Kid A

~ Release group by Radiohead

Album

ReleaseFormatTracksCountry/DateLabelCatalog#Barcode
Official
Kid A2×10" Vinyl5 + 6
  • XE2000-08-03
Parlophone (aka Parlophone UK)7243 5 27753 1 6724352775316
Kid ACD10
  • JP2000-09-27
Parlophone (aka Parlophone UK)TOCP-657774988006786011
Kid ACD10
  • XE2000-09-29
  • FR2000-09-29
  • DE2000-09-29
  • GB2000
Parlophone (aka Parlophone UK)527 7532, 7243 5 27753 2 3724352775323
Kid ACD10
  • GB2000-10-02
Parlophone (aka Parlophone UK)527 7532724352775323
Kid ACD10
  • GB2000-10-02
Parlophone (aka Parlophone UK)29590 2, CDKIDA 1724352959020
Kid ADigital Media11
  • US2000-10-02
Capitol Records (imprint of Capitol Records, Inc.)
Kid ACD10
  • CA2000-10-03
EMI Music Canada, Parlophone (aka Parlophone UK)7243 5 27753 2 3724352775323
Kid A2×10" Vinyl5 + 5
  • GB2000-10-03
Parlophone (aka Parlophone UK)LPKIDA 1724352959013
Kid ACD10
  • US2000-10-03
Capitol Records (imprint of Capitol Records, Inc.)CDP 7243 5 27753 2 3724352775323
Kid ACD10
EMI Music Australia (not for release label use!)52775329326165002361
Kid ACD10
EMI Music Group Australasia (not for release label use! manufacturer and distributor), Parlophone (aka Parlophone UK)52775329326165002361
Kid ACD10
Parlophone (aka Parlophone UK)527 7532, 7243 5 27753 2 3724352775323
Kid ACD10
Parlophone (aka Parlophone UK)7243 5 29220 2 4724352922024
Kid A (misprint)CD10
Parlophone (aka Parlophone UK)7243 5 27753 2 3724352775323
Kid AMiniDisc10
Parlophone (aka Parlophone UK)7243 5 27753 8 5724352775385
Kid ACassette10
Capitol Records (imprint of Capitol Records, Inc.)C4 7243 5 27753 4 7724352775347
Kid A (Book and Compact Disc)CD10
Capitol Records (imprint of Capitol Records, Inc.)CDP 7243 5 29684 2 8724352968428
Kid ACD10
  • JP2006-09-06
Parlophone (aka Parlophone UK)TOCP-538354988006846340
Kid A2×10" Vinyl5 + 6
  • US2008-09-02
Capitol Records (imprint of Capitol Records, Inc.)5284821-A/B, 5284831-C/D724352775316
Kid A (Collectors Edition)2×CD10 + 13
  • US2009-08-25
Capitol Records (imprint of Capitol Records, Inc.)50999 6 97106 2 95099969710629
Kid A2×CD + DVD10 + 13 + 3
  • XE2009-08-31
Parlophone (aka Parlophone UK)RHEADCDX 45099969710827
Kid A (special collector’s edition)2×CD10 + 13
  • GB2009-08-31
EMI (EMI Records, since 1972)RHEADCD 45099969710629
Kid A2×CD + DVD10 + 13 + 3
Parlophone (aka Parlophone UK)50999 6 97107 2 8, RHEADCDN 45099969710728
Kid ACD10
Parlophone (aka Parlophone UK)97107
Kid ADigital Media11
  • XW2016-04-01
XL RecordingsXLDA782634904078263
Kid ACD10
  • XE2016-05-13
XL RecordingsXLCD782634904078225
Kid A2×12" Vinyl5 + 5
  • XE2016-09-23
XL RecordingsXLLP 782B634904078201
Promotion
Kid ACD10
Capitol Records (imprint of Capitol Records, Inc.)7243 5 27753 2 3724352775323

Relationships

associated singles/EPs:How to Disappear Completely
Idioteque
Optimistic
The National Anthem
covers:Kid A (8-bit) by Quinton Sung
Radiohead's Kid A: Re-imagined by Alex Schaaf
Strung Out on Kid A (The Tallywood Strings) by Tom Tally
Strung Out on Kid A: The String Quartet Tribute to Radiohead by Vitamin String Quartet
included in:5 Album Set (Pablo Honey / The Bends / OK Computer / Kid A / Amnesiac)
Album Box Set
Radiohead Box
part of:Pitchfork: Top 20 Albums of 2000 (number: 1) (order: 1)
Fact Magazine: The 100 Best Albums of the 2000s (number: 7) (order: 7)
Grammy Award: Best Alternative Music Album (number: 2001) (order: 11)
Rolling Stone: 500 Greatest Albums of All Time: 2012 edition (number: 67) (order: 67)
1001 Albums You Must Hear Before You Die (2005 edition) (order: 82)
Discogs:https://www.discogs.com/master/21501 [info]
lyrics page:http://lyrics.wikia.com/Radiohead:Kid_A_(2000) [info]
reviews:https://www.bbc.co.uk/music/reviews/jmf9 [info]
other databases:http://musicmoz.org/Bands_and_Artists/R/Radiohead/Discography/Kid_A/ [info]
https://rateyourmusic.com/release/album/radiohead/kid_a/ [info]
https://www.musik-sammler.de/album/30866/ [info]
Allmusic:https://www.allmusic.com/album/mw0000620999 [info]
Wikidata:Q220726 [info]

CritiqueBrainz Reviews

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Most Recent

By 1998 Radiohead were at breaking point. Mentally and physically exhausted, Thom Yorke – forever the sickly Victorian child – had been pushed too far by fame and adulation. Like many before him, the thrill of playing to a stadium full of unquestioningly adoring fans had become soured by the sheer numbing quality of constant public scrutiny. In a way, Radiohead had, with OK Computer, peaked a little early.

Unlike Roger Waters' similar plight with stadium-filling Pink Floyd, Thom didn't get all messianic and self-pitying. He got angry and perverse: A much better solution.

The fact was that writer's block had (understandably) descended. In the initial sessions with producer Nigel Godrich, Yorke arrived with half-finished lyrics and little else. A radical shift was needed. But instead of retreating into what the band knew best – era-defining indie rock - they took a leaf out of what was intriguing them at the time. And that was jazz, classical music and modern electronica in the guise of the Aphex Twin and his cohorts on Sheffield's Warp label.

Suddenly, as Ed O'Brien's now-famous blog of the recording process related, things started getting weird. Primarily a guitar and drums-driven band, suddenly they were producing songs with little of either. What's more the whole shape of such 'songs' was being lost.

Instead the band began each song as an experiment on how to work in new ways. They sampled other artists ("Idioteque") themselves. They conducted a brass ensemble ("The National Anthem"). They tried to transmute their previous dread into art ("How To Disappear Completely"). This was rock finally growing out of its six-string straightjacket and embraciong cutting-edge advances in sound. Vaguely concerning itself with anti-commercialism and globalism in general, it left all listeners with a sense of the madness of modern life. Job well done!

And just as the band were about to unleash this monster on the world they nearly fell at the last hurdle; falling out badly over the running order. But more remarkable was the way in which *Kid A *was unveiled. Playing new songs live, they freely allowed fans to record and share their bootlegs on the web. After a couple of gigs the rabid masses who had nearly torn Radiohead apart were singing along to some of the most wilfully un-commercial music to reach #1 on the album charts. Having broken this barrier, the world really was their oyster.