The Cavern
Rock & Words
PABLO HONEY (Radiohead, 1993)
Artist: Radiohead (B)
Recording Date: Sep – Nov -1992
Release Date: February 22nd, 1993. UK
Record Label: Parlophone/Capitol
Producer: Paul Kolderie & Sean Slade
Rating: 7
Era: Alternative II: The Great Explosion (1990-1999)
Subgenre: Alternative
Best Song: Stop Whispering or Anyone Can Play Guitar.
Tracklist: 1) You; 2) Creep; 3) How Do You?; 4) Stop Whispering; 5) Thinking About You; 6) Anyone Can Play Guitar; 7) Ripcord; 8) Vegetable; 9) Prove Yourself; 10) I Can't; 11) Lurgee; 12) Blow Out.
Geez it's so difficult to review such an underrated album that contains such an overrated song! Ironically, this album would have gone unnoticed were it not for the single that defined the 90s: "Creep." And it's ironic because it's one of the weakest and most pathetic songs on the album and in the entire discography of this English band. Although the band far surpassed themselves on their second album, *The Bends* was much less commercially successful, and the band ended up being labeled as one-hit wonders for quite some time. Such is life...
In short, many consider this Radiohead's weakest work. It is, but you have to remember that Radiohead is one of those phenomena that surpasses itself with each album, always experimenting and striving for perfection without repeating themselves. So it's understandable that their first album is less solid than the rest of their catalog, though that doesn't make it bad. This album was initially labeled "Alternative," and some even dared to call it the British counterpart to Nirvana. The second album was categorized as Brit Rock, the third is considered progressive by many, and the rest are electronic… This isn't a masterpiece; it's just their debut… Come on, there are very few bands that sound mature from the very beginning, right?
Well, even though Pablo Honey is rather understated, we have to consider the times. By the early 90s, the world was ruled by U2 and the remnants of New Wave on one side of the Atlantic, and by Nirvana and grunge's self-destructive tendencies on the other. U2 had been the most powerful band of the 80s and was still going through an excellent creative period, delivering a refined sound with New Wave influences and flirting between pop and rock. Nirvana, on the other hand, had become a massive behemoth, proclaiming itself the new guide of the generation. Cobain was already a guru, and Nevermind had spawned countless bands that followed Nirvana's musical style or lyrical nihilism. Pablo Honey was born in the midst of all this and dared to break the mold, proposing a completely new sound that didn't align with either of those two currents. Radiohead would later evolve, experimenting with new sounds, but this is where their style begins to take root, with powerful drums, a blend of ballads that transform into furious rockers filled with distorted guitar riffs, a fragile, melodramatic falsetto voice, and well-thought-out, melancholic, and incisive lyrics, though without reaching Cobain's self-indulgent level, except in "Creep." While the album's sound, or the band's sound at this time, isn't strictly Britpop, I believe it played a significant role in opening the doors to success for bands like Oasis, Pulp, and Blur, exerting a distant influence on them and other bands that didn't fit into either the U2 or Grunge mold, being simply labeled "Alternative."
In short, Radiohead had already distanced themselves from labels from the very beginning, moving away from the sound that other rock bands in the Oxford area were making at the time. This swimming against the tide led them to create their own style, which they had to polish and master very quickly in order to stand out in a scene where they didn't sound like anyone from the '80s or '90s; a style they would continue to refine, but which by this point already sounded truly innovative compared to the rest of the groups of the era.
Radiohead on this album sounds powerful, but without neglecting at any time the delicate details that are interwoven in the songs, with arpeggios and textures that create a melancholic atmosphere of gray tones.
The album opens with "You", a clear example of this. The song begins with a carefully crafted arpeggio, and without warning, it launches into a tremendous surge in tempo and volume. This interplay of textures and rhythms continues throughout the track, with sudden dips where the song is barely sustained by a subtle drumbeat and Yorke's anguished vocals, before injecting adrenaline once again when the three guitars explode, creating a dense, sorrowful, and angry atmosphere. The guitar work is incredibly meticulous in this take. It's rare to hear three guitars playing simultaneously without it sounding like total chaos, and here they manage to create a bittersweet feeling without being excessive. Jonny Greenwood is a very intelligent guitarist, and he demonstrates this with the effects and arrangement he incorporates here. Thom still has a long way to go lyrically. The truth is, the lyrics are simple, pessimistic, immature, and rather grunge-esque. Well, after all, they couldn't completely escape that influence…
"Creep" follows the same formula but with hefty doses of pop and a sentimentality that today might sound very similar to emo. It begins with a delicate arpeggio, with all the trappings of a ballad and Thom's voice almost on the verge of tears, before exploding into rhythm and distortion during the choruses. It's worth noting that the song uses the same four notes throughout, giving the illusion of change only through the effects Jonny applies with his pedals. Incidentally, Greenwood hated "Creep," and the guitar riffs heard during the verse-chorus transition were an attempt to ruin the song, but curiously, they only succeeded in giving it more power and providing the only redeeming hook. Well, there's also Thom's impressive vocal performance in that sort of bridge where he sings run-Run RUN- RUUUUUUUUUUUUUN!!!! The truth is, you need a good pair of lungs to sustain such a high note for so long. Apart from that, Jonny was right to detest the song: sentimental, pitying and unimaginative, the necessary ingredients to turn it into a commercial hit in the early 90s.
"How Do You?" has a more frenetic pace from the start, but again it becomes repetitive and simplistic. The guitar riff sounds very weak, and the guitars seem to overlap too much, muddying the sound for a song with a melody that's too pop-oriented to carry that energy. Leave that to My Iron Lung, which would apply the formula with greater success on the next album. "How Do You?" is perhaps the most grunge-influenced thing Radiohead ever did. And I don't mean that in a good way. The only positive thing is that it's only about two minutes long.
Next comes the best song on the album. "Stop Whispering" is much more melodically accomplished, with more nuanced changes. The teamwork is noticeably stronger here. Arpeggios kick things off (as usual) and gently accompany the vocals, while Selway's drums drive the rhythm with some very distinctive arrangements and fills. The song seems to be building in intensity, but this time it doesn't reach a musical climax where the drums and guitar explode; instead, it remains somewhat incomplete. After the second chorus, Jonny unleashes a few guitar solos, and just when we're expecting the explosion, the music slows down again. And so it goes, sometimes building even more, as in the solo at 3:45, or slowing down to create false endings, like at 2:55. Around the four-minute mark, as the coda begins, the arpeggios evoke a vague sense of "Here Comes The Sun," and the song's power starts to build alongside the raw emotion in Thom's vocals, culminating in a tremendous explosion where the guitars and the superb drumming converge. The tension-building is outstanding, ultimately creating a dizzying sensation that the other tracks fail to achieve.
The fifth track is "Thinking About You", the only proper ballad on this album. It's basically an acoustic song with some keyboard arrangements in the background, to which electric guitar riffs are later added, never overshadowing the main strumming. The harmony is beautiful, and the lyrics are slightly more elaborate, offering a critique of stardom… After a few years, they'll forget the lyrics and become divas, but it doesn't matter now; the song is lovely, and they still occasionally play it live.
"Anyone Can Play Guitar" follows, another standout track on the album. From the very beginning, Colin's bass work shines, sounding deep and setting the tone amidst the guitar riffs. The verses, in particular, are dense and dark, before picking up speed and reaching a more upbeat rhythm in the choruses. The guitar transition from chorus to verse at 1:45 is majestic, before returning to the opening sequence. This time, Jonny's guitars are heard scratching the strings before the song returns to more vibrant rhythms and tones. The song ends with some guitar riffs and a feedback effect. The Greenwoods deserve all the praise: Colin for his effective bass playing, maintaining the tension and tone of the song, and Jonny for his impressive display of guitar techniques and tricks.
Next up is "Ripcord", which also combines guitar sounds with and without distortion, this time with less time signature change. The verse melody isn't great and even gets tiresome, but I love the guitar scales in the verses when Yorke sings "No Ripcoooord, No Ripcoooooord," and what they do in the coda, giving the song tremendous energy and vitality.
With the eighth track, "Vegetable", the formula starts to get tiresome. The arpeggios sound nice and everything is in its place. I even think the tempo increase towards the chorus is better executed than in Ripcord, for example, but it lacks the song-building they had in Anyone Can Play Guitar, or something else that makes you start to get a little fed up at this point in the album.
"Prove Yourself" feels a bit repetitive. The song begins as an even softer ballad than "Thinking About You," and then, without warning, all the instruments kick in to jolt us out of our lethargy. The harmonies are slightly better crafted, as are the time signature changes. The guitar solo at 1:20 is completely experimental but fits the song perfectly, and after that, Selway spends a few moments carrying the song with just the drums.
Next comes "I Can't", a melodically weak song that even Greenwood's guitar can't save. Honestly, if you removed the guitar riffs and added a more rhythmic drum beat, you could have a decent ballad, but I think they've given it too much punch, which it shouldn't have. The coda becomes almost unbearable, and you just want it to end.
Next up is "Lurgee", the penultimate track, which starts off more calmly, giving us a moment of respite and creating a more relaxed and less somber atmosphere. There isn't much imagination here, but I suppose it becomes much more enjoyable because of its placement on the album. Jonny takes pity on us this time, and although the song builds steadily from 1:45 to the end, during this entire solo-coda section, the guitar sounds a bit more subdued than in the rest of the songs. There aren't many variations, and the solo isn't particularly good either, but I like the overall atmosphere they manage to create.
"Blow Out" also helps to make the album's closing track a bit more relaxed, with a Bossa Nova feel and a calm, melancholic vocal opening. I particularly like the rhythms they play with during the verses, and this time the tempo increase and the inclusion of distortion don't sound so forced during the bridges thanks to the break during "Lurgee." There's a false ending at 2:20, and then the band starts to build tension with electric effects and drum rolls, leading into a frenetic and very well-crafted finale, full of echoes, a precise and prominent bass line, and drums that gradually fade away, leaving the "hurricane" that can be heard in the background. An excellent ending to an album with some ups and downs.
In short, the band still has a long way to go: Jonny will learn not to overdo it with his effects, Thom will substantially improve his songwriting and vocal control, and Phil and Colin will improve their mastery of their respective instruments. Even so, this album is solid and worth a listen. It's not easy to digest (like almost everything in Radiohead's catalog), but after a few listens, the album reveals itself in all its magnificence and becomes addictive. After all, this album challenged all the prevailing sounds of the early 2000s and ended up winning, right? This is strange, melancholic, powerful, experimental, and with hooks that make most of the songs entertaining and interesting... This, ladies and gentlemen, is Pablo Honey.
By Corvan
Nov/5/2008
