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In Rainbows

How Radiohead defied record labels and convention with their new CD

Published: Tuesday, October 16, 2007

Updated: Saturday, June 20, 2009 23:06

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Courtesy of Sony

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Courtesy of Capitol Records


From left to right: Phil Selway (drums), Ed O'Brien (guitars), Johnny Greenwood (guitars, piano, instrumentals), Colin Greenwood (bass) and Thome Yorke (guitar, vocals) make up Radiohead.
In the Book of Genesis, God had Noah build an arc, and destroy the rest of mankind with a flood.

After that, he signified a covenant with a rainbow.

Dramatics aside, Radiohead's most recent release on Oct. 10 was fittingly titled "In Rainbows," a covenant of sorts between the artist and the listeners.

They offer up the fruits of their labor, available for download on their Web site at inrainbows.com.

Fans type in how much they think the album is worth - if they say it's worth one American dollar or a million British pounds, it doesn't matter - and are granted access to download.

Simple as that.

Radiohead have quickly thrust themselves into the limelight with their new record.
State of music industry

For all those who are unaware, our society has entered a musical revolution in which a teenager with a laptop could potentially produce music that is more profitable than the Rolling Stones. They call it the digital revolution; an explanation into not only how industries function, but how they function together.

In the music industry, this digital trend stems from a much larger power struggle between music as a business, and music as an art. Because of this digital revolution, files are transferred easier and music can be shared at a phenomenal pace.

When unsigned artists first begin, a record company can be effective with the business of the music.

"When musicians aren't business-savvy, the corporate record companies are right for them," said Heidi Kentshaft, an employee at Providence Records.

The record label coordinates the promotion and enforcement of copyright protection of sound recordings and music videos.

However, a criticism of the label system is that there are too many people trying to get too many pieces of a small pie.

'In Rainbows' worth the wait
Obviously with such a long, anticipated release, it is near-impossible for Radiohead to meet expectations with "In Rainbows." But they might have done it.
"In Rainbows" is the band's most straightforward, guitar-heavy album since "The Bends," and their most impressive collaborative work since "OK Computer."
The first track, "15 Step," is straight from lead-singer Thom Yorke's playbook. As great as it sounds with background rhythm, guitar chords and heavy-washed electronic beats, it sounds like overflow from his solo debut album, "Eraser."
It is with the second track, "Bodysnatchers," that the album is completely turned on its head. Jimmy Page-esque guitar riffs, tempo set to fast-forward.
The loud is balanced with beautifully-arranged, slower-paced tracks. Johnny Greenwood arranges orchestra behind hip-hop beats and a coarsing bass in "All I need."
Radiohead were reunited with Nigel Godrich, who produced most of their career's work, with the exception of 2001's "Hail to the Thief." What was lacking with the absense of Godrich has seemed to return, Radiohead's ability to seemingly explore the depths of every song to its limit.
The final track, "Videotape" is especially touching. Pianos loop in the background as if on a reel, while Yorke wails into the mic: "When I'm at the pearly gates/ this will be on my video tape/ when Mephistopholis is just beneath/ and he's reaching up to grab me."
Lyrically Yorke delivers what we have come to expect, deep metaphors intertwined with unabashed realism.
Some may find issue with the record's length. At only 10 tracks long, it is just more than 40-minutes in length.
The full discbox set of "In Rainbows," which is scheduled for release later this year, will inlcude an enhanced CD with eight additional tracks.
Play devil's advocate: are internet-friendly fans really being given the full-course meal, or just an appetizer?
"In Rainbows," if embraced for what it is, however, it is something Radiohead purists can cherish. Not only because of the band's gesture of releasing it freely to the fans online, but also because of it being a summation of Radiohead's outstanding career work.
It is progressive rock to its fullest, mind expanding work with a soulful edge, what should be a treat for many.
During this digital revolution, an increase in digital sales and a decrease in record sales means an increase in record prices.

According to WordPress.com, a leading global market research company, reported that in 2006, "legal digital music downloading was the fastest growing digital music category."

What does this mean? Actually, this means everything. We have come from vinyl, to tape, to the Compact Disk - resigned almost to the $20 coaster - and now digital music.

"The reason digital music is so effective is that we can access it ourselves through the internet," Kentshaft said. "We don't need record companies showing us what music is good. We certainly don't need them to charge us for it."

Are corporate record label's such as Capitol Records and Atlantic Records even necessary to the system?

"Record companies are important because it takes money and a good business sense to be successful," Kentshaft said. "If artists have this, then great. But most don't."

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