Kid A

June 3, 2008 | Format: MP3

$5.99
Also available in CD Format
Song Title
Time
Popularity  
30
1
4:11
30
2
4:44
30
3
5:51
30
4
5:56
30
5
3:42
30
6
5:16
30
7
3:31
30
8
5:09
30
9
4:35
30
10
3:20
30
11
0:52

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Product Details

  • Original Release Date: October 2, 2000
  • Release Date: October 2, 2000
  • Label: Parlophone UK
  • Copyright: 2008 Parlophone Records Ltd, a Warner Music Group Company
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 47:07
  • Genres:
  • ASIN: B0019R7XXU
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (2,058 customer reviews)
  • Amazon Best Sellers Rank: #1,501 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

You hardly will like this album the first time you listen to it.
Maurício Peccin
The rest of the tracks are good as well, with a few I really like (In Limbo and Idioteque) and a few I don't (Motion Picture Soundtrack).
Ryan Rogers
They make new and completely different music from all other bands and their sound improves with every album.
joe kolean

Most Helpful Customer Reviews

206 of 224 people found the following review helpful By E. A Solinas HALL OF FAMETOP 500 REVIEWERVINE VOICE on November 17, 2004
Format: Audio CD
In the year 2000, Radiohead ditched its former "real" rock sound for Pink-Floydian, electronic post-rock. The result was "Kid A," where they relearned everything they knew about music from scratch. Some people loved it. Some didn't get it, and felt it was "pretentious." But there's one undeniable thing -- this chilly, eerie collection is a marvelously complex piece of work.

An ominous keyboard melody and gibberish vocals open the album in "Everything In Its Right Place," sounding a bit like a possessed radio. Then the fuzz and hums kick in, adding a spacey dimension to an already strange melody. A drum melody kicks in in the title track, followed by the ghostly rock of "National Anthem" and unearthly lament of "How to Disappear Completely."

Another "real" rock song kicks in with the darkly desperate "Optimistic," flanked by a pair of softer, eerie songs. "Idioteque" throws all the rules out the window with sharp percussion backed by weird waves of sound and Thom Yorke's high vocals. And finally it ends on the same note it began -- a stately organ -- in the harp-accented "Motion Picture Soundtrack."

In a musical world where anything that has a guitar can be called "rock," it's difficult to find music that is really creative. It's even harder to find a band that is willing to take risks, and expand their art. But those things can be found in Radiohead, and the evidence is in "Kid A" -- whether listeners think it's a wild success or a pretentious failure, it has to be admitted that it takes guts to try out something this different.

Thom Yorke's vocals are often described as whiny, but they are suited to the music here.
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141 of 154 people found the following review helpful By Un Anglophile on November 10, 2000
Format: Audio CD
Radiohead is a group constantly in evolution, challenging it's listeners everytime by pushing the artistic envelope with every album. With "Pablo Honey," you had a band that was using friendly pop songs with the indie-grunge sound of the early '90s. "The Bends" took it a step further, with the exploration of the 'concept album,' emphasizing the keyboards more and using the beats and the guitars to truely start to create an atmosphere. "OK Computer" entered Roxy Music/Pink Floyd territory, exploring more of that mysterious spacey air with a cartload of heavy guitars. What set "OK Computer" apart from every other Radiohead album is that it brought about an overall theme through Yorke's vocals--slow, quiet desperation at an over-materialistic world where work was literally killing you.
But "Kid A" is entirely different, smoothed with techno groves that would make you think of Aphex Twin or Kraftwork, then covered with a sheet of Pink Floyd. But with the slow, almost sometimes quiet mood of the songs, Yorke and crew give you an entirely new message on this album--Surrender. The angst of "OK Computer" is gone forever, replaced with a sense of slow decay, not giving a damn about the world anymore.
Songs like "Everything in it's Right Place," gives you a good example, with simple electronic keyboards driving a continous note with little pause; Yorke's fractured vocals, saying "Everything...Everything...Everything..." cry out in muted sadness continuously, interupted by a record stopping and going, leaving him to sing out of tune terribly.
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243 of 275 people found the following review helpful By Mike London on May 10, 2004
Format: Audio CD
When Radiohead released the 2000 album KID A, many people were puzzled. There was hardly a guitar to be found on the whole album. Radiohead traded in the claustrophobic, dense melodicism of OK COMPUTER for a much more electronically twinged sound. People didn't know how to react. Some loved it. Others wished they'd return to the sound of 1997. I'm glad made KID A, though I do not believe it is a wholly successful album. KID A is self-consciously difficult and avant-garde, whereas OK COMPUTER never felt forced, but developed according to its own internal laws and rhythms.
The biggest problem with KID A is that, because OK COMPUTER proved to be one of the biggest records of the 1990s, a Gen X DARK SIDE OF THE MOON, Radiohead felt they had to come up with another genre shattering record. THE BENDS still held Radiohead in a pop status, albeit a very mature sounding pop band. With OK COMPUTER, they had been pushed over the brink, where the commercialism of music, a la Britney Spears, is regarded with scorn. In a word, they became one of the major bands in rock music producing worthwhile, lasting music. They graduated to elite status, where rock critics faun over them and college intellectuals, when speaking of current bands with as little distaste as they can muster, speak of a band called Radiohead that has a very intellectually stimulating record about a computer. This process begun as early as THE BENDS, for it is on that record, and the numerous B-Sides of that project (a full album in itself), that Radiohead proved themselves far above their peers. With OK COMPUTER, they cemented their reputation as a post-modern musical force to be reckoned with.
OK COMPUTER also established Radiohead as one of the best guitar-rock bands of the 1990s.
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