn't meant a complete shift in artistic priorities. Surely, however, regardless of which was released first, they both deserve recognition; after all, Amnesiac, like Kid A, is an amazing piece of work.

Only lightly augmented with electronics, songs like "You and Whose Army?" and "I Might Be Wrong" almost sound like they came from a typical five-piece rock band. You may even believe the band still employs a guitarist after hearing Jonny Greenwood's wistful surf-guitar lead on "Knives Out" or his subtle but noticeable contributions to the anticapitalist rant "Dollars and Cents." But inevitably, the band continually shifts gears, moving into Boards of Canada territory on "Like Spinning Plates" and delivering dark, bass-laden oddities like "Pulk/Pull Revolving Doors," a fuzzed-out piece of avant-garde techno that could just as easily be on an Autechre or Aphex Twin record. The song's half-sung, half-spoken vocal was laid down by either a heavily distorted Thom Yorke or, just perhaps, a loquacious microwave oven. Either way, the music always has momentum, regardless of whether propelled by man or appliance. Radiohead as a band understand how to make rock interesting again, and in the end, that's all they set out to do when they recorded Amnesiac, as well as Kid A. It's more than can be said for the bad frat-punk, teen-pop and soulless techno that currently rules the charts, and for that alone, Radiohead's astonishing exploration of 21st-century anguish deserves credit. --Matthew Cooke

Product Description

Collectors Edition package includes the original album plus a second CD of rarities, including demos, sessions and live recordings in digi-pack.

Customer Reviews

Most Helpful Customer Reviews

124 of 130 people found the following review helpful:

5.0 out of 5 stars info about the new Radiohead album, July 7, 2001

By 

"ajz8" (New York, NY United States) - See all my reviews

This review is from: Amnesiac (Audio CD)

I'll do a few things in this review. I'll give some facts about the album, go over the songs, and comment on the packaging (which is important on Radiohead albums and very important when it comes to the limited edition of this one).

The historical background: When they released Kid A in Oct 2000, Radiohead said they had recorded more than 20 songs and they weren't kidding. It is very tempting to consider these 2 different albums and critics have already labelled Amnesiac as a sort of reaction to Kid A and a return to more conventional Radiohead. The truth is that Radiohead had all those songs recorded, took 10 tracks to make Kid A, and have chosen 11 more for Amnesiac. I happen to be a big fan of those sessions and argue that they produced Radiohead's best work to date. Don't expect Kid B or a regression from Kid A and it doesn't matter if you haven't heard Kid A.

The songs:

- 1. Packt Like Sardines in a Crushd Tin Box It's got a drum machine and electronic effects, follows in the tradition of Radiohead openers, and is an excellent song. Note that when played live, it's a rocker.

- 2. Pyramid Song A good representative of this period in the band's career. You've probably heard this one since it's the first release.

- 3. Pulk/Pull Revolving Doors It's totally electronic with computerized vocals and very strange. It's a love or hate song.

- 4. You and Whose Army This one is Thom on crooning one of his best vocal performances while playing piano. It's just him and the bass until the rest of the band come in at the climactic and anthemic ending.

- 5. I Might Be Wrong This one is a riff based rocker. It's one of the more radio friendly tunes on the album and might be released as a single.

- 6. Knives Out This is another riff based song and note that it features all of the members playing their "original" instruments. It has drums, bass, and 3 guitars along with a great vocal. This one will be released as a single next in August.

- 7. Morning Bell/Amnesiac This is a reprise of Morning Bell from Kid A. Thom's vocals are haunting and drive the track. It's a great song in both versions but the original is played live.

- 8. Dollars and Cents A very spooky song that is based on a bass riff and enhanced by a wonderful orchestra. One of the more moody pieces where Thom shines.

- 9. Hunting Bears An instrumental that has only guitar with some background noise. The guitar is reminiscent of the vocal in I Might Be Wrong but not enough so to be considered a reprise. Note that it's pretty short (one of the better aspects).

- 10. Like Spinning Plates Completely electronic with distorted vocals. However, it's not as hit or miss as Pulk/Pull Revolving Doors. It is an excellent instrumental and the vocals add to this to make it one of the most intense and haunting songs. It's said to be a reversed version of another unreleased instrumental track and in my opinion, the best instrumental track they've done. It is more conventional in it's original unreleased form but it's great whether backwards or fowards.

- 11. Life in a Glass House Follows in Radiohead's tradition of emotional closers and features a jazz band. The song is very emotional and builds to a climactic end.

The sleeve: The artwork is very strange and is pretty much hit or miss. It features computer manipulation of photographs, paintings, and drawings. The booklet has no lyrics. A very important note is that the artwork in the album and in the limited edition book is the same (with a few subtle differences in cropping and two more images in the book). The difference is that the book a library card from "Nosuch Library" with dates in the future where it holds the cd. For this reason I advise against purchasing both. I thought the book was cool, but had I known the cd's artwork was practically identical I might not have bought both.

The band: I'll close by saying I give 5 stars because I am a fan of the band. They consistently make great music and I gave all of their albums 5 stars (after Pablo Honey which I gave 3). The thing I love about them is that they continue to move foward with their music and manage to keep their identity and artistic integrity. They knew they couldn't follow up Ok Computer with Ok Computer Part II. Instead of feeling pressure to follow up their masterpiece record they moved on to produce some of the most groundbreaking music in recent times (Kid A and Amnesiac). Note that Ok Computer was the same: It was not a follow-up to their previous masterpiece, The Bends. They have made a career of putting out records that are impossible to follow up, then changing and keeping the incredible quality of their music. Radiohead definitely deserve a lot of respect for making music on their own terms.

116 of 122 people found the following review helpful:

4.0 out of 5 stars (3.5 ) Complex perceptions undermine Amnesiac as an album, May 10, 2004

By 

Mike London "MAC" (Oxford, UK) - See all my reviews
(TOP 1000 REVIEWER)   

This review is from: Amnesiac (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. The band wanted AMNESIAC to be treated as a regular release, and it simply isn't. Every record, sans AMNESIAC, operates as a complete reappraisal and an evolution of where Radiohead has been and where they are going. Their projects are very well differentiated. PABLO HONEY and its B-sides are very different than THE BENDS and its B-SIDES. The same goes for OK COMPUTER and its B-Sides. KID A continues this pattern of artistic reinvention on Radiohead's part for every new album. But not so with AMNESIAC. AMNESIAC sounds like just what it is - songs cut during the KID A session but not released on that album.

Putting all this aside, the actual music of AMNESIAC is just as good, though a little more streamlined and simpler (which is not a bad thing, don't get me wrong), than the music found on KID A. As it is, AMNESIAC as more misfires than KID A does. I don't care much for the dead weight instrumental "Treefingers," which I think breaks KID A's momentum, and "Motion Picture" is a decent track, it never really has done much for me. AMNESIAC, on the other hand, has the "Pulk/Pull Revolving Doors," "Morning Bell/Amnesiac," the reptitive "Like Spinning Plates," and the slight should-have-been-a-b-side-instrumental "Hunting Bears." Why have two versions of "Morning Bell"? "Morning Bell" is one of the closing highlights of KID A, but we didn't need this one. Especially when you look at the B-Sides that were left off AMNESIAC, which would have made it just strong as KID A. The rest of the songs on AMNESIAC as just as good as KID A, and had these two records been consolidated into one album, we would have a much more balanced piece of work with the more experimental songs and the more conventional songs playing side-by-side..

All of these factors lead up both critics and fans slighting this album and calling it little more than a clone of KID A, which is ironic because KID A is named after the first human clone. But I digress. Because of the aforementioned politics, people's perception of AMNESIAC is shaped by the band, by rock history, and by the explicit promised made to them by the record company. People approach this record not as a self-contained unit, but the second part of KID A. And in truth, they are right. This is the second part of KID A.

In my opinion, which doesn't count for much, instead of releasing two albums and adding all this confusion to people's minds, they should have either opted for a longer single album and left the rest for B-sides, or they should have released a double album and incorporated AMNESIAC's B-sides into the running order. There's enough strong material here between KID A and AMNESIAC and the assorted B-Sides ("Cuttooth," "Fog," "Kinetic," and "Worrywort" especially) for a first-class single album. The best moments of these sessions rival Radiohead's best work, though perhaps this material cannot reach the grandiose claustrophobia and suffocating world view of OK COMPUTER.

I personally would prefer to have seen them release this as a double album. While some of the material is not strong enough to merit inclusion, had the full two hours (counting the b-sides) of these sessions been officially released as a double LP we would have had a grand, new entry into the dizzying world of indulgent records. On double LPs, even the misfires are welcome, because they add to the character and intent of the band in the creative throes of crafting new music. George Martin was right when he said THE WHITE ALBUM should have been condensed into a single album. It would have been a stronger album. But it's that wild, messy, chaotic, scattershot effect that makes THE WHITE ALBUM such an effective and gripping listen. The same would be true of Radiohead's double album.

P. S. Here's a list of AMNESIAC's B-Sides. KID A had no singles or tour so it doesn't have B-Sides. The ones with astericks (*) should have been on either album, especially Cuttooth.

1. Kinetic*
2. Trans-Atlantic Drawl
3. Fast Track (instrumental).
4. Amazing Sounds
5. Cuttooth*
6. Fog.*
7. Worrywort*
8. Life in a Glass House (Full version) (longer)

72 of 80 people found the following review helpful:

4.0 out of 5 stars So strange I didn't know if this was the same band, August 25, 2001

By 

MilesAndTrane (Chicago, Il USA) - See all my reviews

This review is from: Amnesiac (Audio CD)

I'll be honest, I've loved everything Radiohead ever did. When I heard "OK Computer" I thought it was a masterstroke from these guys, and that they couldn't do any better. When "Kid A" was released, I purchased it immediately, and after spending a week with it, I disliked it so much I got rid of it. Still, the album didn't leave my consciousness for some time. These are smart musicians, crafty songwriters - why would they make an album like this? All the soulful despair that made "OK Computer" an emotional record about an emotionless world seemed to disappear on "Kid A". I was confused. Months later, I heard "Pyramid Song" from the "Amnesiac" album on the radio. This was more like it. Sure, it sounded as detached as any song on "Kid A", but I got it. It seemed to return to the eerily beautiful Radiohead construct I knew. I purchased both albums, and hearing both of them together lit the light bulb in my head. Ahhh, so this is what it is! In essence, both "Kid A" and "Amnesiac" travel the same end-of-an-already-dead-world frame of mind that the band investigated on "OK Computer". If you're disappointed with either of these albums and need a guide back into Radiohead-land, just study the still-haunting voice of Thom Yorke on either of these albums - it's still the same, only the frame of reference is different (the music, that is). Sure, crashing cymbals and crunchy guitar solos are replaced with blips and bleeps, and Yorke's dreamtime singing style is even more indecipherable lyrically, but it's got to be the most atmospheric sound I've heard in a long time. Both of these albums paint a picture of a world so cold and detached it's downright frightening. Yes! This is scary music. All those teenage afternoons Thom Yorke must of spent in his bedroom listening to the Smiths and the Cure must have gotten to him. I guess I'm reviewing both "Kid A" and "Amnesiac" together, and I think that's a helpful idea for anyone put off by either one of these albums. I needed to hear one album to understand the other, as they truly seem to be opposite sides of the same coin. Sure, the atmosphere and lyrics are even more doom-laden than "OK Computer" or your average Cure album, but it's still an album that, believe or not, furthers the Radiohead sound. They're a band who soulfully speaks about nothing, that nothing being a world whose people and trees are replaced by computers and antibiotics. Neither of these albums are a collection of songs, but rather, one continuous piece of music, like a classical suite or a jazz record. Gather your thoughts before you play either of these albums, because they're liable to vanquish once you hear them. They were brave for making this music, and it requires bravery to listen to it. It's the epitome of a nightmare - it's scary, but it's also very much a dream.