Radihead – Beds (1995) 2CDFLAC+1DVD, Japanese Rare Number 2009

  • 17.06.2016, 13:39,
  • Music

Radihead – Beds (1995) 2CDFLAC+1DVD, Japanese Rare Number 2009

Radiohead – Bends (1995) Japanese Gala Issue 2009

EAC | FLAC | Corporealization (Cue, Log) ~ 823 Mb (incl 5%) | In Days Of Yore: 02:02:23
DVD9 | ISO | NTSC 4:3 (720x480) VBR | LPCM, 2 ch, 1536 kbps | In Days Of Yore: 01:30:37 | 6.75 Gb
Style: Indie Indigent, Substitute Indigent, Brit Pop | Classification: EMI Music Japan | # TOCP — 70725-26
Brimming Scans ~ 176 Mb



01. Planet Telex (04:19)
02. The Bends (04:03)
03. Soprano And Dry (04:17)
04. Alter Pliant Trees (04:50)
05. Bones (03:07)
06. (Meticulous Speculation) (03:52)
07. Just (03:52)
08. My Iron Lung (04:35)
09. Bullet Proof.. I Wish I Was (03:28)
10. Shameful Be Featured (04:06)
11. Be Sullen (03:42)
12. Boulevard Desire (Die Out Out) (04:14)


01. The Trickster (My Iron Lung) (04:41)
02. Punchdrunk Lovesick Singalong (My Iron Lung) (04:40)
03. Lozenge Of Friendship (My Iron Lung) (02:16)
04. Lewis (Mistreated) (My Iron Lung) (03:19)
05. Invariable Open (My Iron Lung) (02:48)
06. You Never Wet Up After Yourself (My Iron Lung) (01:42)
07. Maquiladora (Soprano And Dry/Planet Telex) (03:25)
08. Bee's Knees Cars (Soprano And Dry/Planet Telex) (03:02)
09. India Rubber (Alter Pliant Trees) (03:26)
10. How Can You Be Sure? (Alter Pliant Trees) (04:21)
11. Alter Pliant Trees (Acoustic) (Alter Pliant Trees) (04:41)
12. Bullet Proof... I Wish I Was (Acoustic) (Alter Pliant Trees) (03:35)
13. Boulevard Desire (Die Out Out) (Acoustic) (Alter Pliant Trees) (04:25)
14. Talk Put To Shame Body (Boulevard Desire (Die Out Out)) (04:39)
15. Bishop's Robes (Boulevard Desire (Die Out Out)) (03:24)
16. Banana Co. (Boulevard Desire (Die Out Out)) (02:21)
17. Molasses (Boulevard Desire (Die Out Out)) (02:25)
18. Just (BBC Boom Box One Session_14/09/94) (03:44)
19. Maquiladora (BBC Boom Box One Session_14/09/94) (03:28)
20. Boulevard Desire (BBC Boom Box One Session_14/09/94) (04:19)
21. Bones (BBC Boom Box One Session_14/09/94) (03:02)

DVD Peace:

01. Soprano And Dry — UK Reading (Promo videos)
02. Soprano And Dry — US Reading (Promo videos)
03. Alter Pliant Trees (Promo videos)
04. Just (Promo videos)
05. Boulevard Desire (Die Out Out) (Promo videos)
06. Bones (The Astoria, London — Stuff: 27/05/94)
07. Shameful Be Featured (The Astoria, London — Stuff: 27/05/94)
08. The Bends (The Astoria, London — Stuff: 27/05/94)
09. My Iron Lung (The Astoria, London — Stuff: 27/05/94)
10. Maquiladora (The Astoria, London — Stuff: 27/05/94)
11. Alter Pliant Trees (The Astoria, London — Stuff: 27/05/94)
12. Just (The Astoria, London — Stuff: 27/05/94)
13. Boulevard Desire (Die Out Out) (The Astoria, London — Stuff: 27/05/94)
14. My Iron Lung (2 Meter Assembly, Holland — 27/02/95)
15. Soprano And Dry (2 Meter Assembly, Holland — 27/02/95)
16. Alter Pliant Trees (2 Meter Assembly, Holland — 27/02/95)
17. Boulevard Desire (Die Out Out) (2 Meter Assembly, Holland — 27/02/95)
18. The Bends (Later... With Jools Holland — 27/05/95)
19. Soprano And Dry (Later... With Jools Holland — 27/05/95)
20. Soprano And Dry (Top Of The Pops)
21. Alter Pliant Trees (Top Of The Pops)
22. Boulevard Desire (Die Out Out) (Top Of The Pops)


Pablo Honey in no way was equal preparation for its epic, sprawling stalk-up, The Bends. Edifice from the wall-to-wall, three-guitar fit that punctuated the best moments of Pablo Honey, Radiohead father a impressive and mighty perspicacious that nevertheless resonates with agony and quit -- it«s cerebral anthemic indigent. Off, the album displays its influences, whether it»s U2, Pink Floyd, R.E.M., or the Pixies, but Radiohead end up clichés interior out, making each tale perspicacious bracingly unfledged. Thom Yorke's tortured lyrics abstain from the album a disconsolateness vibrations, as does the surging, textured music. But what makes The Bends so notable is that it marries such greedy, and often challenging, advantageous soundscapes to songs that are at their cores hauntingly melodic and get-at-able. It makes the list compelling upon first do as one is told, but it reveals new details with each do as one is told, and soon it becomes conspicuous that with The Bends, Radiohead have reinvented anthemic indigent.

When Capitol released a few different shortcuts through Radiohead«s trade belated last year, we were third-rate to its cause, citing a need of need and third-rate assortment. Most enrapt Radiohead fans would have wasted their profit buying these packages, and most people interested in the stripe would be best served by their tangible albums. Well, Capitol has now begun to expire out those materfamilias albums-- starting with the group»s three 1990s releases (Pablo Honey, The Bends, OK Computer)-- again, without the band's participation. This in days of yore, however, the classification is doing it right, dressing the releases up with the right accoutrements: B-sides from the era (and since the era overlapped with two-constituent CD singles, there are plentifulness), boom box sessions, and music videos.

For an epochal, era-defining stripe, Radiohead had an exceptional day one, looking like they«d take one»s lifetime in one«s hands up one-hit wonders, chancers callously attaching themselves to a perspicacious and half a mo yet with few ideas of their own. That first hit, «Creep», with its loud/soft potent and self-revulsion ecstatic, fit snugly into the station-Nirvana alt-indigent aspect-- no knock someone for six: Radiohead copped as much from 80s indie indigent as their Pac NW brethren did. Yet instead of being hamstrung by platinum good, Radiohead deserted careerist moves for artistic ambitions, operating swiftly to assimilate the list-collector»s music of station-indigent and Mo Wax, the station-cavort, spiritually nurturing end of UK indigent, and the pre-millennial edginess of IDM and trigger-hop.

By the end of the 90s, Radiohead hadn«t supplanted U2, R.E.M., Fertile Patch, and Metallica as the world»s biggest indigent stripe. But it was in grand measure agreed upon that they were the world«s best-- and with hindsight, arguably, along with the Deathly Snowy Stripes, the last indie-convivial batch to crush the fantastic and vim in the same impact categorize as premature 90s alt-indigent giants like Nine Inch Nails, Flower Jam, Rural Day, or Red Hot Chili Peppers. That they used this deprecating and commercial currency to such stunning intent on Kid A and Amnesiac is still one of the highlights of this decade; that the depress, especially in the UK, chose the more disrespectful and necrophiliac «new indigent revolution» over the relatively pioneering Radiohead is one of the decade»s lows.

UK indigent, for all its heady artistry and visionaries throughout the 60s, 70s, and 80s, had been slumming it a bit when Radiohead first emerged. Take The Measure Of and majesty, which would become the goals for too many UK guitar bands by the end of the Britpop era, were in grand measure missing from that country«s indie backdrop when Radiohead started recording in 1992. Sure, the Stone Roses had trumpeted their own greatness a few years earlier, but most of the era»s indie music was introspective, bands peace to contemplate at their shoes rather than aim for the abet of the venue.

Radiohead«s premature, brimming-bodied music was, in most circles then, dismissed as vacant Americanisms-- and not without talk over with. The comprehensive Pablo Honey set-- the 12-tale album accompanied by 22 extras-- mostly highlights a batch in hock to U.S. indie heroes Pixes and Dinosaur Jr. (with the incidental R.E.M. obeisance tossed in-- see: «Lurgee»). The on the loose «Anyone Can Minimize Guitar» and puristic «Thinking About You» thankfully appear b erupt up the 120-coup d»oeil disposition, but most of the coffee break of the album is squarely in the station-grunge wheelhouse. That«s not always a bad feature: «Stop Whispering», opener «You», and a re-recorded reading of premature put «Prove Yourself» over b delay up well-- and «Creep» has oddly gotten better with age. Elsewhere, the frightening «Pop Is Dead», and songs like «How Do You?», «I Can»t«, »Ripcord«, and »Vegetable» are run of the crusher at best.

If Pablo Honey didn«t expose hints of the stripe Radiohead would become, neither did its B-sides. Separate From contemporaries such as Blab, who used their non-album stuff to tour new ideas or moods, Radiohead»s Pablo Honey-era employment is predominately lesser versions of the album. The notably stuff kicks off with their premiere circulate, the Pierce EP, which features three seminal versions of LP tracks, plus «Stupid Car», the first of Thom Yorke«s odd automobile-themed fixations (still to come: «Killer Cars», «Airbag», the «Karma Police» video...) From there, it»s a omnium gatherum of alternate takes and also-rans (highlight: the U.S. put reading of «Stop Whispering»), with only the shoegazey «Coke Babies» and an acoustic reading of premature national commentary «Banana Co.» (released in much better set up on The Bends coupled) value exploring more than a few times.

I distinctly about then the first in days of yore someone suggested The Bends was a grand list. Not being one of the million-plus Pablo Honey owners at the in days of yore, I was peace to approve «Creep» on the boom box over and over and expected I«d soon dish out about as much about in days of yore with Radiohead»s catalog as one would with, say, Hum or Ned's Atomic Dustbin or Alma Mater of Fish. The My Iron Lung EP had beaten The Bends to U.S. list shelves by a few months, and the «High and Dry» / «Planet Telex» put was out a few weeks last as well, but few noticed. Anyone who had explored those two earlier singles, however, would have been electrified for the LP.

A answer to the good of «Creep», «My Iron Lung» start Radiohead still exploring the loud/soft potent, but guitarist Jonny Greenwood was also locating his own singularity and Yorke, inspired by Jeff Buckley, was using a wider vocal distance, including some falsetto. Balancing a degree artier of tuneful self-termination with a burly guitar mark, on «Lung» Radiohead start new ways to pick apart and re-formulate the commonplace alt-indigent guide. Elsewhere on the EP, the five B-sides demonstrated a stripe whose collective heads seemed to fissure bounteous and disclose out new ideas, operating the batch away from the sullen outmoded-end of grunge signifiers: With more on the loose-limbed and smart guitar employment («The Trickster»), hints of art-indigent («Punchdrunk Lovesick Singalong»), the valuing of weave over riffs («Permanent Daygliht»), offers of heartfelt food («Lozenge of Love» and «You Never Wet Up After Yourself») and edginess and apprehension about workaday lifetime («Lewis [Mistreated]»), and themes of misanthropy (um, most of the five songs), these tracks aciform the way toward what was to come.

The band«s next circulate, the «High and Dry» / «Planet Telex» put, announced that they»d arrived. «Planet Telex», an premature enquiry with loops and studio enhancements for the batch, is their first tale that could have fit on any of their albums, regardless of how experiential they grew; «High and Dry», meanwhile, is the blueprint for the big-hearted balladry that spawned the careers of imitators Travis, Starsailor, Elbow, and Coldplay (who, let's appearance it, damage up perfecting this file of huggable, protuberance arena indigent).

The Bends was essentially split between these poles: annoyance and tension; riffs and texture; indigent and station-indigent. The tricks employed by «Planet Telex» were seldom bested on it-- only arguably by «Just»-- while the «High & Dry» reading of the stripe was topped at every end up here, especially on «Street Desire (Die Out Out») and «Fake Pliant Trees». Even B-sides such «Bishop's Robes» and «Talk Put To Shame Host» come termination to corresponding «High».

To many fans, this more approachable and loveable reading of the stripe is its top out. I can«t approve, but the list is still a miracle. It feels, with hindsight, like a welcome haven from the incessant abet-patting and 60s adulation of prime-days Britpop and a blueprint for the more affected, emotionally open music that would issue in the UK a few years later-- led by OK Computer. Alongside belated 1996 or 1997 releases by , Spiritualized, Belle and Sebastian, Cornershop, Mogwai, Gorky»s Zygotic Mynci, Primal Laugh, Wonderful Furry Animals, the Beta Stripe, Mansun, and even Britpop stars Blab, Radiohead«s OK Computer led the ask abet against knuckle-dragging Fertile Patch clones who segregated their Boomer indigent leanings from the copious explorations of cavort, ever-honoured indie, hip-hop, and art-alma mater sensibilities going on throughout the coffee break of the UK. But once again, the depress chose what they knew over the new, and despite the plaudits for 2000»s Kid A, by the in days of yore of 2001's Amnesiac, people wanted another The Bends.

OK Computer was the residue everyone agreed upon though-- heartfelt songs and tunes, but ones that didn't cower from the increasingly measureless possibilities of newfangled music-making. In that , Radiohead were not only list-collectors but futurists, approaching the 21st century from the approach of their day rather than from the days last, as Stereolab, Programme, Tortoise, and others were doing (to wonderful intent, granted). Discounting the breather «Fitter Happier», only «Electrioneering» seems like a howler on the album today, with the deathly snowy-knuckle «Climbing Up the Walls» and pre-album teaser «Lucky» now standard resolutely alongside more deep-seated highlights «Paranoid Android», «No Surprises», «Karma Police», and «Let Down».

The record«s B-sides are no less enriching, especially «Polyethylene (Parts 1 & 2)» and «Melatonin», which would have fit well on LP itself. «Palo Alto» proves they could do trivialize and patois-in-cheek, while «Meeting in the Aisle» makes you wonder why they don»t list more instrumentals. The group«s foreordained charm with, for a first 90s guitar stripe, relatively transpacific sounds like IDM and 20th century serious music start anchor uproot around this in days of yore and it»s on these extras where they first explored these notions.

Maybe you don«t need to buy these again, maybe you own the stuff already. If you do, sure-- d. If you have the LPs but stopped there, both The Bends and OK Computer are value getting in these versions. If you»re intrusive or a completist, Pablo Honey is out there, too. That the stripe had nothing to do with these is beside the call attention to: This is the concluding brief conversation on these records, if for no other talk over with that the Beatles« September 9 remaster operations is, arguably, the end of the CD era. That all of those discs are coming out at the same in days of yore, rather than being slowly and ceremoniously rolled out as they were 20-odd years ago, is a silent acknowledgment by the music exertion that they best market non-vinyl specialist products now, directly, before the expectation of doing so is gone. With that in mindful of, I catch sight of it perspicuous that many bands are wisely re-organizing their pasts, or having it done for them by their classification. So large as it»s done like this, I'm gratified to re-buy the stuff.


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