Cover

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Contents

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p. vii

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Acknowledgments

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p. ix

My heartfelt thanks go to the many people who helped me during the process of completing this manuscript: Jane Behnken, my patient editor at Indiana University Press; Jeff Magee, series editor; Kevin Holm-Hudson, Dai Griffiths, and an anonymous reviewer, for their insightful comments; various people who read drafts along the way...

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Note on Musical Examples

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pp. xi-xv

It is helpful but not absolutely necessary for the reader to have a basic grounding in musical notation in order to understand the musical examples presented throughout this book. A number of fine introductory texts exist, including Stefan Kostka and Dorothy Payne’s Tonal Harmony...

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1. Introduction

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pp. 1-27

Popular music of recent decades has emphasized the individual’s isolation in modern society. Bands that address the anxieties provoked by contemporary culture are the darlings of critics, and music about alienation has, ironically, proven to have a strong market worldwide. The hero-worship that successful artists experience can spill over into ...

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2. Back to Save the Universe: The Reception of OK Computer and Kid A

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pp. 28-44

To better position Kid A, it is important to look at the analysis and reception of its predecessor, OK Computer (1997), Radiohead’s third album, which is not only the band’s best-selling album to date but has retained its popularity long after its release. Reviewers have called OK Computer “the greatest album, like, ever,” and “one of the most ...

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3. Everything in Its Right Place: Musical Elements in Kid A

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pp. 45-80

The cold, alienating landscape envisioned in the artwork of Kid A can be viewed as the backdrop to its songs, or perhaps even as the literal space within which the album’s subject dwells. The listener’s impressions begin with the scratchy images and computer-generated artwork of the CD booklet, and upon diving in, she finds that the album...

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4. Cut the Kids in Half: The Second Death of Kid A

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pp. 81-113

After the gray nothing-space of “Treefingers,” the nebulous subject of Kid A is resuscitated and given a new chance at life, in what passes for a second-side single, “Optimistic.” The second half of Kid A forms something of an opposition with the first, yet the mood created by the tentative sound of the songs leading up to “Treefingers” sets the stage ...

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5. After Years of Waiting, Nothing Came: Amnesiac as Antidote

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pp. 114-143

Just as juxtaposing the two halves of Kid A can shed light on the album as a whole, Kid A attains further meaning when compared with Radiohead’s 2001 follow-up, Amnesiac, recorded during the same sessions but containing songs that on the surface seem somewhat less experimental. Recognizing—or perhaps anticipating—the baffled reaction to Kid A ...

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6. I Might Be Wrong: Amnesiac and Beyond

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pp. 144-176

Rather than next presenting a “hollow space” between imaginary sides, as Kid A does, Amnesiac instead proceeds immediately to its next single, track six, “Knives Out.” In contrast to Kid A, here the second-side “single” is real, in the sense that it was actually released on its own to the public to promote the album. However, unlike “Optimistic,” with ...

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7. We Are the Dollars and Cents: Radiohead as Commodity

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pp. 177-197

Radiohead has continued its articulation of resistance against the record industry since the release of Kid A and Amnesiac. For their sixth studio album, Hail to the Thief (2003), the band once again promised a return to the guitar-driven sound, at first glance an apparent dismissal of the two “resistant” albums as anomalous despite the success...

Notes

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pp. 199-214

Bibliography

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pp. 215-221

Select Discography

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p. 223

Index

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pp. 225-234