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Hail to the Thief - Wikipedia. Hail to the Thief is the sixth studio album by the English rock band Radiohead. It was released on 9 June 2. Parlophone Records. Following Kid A (2.

Amnesiac (2. 00. 1), which incorporated jazz, classical and electronic music influences, Hail to the Thief combines alternative rock instrumentation with drum machines, synthesisers, and digital manipulation. Hail to the Thief was produced by longtime Radiohead collaborator Nigel Godrich in Los Angeles. To avoid the protracted recording sessions of previous albums, Radiohead recorded Hail to the Thief quickly and focused on recording live takes rather than overdubs. Songwriter Thom Yorke wrote many of the lyrics in response to the War on Terror and the resurgence of right- wing politics in the west at the turn of the millennium.

Despite a high- profile internet leak ten weeks before release, Hail to the Thief debuted at number one on the UK Albums Chart and number three on the US Billboard 2. UK, US and Canada.

It produced three charting singles: "There There", "Go to Sleep" and "2 + 2 = 5". The album received positive reviews and was the fifth consecutive Radiohead album to be nominated for a Grammy Award for Best Alternative Music Album. It was the last album released under Radiohead's record contract with EMI. Background[edit]With their previous albums Kid A (2. Amnesiac (2. 00. 1), Radiohead replaced their guitar- led rock sound with a more electronic style.[6] On tour in 2.

Songwriter Thom Yorke said: "Even with electronics, there is an element of spontaneous performance in using them. It was the tension between what's human and what's coming from the machines. That was stuff we were getting into." He stated that Radiohead did not want to make a "big creative leap or statement" with their next album.[7]In early 2. Amnesiac tour had finished, Yorke sent his bandmates CDs containing demos of songs he was considering for Radiohead's sixth album.[8] The three CDs, titled The Gloaming, Episcoval and Hold Your Prize, comprised electronic music and piano and guitar sketches.[9] Radiohead had tried to record some of the songs, such as "I Will" and "A Wolf at the Door", in the joint sessions for Kid A and Amnesiac, but were not satisfied with the results.[8] The band spent May and June 2. Spain and Portugal in July and August.[8]Recording[edit].

At the suggestion of producer Nigel Godrich, most of Hail to the Thief was recorded in two weeks in Hollywood, Los Angeles. Hollywood culture influenced the album's lyrics and artwork. In September 2. 00. Radiohead moved to the Ocean Way Recording studios in Hollywood, Los Angeles, with producer Nigel Godrich and artist Stanley Donwood, who have both worked with the band since their second album, The Bends (1.

The location was suggested by Godrich, who had used the studio to produce records by Travis and Beck and thought it would be a "good change of scenery" for Radiohead.[1. Yorke said: "We were like, 'Do we want to fly halfway around the world to do this?' But it was terrific, because we worked really hard. We did a track a day. It was sort of like holiday camp."[7]Radiohead had created Kid A and Amnesiac, recorded simultaneously, through a years- long process of recording and editing that drummer Phil Selway described as "manufacturing music in the studio".[1. For their next album, the band sought to capture a more immediate, "live" sound.[8][1.

Yorke told MTV: "The last two studio records were a real headache. We had spent so much time looking at computers and grids, we were like, that's enough, we can't do that any more. This time, we used computers, but they had to actually be in the room with all the gear. So everything was about performance, like staging a play."[1. Most electronic elements were not overdubbed but recorded live in the studio.[1. Greenwood used the music programming language Max to sample and manipulate the band's playing in real time,[1. Martenot, an early theremin- like electronic instrument he had first used on Kid A.[1.

After using effects pedals heavily on previous albums, he mostly used clean guitar sounds to see if he could "come up with interesting things" without effects.[1. Radiohead tried to work quickly and spontaneously, avoiding procrastination and over- analysis.[8] Yorke was forced to write lyrics differently, as he did not have time to rewrite them in the studio; [2. Kid A and Amnesiac.[2.

Greenwood said: "We didn't really have time to be stressed about what we did. We got to the end of the second week before we even heard what we did on the first two days, and didn't even remember recording it or who was playing things. Which is a magical way of doing things."[2. The approach protected against the tension of previous sessions; O'Brien told Rolling Stone that Hail to the Thief was the first Radiohead album "where, at the end of making it, we haven't wanted to kill each other."[2. Inspired by the Beatles, Radiohead tried to keep the songs succinct.[2.

The opening track, "2 + 2 = 5", was initially recorded as a studio test, and was finished in two hours.[8] Radiohead struggled to record "There There"; after rerecording it in their Oxfordshire studio, Yorke was so relieved to have captured the song he wept, feeling it was the band's best work.[8] Radiohead had attempted to record an electronic version of "I Will" in the Kid A and Amnesiac sessions, but abandoned it as "dodgy Kraftwerk"; [2. Like Spinning Plates" on Amnesiac.[8] For Hail to the Thief, the band sought to "get to the core of what's good about the song" and not be distracted by production details or new sounds, settling on a stripped- back arrangement.[8]Radiohead recorded most of Hail to the Thief in two weeks,[1. Radiohead's studio in Oxfordshire, England in late 2. In contrast to the relaxed Los Angeles sessions, which Godrich described as "very fruitful",[1.

Yorke said: "We had massive arguments about how it was put together and mixed .. For the first time it was really good fun to make a record .. Cause there was a long sustained period during which we lived with it but it wasn't completely finished, so you get attached to versions and we had big rows about it."[2. Godrich estimated that rough mixes from the Los Angeles sessions were used for a third of the final album.[1. Lyrics and themes[edit]I was listening to a lot of political programs on BBC Radio 4.

I found myself – during that mad caffeine rush in the morning, as I was in the kitchen giving my son his breakfast – writing down little nonsense phrases, those Orwellian euphemisms that [the British and American governments] are so fond of. They became the background of the record. The emotional context of those words had been taken away.

What I was doing was stealing it back.“”Thom Yorke, Rolling Stone (2. Hail to the Thief's lyrics were influenced by what Yorke called "the general sense of ignorance and intolerance and panic and stupidity" following the 2. US President George W.

Bush.[2. 6] He took words and phrases from discussion of the unfolding War on Terror and used them in the album's lyrics and artwork.[7] He denied any intent to make a "political statement" with the songs,[7] and told the Toronto Star: "I desperately tried not to write anything political, anything expressing the deep, profound terror I'm living with day to day. But it's just fucking there, and eventually you have to give it up and let it happen."[2.