Kid A is the fourth studio album by the English rock band Radiohead, released on 2 October 2000 by Parlophone. After the stress of promoting Radiohead's acclaimed 1997 album OK Computer, songwriter Thom Yorke envisioned a radical change in direction. The band replaced their guitar rock sound with synthesisers, drum machines, the ondes Martenot, string orchestras and brass instruments, drawing influence from electronic music, krautrock, jazz, and 20th-century classical music. They recorded Kid A with OK Computer producer Nigel Godrich in Paris, Copenhagen, Gloucestershire and their hometown Oxford, England. The sessions produced over 20 tracks, and Radiohead split the work into two albums: Kid A, and Amnesiac, released the following year.
|Studio album by|
|Released||2 October 2000|
|Recorded||January 1999 – April 2000|
|Radiohead studio album chronology|
Radiohead released no singles or music videos to promote Kid A and conducted few interviews and photoshoots. Instead, they became one of the first major acts to use the internet as a promotional tool; the album was made available to stream and was promoted with short animated films featuring music and artwork. Bootlegs of early performances were shared on file-sharing services, and the album was leaked before release.
Kid A debuted at the top of the charts in Britain, where it went platinum in the first week, and it became Radiohead's first number-one album in the United States. Like OK Computer, it won a Grammy for Best Alternative Album and was nominated for Album of the Year. Its departure from Radiohead's earlier sound divided fans and critics, and some dismissed it as pretentious or deliberately obscure. However, Kid A later attracted wider acclaim; at the turn of the decade, Rolling Stone, Pitchfork and the Times ranked Kid A the greatest album of the 2000s. In 2012, Rolling Stone ranked it number 67 on its list of the 500 greatest albums of all time.
Following the critical and commercial success of their 1997 album OK Computer, the members of Radiohead suffered burnout. Yorke became ill, describing himself as "a complete fucking mess ... completely unhinged". Drummer Philip Selway said Radiohead worried that the success had "turned us into a one-trick band". Bassist Colin Greenwood said: "We felt we had to change everything. There were other guitar bands out there trying to do similar things. We had to move on." Guitarist Ed O'Brien had hoped Radiohead's fourth album would comprise "snappy", melodic guitar songs, but Yorke stated: "There was no chance of the album sounding like that. I'd completely had it with melody. I just wanted rhythm. All melodies to me were pure embarrassment."
Troubled by new acts he felt were imitating Radiohead, Yorke believed his music had become part of a constant background noise he described as "fridge buzz", and became hostile to the music media. He told The Guardian: "I always used to use music as a way of moving on and dealing with things, and I sort of felt like that the thing that helped me deal with things had been sold to the highest bidder and I was simply doing its bidding. And I couldn't handle that." He suffered from writer's block, and could not finish writing songs on guitar.
Yorke became disillusioned with the "mythology" of rock music, feeling the genre had "run its course". He had been a DJ and part of a techno band at Exeter University, and following OK Computer began to listen almost exclusively to the electronic music of Warp artists such as Aphex Twin and Autechre: "It was refreshing because the music was all structures and had no human voices in it. But I felt just as emotional about it as I'd ever felt about guitar music." He liked the idea of his voice being used as an instrument rather than having a leading role, and intended to move Radiohead from traditional songwriting and instead focus on sounds and textures.
Yorke bought a house in Cornwall and spent his time walking the cliffs and drawing, restricting his musical activity to playing the grand piano he had recently bought. "Everything in Its Right Place" was the first song he wrote. He described himself as a "shit piano player", with little knowledge of electronic instruments: "I remember this Tom Waits quote from years ago, that what keeps him going as a songwriter is his complete ignorance of the instruments he's using. So everything's a novelty. That's one of the reasons I wanted to get into computers and synths, because I didn't understand how the fuck they worked. I had no idea what ADSR meant."
Radiohead began work on Kid A in Paris in January 1999 with OK Computer producer Nigel Godrich and no deadline. Yorke, who had the greatest control in the band, was still facing writer's block. His new songs were incomplete, and some consisted of little more than sounds or drum machine rhythms; few had clear verses or choruses. The other members struggled with Yorke's change of direction; brothers Jonny and Colin Greenwood expressed fear that the album might become "gratuitous ... random digital experimentation" or "awful art-rock nonsense just for its own sake". According to Yorke, Godrich "didn't understand why, if we had such a strength in one thing, we would want to do something else. But at the same time he trusted me to have an idea of what I wanted."
The band had to accept that not every member would play on every song, which caused conflict. O'Brien said: "It's scary – everyone feels insecure. I'm a guitarist and suddenly it's like, well, there are no guitars on this track, or no drums." Instead of working as a traditional rock band, they experimented with electronic instruments including modular synthesisers and the ondes Martenot, an early theremin-like electronic instrument. They used software such as Pro Tools and Cubase to edit and manipulate their recordings. At the suggestion of Michael Brook, creator of the Infinite Guitar, O'Brien began using sustain units, which allow guitar notes to be sustained infinitely, combined with looping and delay effects to create synthesiser-like sounds.
In March, Radiohead moved to Medley Studios in Copenhagen for two weeks. The sessions produced about 50 reels of tape each containing 15 minutes of music, with nothing finished. In April, Radiohead resumed recording in a Gloucestershire mansion. The lack of deadline and the number of incomplete ideas made it hard for the band to focus, and they agreed to disband if they could not agree on an album worth releasing.
In July, O'Brien began keeping an online diary of Radiohead's progress. In the same month, Radiohead moved to their new studio in their hometown Oxford. In November, Radiohead broadcast a webcast from their studio, featuring a DJ set and a performance of the new song "Knives Out". By the end of 1999, six songs were complete, including the title track. In January 2000, at Godrich's suggestion, Radiohead split into two groups: one would generate a sound or sequence and the other would develop it without acoustic instruments such as guitars or drums. Though the experiment produced no finished songs, it helped convince the band of the new direction.
Jonny Greenwood described the first track, "Everything in its Right Place", as a turning point for the album recording: "We knew it had to be the first song, and everything just followed after it." It was recorded on a Prophet 5 synthesiser, with vocals processed using a scrubbing tool in Pro Tools.
Yorke had recorded a demo of "The National Anthem" when the band was still in school. In 1997, Radiohead recorded drums and bass for the song, intending to develop it for an OK Computer B-side, but decided to save it for their next album. Greenwood added ondes Martenot and sampled sounds from radio stations, and Yorke's vocals were processed with a ring modulator. In November 1999, Radiohead recorded a brass section inspired by the "organised chaos" of Town Hall Concert by the jazz musician Charles Mingus. Yorke and Greenwood directed the musicians to sound like a "traffic jam"; according to Yorke, he jumped up and down so much during his conducting that he broke his foot.
The strings were performed by the Orchestra of St John's and recorded in Dorchester Abbey, a 12th-century church about five miles from Radiohead's Oxfordshire studio. Radiohead chose the orchestra as they had performed pieces by Penderecki and Messiaen. Greenwood, the only Radiohead member trained in music theory, composed a string arrangement for "How to Disappear Completely" by multitracking his ondes Martenot. According to Godrich, when the musicians saw Greenwood's score "they all just sort of burst into giggles, because they couldn’t do what he’d written, because it was impossible – or impossible for them, anyway". The orchestra leader John Lubbock encouraged the musicians to experiment and work with Greenwood's "naive" ideas. Concerts director Alison Atkinson said the session was "more experimental" than the orchestra's usual bookings, and that Greenwood instructed the players to swing in the style of jazz musicians.
"Idioteque" was built from a drum machine pattern Greenwood created with a modular synthesiser. Feeling it "needed chaos", he experimented with found sounds and sampling. He gave the unfinished 50-minute recording to Yorke, who took a short section of it and used it to write the song. Greenwood could not remember where the song's four-chord synthesiser phrase had come from, and assumed he had recorded it himself; he later realised he had sampled it from "Mild und Leise", a computer music piece by Paul Lansky released on the 1976 LP First Recordings – Electronic Music Winners. Lansky allowed Radiohead to use the sample after Greenwood wrote to him with a copy of the song.
Yorke had recorded a version of "Motion Picture Soundtrack" on piano during the OK Computer sessions. For Kid A, he recorded it on a harmonium pedal organ, influenced by songwriter Tom Waits; Greenwood added samples of harps, attempting to recreate the atmosphere of 1950s Disney films. Radiohead also worked on several songs that were not completed until recording sessions for future albums, including "Nude", "Burn the Witch" and "True Love Waits".
On 19 April, Yorke wrote on Radiohead's website: "Yesterday we finished recording. I am free and happy and now I'm going for a walk in the park." Having completed over 20 songs, the band considered a double album, but felt the material was too dense. Instead, Radiohead saved half the songs for their next album, Amnesiac, released the following year. Yorke said Radiohead split the work into two albums because "they cancel each other out as overall finished things. They come from two different places, I think ... In some weird way I think Amnesiac gives another take on Kid A, a form of explanation." Kid A was mastered by Chris Blair in Abbey Road Studios, London.
Style and influencesEdit
Kid A incorporates influences from electronic artists on Warp Records, such as 1990s IDM artists Autechre and Aphex Twin; 1970s Krautrock bands such as Can; the jazz of Charles Mingus, Alice Coltrane and Miles Davis; and abstract hip hop from the Mo'Wax label, including Blackalicious and DJ Krush. Yorke cited Remain in Light (1980) by Talking Heads as a "massive reference point". Björk was another major influence, particularly her 1997 album Homogenic, as was the Beta Band. Radiohead attended an Underworld concert which helped renew their enthusiasm in a difficult moment.
The string orchestration for "How to Disappear Completely" was influenced by Polish composer Krzysztof Penderecki. Jonny Greenwood's use of the ondes Martenot on this and several other Kid A songs was inspired by Olivier Messiaen, who popularised the instrument and was one of Greenwood's teenage heroes. "Idioteque" samples two computer music pieces, Paul Lansky's "Mild Und Leise" and Arthur Kreiger's "Short Piece". Both samples were taken from Electronic Music Winners, a 1976 experimental music LP which Jonny Greenwood stumbled upon while the band was working on Kid A. Yorke also referred to electronic dance music when talking about "Idioteque", and said that the song was "an attempt to capture that exploding beat sound where you're at the club and the PA's so loud, you know it's doing damage".
"Motion Picture Soundtrack" was written before Radiohead's debut single "Creep". Yorke recorded it on a pedal organ; the other band members added sampled harp and double bass, attempting to emulate the soundtracks of 1950s Disney films. Jonny Greenwood described his interest in mixing old and new music technology, and during the recording sessions Yorke read Ian MacDonald's Revolution in the Head, which chronicles the Beatles' recordings with George Martin during the 1960s. The band also sought to combine electronic manipulations with jam sessions in the studio, stating their model was the German group Can.
Kid A incorporates elements of electronica, experimental rock, post-rock, alternative rock, post-prog, ambient, and electronic rock. Though guitar is less prominent than on previous Radiohead albums, guitars were still used on most tracks. The instrumental "Treefingers" was created by digitally processing recordings of O'Brien's guitar to create an ambient sound. Many of Yorke's vocals are heavily modified by digital effects; for example, his vocals on the title track were simply spoken, then vocoded with the ondes Martenot to create the melody.
Yorke wrote many of Kid A's lyrics by cutting up words and phrases and assembling them at random, combining everyday cliches and banal observations ("Where'd you park the car?") with violent imagery ("Cut the kids in half"). He cited David Byrne's approach to lyrics on the 1980 Talking Heads album Remain in Light as an influence: "When they made that record, they had no real songs, just wrote it all as they went along. Byrne turned up with pages and pages, and just picked stuff up and threw bits in all the time. And that's exactly how I approached Kid A." Radiohead used Yorke's lyrics "like pieces in a collage ... [creating] an artwork out of a lot of different little things". The lyrics are not included in the liner notes, as Radiohead felt they could not be considered independently of the music, and Yorke said he did not want listeners to focus on them.
Yorke wrote "Everything in Its Right Place" about the depression he experienced on the OK Computer tour, feeling he could not speak. The refrain of "How to Disappear Completely" was inspired by R.E.M. singer Michael Stipe, who advised Yorke to relieve tour stress by repeating to himself: "I'm not here, this isn't happening". The refrain of "Optimistic" ("try the best you can / the best you can is good enough") was an assurance by Yorke's partner, Rachel Owen, when Yorke was frustrated with the band's progress.
The title Kid A came from the name of one of Radiohead's sequencers. Yorke said he liked its "non-meaning", saying: "If you call [an album] something specific, it drives the record in a certain way."
The Kid A artwork and packaging was created by Yorke with Stanley Donwood, who has worked with Radiohead since their 1994 EP My Iron Lung. While working on the artwork, Yorke and Donwood became "obsessed" with the Worldwatch Institute website, which was full of "scary statistics about ice caps melting, and weather patterns changing"; this inspired them to use an image of a mountain range as the cover art. Donwood said he saw the mountains as "landscapes of power ... some sort of cataclysmic power existing in landscape."
The cover was also inspired by a photograph taken during the Kosovo War depicting a square metre of snow full of the "detritus of war", such as military equipment and cigarette stains. Donwood said: "I was upset by it in a way war had never upset me before. It felt like it was happening in my street." Donwood painted on large canvases with knives and sticks, then photographed the paintings and manipulated them with Photoshop.
The red swimming pool on the album spine and disc was inspired by the 1988 graphic novel Brought to Light by Alan Moore and Bill Sienkiewicz, in which the number of people killed by state terrorism is measured in 50-gallon swimming pools filled with blood. Donwood said this image "haunted" him during the recording of the album, calling it "a symbol of looming danger and shattered expectations".
Anticipation for Kid A was high; Spin described it as the most highly anticipated rock record since Nirvana's In Utero. To avoid repeating the stress of promoting OK Computer, Radiohead minimised their involvement in the Kid A marketing, conducting few interviews or photoshoots. They released no singles, though "Optimistic" and promotional copies of other tracks received radio play. MTV2, KROQ, and WXRK played the album in its entirety. No advance copies of the album were circulated, but it was played under controlled conditions for critics and fans. Radiohead were careful to present the album as a cohesive work rather than a series of separate tracks; rather than give record label executives copies to consider individually, they had them listen to the album in its entirety on a bus from Hollywood to Malibu. According to the Observer, one critic called the album "a commercial suicide note". Rob Gordon, vice president of marketing at Capitol Records, the American subsidiary of Radiohead's label EMI, praised the album but said promoting it would be a "business challenge".
– Capitol executive Robin Sloan Bechtel, 2015
At the time, the use of the internet for music promotion was not widespread, and record labels were still reliant on MTV and radio. Capitol launched an innovative marketing campaign, broadcasting "blips", short films set to Kid A's music, on music channels and distributing them online. The "iBlip", a Java applet, could be embedded in fan sites and allowed users to preorder and stream the album; it was used by over 1000 sites and the album was streamed more than 400,000 times. The iBlip also included artwork, photos and links to pre-order the album on the online retailer Amazon. Capitol also streamed the album through Amazon, MTV.com and heavy.com, and for three days ran a promotional campaign with the peer-to-peer filesharing service Aimster, allowing users to swap iBlips and Radiohead-branded Aimster skins.
Three weeks before release, Kid A was leaked online and shared on the peer-to-peer service Napster. Asked whether he believed Napster had damaged sales, Capitol president Ray Lott likened the situation to unfounded concern about home taping in the 1980s and said: "I'm trying to sell as many Radiohead albums as possible. If I worried about what Napster would do, I wouldn't sell as many albums." Yorke said Napster "encourages enthusiasm for music in a way that the music industry has long forgotten to do".
In early 2000, Radiohead toured the Mediterranean, performing Kid A and Amnesiac songs for the first time. By the time the album title was announced in mid-2000, fans were sharing concert bootlegs online. Colin Greenwood said: "We played in Barcelona and the next day the entire performance was up on Napster. Three weeks later when we got to play in Israel the audience knew the words to all the new songs and it was wonderful."
In late 2000, Radiohead toured Europe in a custom-built tent without corporate logos, playing mostly new songs. They also performed three concerts in North American theatres, their first in nearly three years. The small venues sold out rapidly, attracting celebrities, and fans who camped overnight. In October, the band performed on the American comedy show Saturday Night Live; the performance shocked some viewers expecting rock songs, with Jonny Greenwood playing electronic instruments, the house brass band improvising over "The National Anthem", and Yorke dancing erratically to "Idioteque". In November 2001, Radiohead released a live EP, I Might Be Wrong: Live Recordings, comprising recordings from the Kid A and Amnesiac tours.
Kid A reached number one on Amazon's sales chart, with more than 10,000 pre-orders. In the UK, it sold 55,000 copies in its first day of release, the biggest first-day sales of the year and more than every other album in the top ten combined. It debuted at number one in the charts in the UK, US, France, Ireland, New Zealand and Canada. It was the first US number one in three years for any British act, and Radiohead's first US top 20 album. European sales slowed on 2 October 2000, the day of release, when 150,000 faulty CDs were recalled by EMI.
|The Austin Chronicle|||
|The Village Voice||A−|
Kid A was widely anticipated. Months before its release, Melody Maker wrote: "If there's one band that promises to return rock to us, it's Radiohead." However, the album surprised listeners who expected more of the rock music of Radiohead's earlier albums. After it had been played for critics, the Guardian wrote: "The first time you hear Kid A ... you'll probably scratch your head and think, huh? What are they on about? For starters, why are the guitars only on three songs? What's with all the muted electronic hums, pulses and tones? And why is Thom Yorke's voice completely indistinguishable for most of the time?" Some fans were disappointed that songs Radiohead had performed on the prerelease tour, such as "Pyramid Song" and "Knives Out", were not included; the songs were later released on Amnesiac.
Mojo wrote that "upon first listen, Kid A is just awful ... Too often it sounds like the fragments that they began the writing process with – a loop, a riff, a mumbled line of text, have been set in concrete and had other, lesser ideas piled on top." In the New Yorker, novelist Nick Hornby criticised the obscured vocals and lack of guitar and wrote: "The album is morbid proof that this sort of self-indulgence results in a weird kind of anonymity rather than something distinctive and original." Melody Maker critic Mark Beaumont called the album "tubby, ostentatious, self-congratulatory, look-ma-I-can-suck-my-own-cock whiny old rubbish ... Kid A is the result of studio sessions in Gloucestershire where about 60 songs were started that no one had a bloody clue how to finish".
Guardian critic Adam Sweeting wrote that "even listeners raised on krautrock or Ornette Coleman will find Kid A a mystifying experience ... It also fails to sweep away preconceptions about Radiohead, pandering to the worst cliches about their relentless miserabilism". Alexis Petridis, also of the Guardian, described it as "self-consciously awkward and bloody-minded, the noise made by a band trying so hard to make a 'difficult' album that they felt it beneath them to write any songs". The Irish Times panned Kid A as a "confused, aimless mess ... Guitar riffs, melodies and choruses have been replaced by diffident string-crunching, desolate wailing and juddering, repeated phrases ... The only thing challenging about Kid A is the very real challenge to your attention span." In the New York Times, Howard Hampton dismissed Radiohead as a "rock composite" and wrote that Kid A "recycles Pink Floyd's dark-side-of-the-moon solipsism to Me-Decade perfection".
Some critics felt the electronic elements were unoriginal. Rob Sheffield of Rolling Stone wrote that the "mastery of Warp-style electronic effects" was "clumsy and dated". Beaumont asked: "Are Radiohead trying to push the experimental rock envelope, unaware that they're simply ploughing furrows dug by DJ Shadow and Brian Eno before them?" Select wrote: "What do they want for sounding like the Aphex Twin circa 1993, a medal?”
AllMusic gave Kid A a favourable review, but wrote that it "never is as visionary or stunning as OK Computer, nor does it really repay the intensive time it demands in order for it to sink in". The NME was also positive, but described some songs as "meandering" and "anticlimactic", and concluded: "For all its feats of brinkmanship, the patently magnificent construct called Kid A betrays a band playing one-handed just to prove they can, scared to commit itself emotionally." In Rolling Stone, David Fricke called Kid A "a work of deliberately inky, often irritating obsession ... But this is pop, a music of ornery, glistening guile and honest ache, and it will feel good under your skin once you let it get there."
Spin said Kid A was "not the act of career suicide or feat of self-indulgence it will be castigated as", and predicted that fans would recognise it as Radiohead's "best and bravest" album. Billboard described it as "an ocean of unparalleled musical depth" and "the first truly groundbreaking album of the 21st century". Robert Christgau wrote that Kid A is "an imaginative, imitative variation on a pop staple: sadness made pretty". The Village Voice called it "oblique oblique oblique ... Also incredibly beautiful." Brent DiCrescenzo of Pitchfork gave Kid A a perfect score, calling it "cacophonous yet tranquil, experimental yet familiar, foreign yet womb-like, spacious yet visceral, textured yet vaporous, awakening yet dreamlike". He concluded that Radiohead "must be the greatest band alive, if not the best since you know who". The piece was one of the first Kid A reviews posted online; shared widely by Radiohead fans, it helped popularise Pitchfork and became notorious for its "obtuse" writing.
At Metacritic, which aggregates ratings from critics, Kid A has a score of 80 based on 24 reviews, indicating "generally favourable reviews". It was named one of the best albums of 2000 by publications including the Los Angeles Times, Spin, Melody Maker, Mojo, the NME, Pitchfork, Q, the Times, Uncut, and the Wire. At the 2001 Grammy Awards, Kid A was nominated for Album of the Year and won the award for Best Alternative Album.
|The A.V. Club||A|
|The Rolling Stone Album Guide|||
In the years following its release, Kid A attracted acclaim. In 2005, Pitchfork wrote that Kid A had "challenged and confounded" Radiohead's audience, and that it had "transformed into an intellectual symbol of sorts ... Owning it became 'getting it'; getting it became 'anointing it'." In 2015, Rob Sheffield of Rolling Stone likened Radiohead's change to style to Bob Dylan's controversial move to rock music, writing: "There’s no controversy over Kid A any more ... Nobody admits now they hated Kid A at the time ... Nobody wants to be the clod who didn't get it." He described Kid A as the "defining moment in the Radiohead legend".
In a 2011 Guardian article about his critical Melody Maker review, Beaumont wrote that though his opinion had not changed, "Kid A's status as a cultural cornerstone has proved me, if not wrong, then very much in the minority ... People whose opinions I trust claim it to be their favourite album ever." However, in 2014, Brice Ezell of PopMatters wrote that Kid A is "more fun to think and write about than it is to actually listen to" and "far less compelling representation of the band's talents than The Bends and OK Computer". In 2016, Dorian Lysnkey wrote in the Guardian: "At times, Kid A is dull enough to make you fervently wish that they'd merged the highlights with the best bits of the similarly spotty Amnesiac ... Yorke had given up on coherent lyrics so one can only guess at what he was worrying about."
Radiohead denied that they had set out to create "difficult" music. Jonny Greenwood said: "If that was true, we'd have done a much better job of it ... It's not that challenging – everything's still four minutes long, it's melodic." He suggested that "people basically want their hands held through 12 'Mull Of Kintyre's". Yorke said: "We're actually trying to communicate but somewhere along the line, we just seemed to piss off a lot of people ... What we're doing isn't that radical." He said the band regretted releasing no singles, feeling it meant much of the early judgement of the album came from critics.
Grantland credited Kid A for pioneering the use of internet to stream and promote music, writing: "For many music fans of a certain age and persuasion, Kid A was the first album experienced primarily via the internet – it's where you went to hear it, read the reviews, and argue about whether it was a masterpiece ... Listen early, form an opinion quickly, state it publicly, and move on to the next big record by the official release date. In that way, Kid A invented modern music culture as we know it."
In his 2005 book Killing Yourself to Live, critic Chuck Klosterman interpreted Kid A as a prediction of the September 11 attacks. In 2019, David Byrne of Talking Heads, one of Radiohead's formative influences, said: "What was really weird and very encouraging was that [Kid A] was popular. It was a hit! It proved to me that the artistic risk paid off and music fans sometimes are not stupid."
In 2003, Rolling Stone ranked Kid A number 428 on its list of the 500 greatest albums of all time. In its updated 2012 version of the list, Rolling Stone ranked Kid A number 67, the highest-ranking album released that decade, writing that "Kid A remains the most groundbreaking rock album of the '00s". Rolling Stone named "Everything in its Right Place" the 24th best song of the decade, describing it as "oddness at its most hummable".
In 2005, Stylus Magazine and Pitchfork named Kid A the best album of the previous five years, with Pitchfork calling it "the perfect record for its time: ominous, surreal, and impossibly millennial". In 2006, Time named Kid A one of the 100 best albums, calling it "the opposite of easy listening, and the weirdest album to ever sell a million copies, but ... also a testament to just how complicated pop music can be". At the end of the decade, Rolling Stone, Pitchfork and the Times ranked Kid A the greatest album of the 2000s. The Guardian ranked it second best, calling it "a jittery premonition of the troubled, disconnected, overloaded decade to come. The sound of today, in other words, a decade early."
After a period of being out of print on vinyl, EMI reissued a double LP of Kid A on 19 August 2008 along with OK Computer, Amnesiac and Hail to the Thief as part of the "From the Capitol Vaults" series. In August 2009, EMI reissued Kid A in a two-CD "Collector's Edition" and a "Special Collector's Edition" containing an additional DVD. Both versions feature live tracks, taken mostly from television performances. Radiohead, who left EMI in 2007, had no input into the reissue and the music was not remastered. The "Collector's Editions" were discontinued after Radiohead's back catalogue was transferred to XL Recordings in 2016. In May 2016, XL reissued Kid A along with the rest of Radiohead's back catalogue on vinyl.
|Fact||UK||The 100 Best Albums of the 2000s||2010||7|
|The Guardian||UK||Albums of the decade||2009||2|
|Hot Press||Ireland||The 100 Best Albums Ever||2006||47|
|Mojo||UK||The 100 Greatest Albums of Our Lifetime 1993–2006||2006||7|
|NME||UK||The 100 Greatest British Albums Ever||2006||65|
|NME||UK||The Top 100 Greatest Albums of the Decade||2009||14|
|Pitchfork||US||Top 200 Albums of the 2000s||2009||1|
|Platendraaier||The Netherlands||Top 30 Albums of the 2000s||2015||7|
|Rolling Stone||US||The 500 Greatest Albums of All Time||2012||67|
|The 100 Best Albums of the Decade||2009||1|
|The 40 Greatest Stoner Albums||2013||6|
|Spin||US||Top 100 Albums of the Last 20 Years||2005||48|
|Stylus||US||The 50 Best Albums of 2000–2004||2005||1|
|Time||US||The All-Time 100 Albums||2006||*|
|The Times||UK||The 100 Best Pop Albums of the Noughties||2009||1|
|1001 Albums You Must Hear Before You Die||US||1001 Albums You Must Hear Before You Die||2010||*|
(*) designates unordered list
|1.||"Everything in Its Right Place"||4:11|
|3.||"The National Anthem"||5:51|
|4.||"How to Disappear Completely"||5:56|
|8.||"Idioteque" (Radiohead, Paul Lansky, Arthur Kreiger)||5:09|
|10.||"Motion Picture Soundtrack" (song ends at 3:17; includes an untitled hidden track from 4:17 until 5:12, followed by 1:44 of silence)||7:00|
|"Collector's Edition"/"Special Collector's Edition" Disc 2|
|1.||"Everything in Its Right Place" (BBC Radio 1 evening session, 15 November 2000)||6:04|
|2.||"How to Disappear Completely" (BBC Radio 1 evening session, 15 November 2000)||6:37|
|3.||"Idioteque" (BBC Radio 1 evening session, 15 November 2000)||4:12|
|4.||"The National Anthem" (BBC Radio 1 evening session, 15 November 2000)||4:44|
|5.||"Optimistic" (Lamacq Live in Concert: Victoria Park, Latchford, Warrington, Cheshire, England, 2 October 2000)||4:39|
|6.||"Morning Bell" (Live at Canal+ Studios, Paris, France, 28 April 2001)||4:26|
|7.||"The National Anthem" (Live at Canal+ Studios, Paris, France, 28 April 2001)||5:01|
|8.||"How to Disappear Completely" (Live at Canal+ Studios, Paris, France, 28 April 2001)||5:57|
|9.||"In Limbo" (Live at Canal+ Studios, Paris, France, 28 April 2001)||4:42|
|10.||"Idioteque" (Live at Canal+ Studios, Paris, France, 28 April 2001)||4:13|
|11.||"Everything in Its Right Place" (Live at Canal+ Studios, Paris, France, 28 April 2001)||6:43|
|12.||"Motion Picture Soundtrack" (Live at Canal+ Studios, Paris, France, 28 April 2001)||3:55|
|13.||"True Love Waits" (from I Might Be Wrong: Live Recordings, 2001)||5:05|
|"Special Collector's Edition" DVD|
|1.||"The National Anthem" (Live on Later... with Jools Holland, 9 June 2001)|
|2.||"Morning Bell" (Live on Later ... with Jools Holland, 9 June 2001)|
|3.||"Idioteque" (Live on Later ... with Jools Holland, 9 June 2001)|
Credits adapted from liner notes.
|Australian Albums (ARIA)||2|
|Austrian Albums (Ö3 Austria)||5|
|Belgian Albums (Ultratop Flanders)||3|
|Belgian Albums (Ultratop Wallonia)||4|
|Canadian Albums (Billboard)||1|
|Dutch Albums (Album Top 100)||4|
|French Albums (SNEP)||1|
|Irish Albums (IRMA)||1|
|Italian Albums (FIMI)||3|
|New Zealand Albums (RMNZ)||1|
|Swedish Albums (Sverigetopplistan)||3|
|Swiss Albums (Schweizer Hitparade)||8|
|UK Albums (OCC)||1|
|US Billboard 200||1|
|Canada (Music Canada)||2× Platinum||200,000^|
|Norway (IFPI Norway)||Gold||25,000*|
|United Kingdom (BPI)||Platinum||300,000^|
|United States (RIAA)||Platinum||1,480,000|
*sales figures based on certification alone
- Zoric, Lauren (22 September 2000). "I think I'm meant to be dead ..." The Guardian. Archived from the original on 2 January 2014. Retrieved 18 May 2007.
- Cavanagh, David (October 2000). "I Can See The Monsters". Q: 96–104.
- Kot, Greg (2000). "Radiohead sends out new signals with 'Kid A'". Nigelgodrich.com. Archived from the original on 13 March 2016. Retrieved 18 March 2007.
- Reynolds, Simon (July 2001). "Walking on Thin Ice". The Wire. Archived from the original on 4 February 2012. Retrieved 17 March 2007.
- Radiohead (interviews) (30 November 1998). Meeting People Is Easy. Seventh art releasing. Archived from the original on 14 March 2007. Retrieved 18 March 2007.
- "NME Christmas Double Issue". NME. 23 December 2000. Archived from the original on 11 March 2016. Retrieved 18 March 2007.
- Smith, Andrew (1 October 2000). "Sound and fury". The Observer. Archived from the original on 10 November 2013. Retrieved 19 May 2007.
- "Splitting atoms with Thom Yorke". Dazed. 12 February 2013. Archived from the original on 18 April 2016. Retrieved 9 July 2016.
- Fricke, David; Fricke, David (14 December 2000). "People of the Year: Thom Yorke of Radiohead". Rolling Stone. Retrieved 5 January 2019.
- "The Friday interview: Thom Yorke | The Guardian | guardian.co.uk". www.theguardian.com. The Guardian. 22 September 2000. Archived from the original on 3 January 2015. Retrieved 11 April 2015.
- "Radiohead's Guitarist Created His Own Instrument and Helped Change the Band's Music". Esquire. 14 November 2017. Retrieved 14 November 2017.
- "The Best You Can Is Good Enough: Radiohead vs. The Corporate Machine < Features | PopMatters". www.popmatters.com. Archived from the original on 4 October 2015. Retrieved 3 October 2015.
- Vanhorn, Teri (12 November 1999). "Radiohead debut song during webcast". MTV News. Retrieved 11 November 2018.
- Greenwood, Jonny; Greenwood, Colin (20 October 2000). "An Interview With Jonny And Colin Greenwood". Morning Becomes Eclectic (Interview). Interviewed by Nic Harcourt. Los Angeles: KCRW.
- "The 14 synthesizers that shaped modern music". The Vinyl Factory. 4 March 2014. Retrieved 5 March 2018.
- Greenwood, Jonny; Greenwood, Colin (20 October 2000). "An Interview With Jonny And Colin Greenwood". Morning Becomes Eclectic (Interview). Interviewed by Nic Harcourt. Los Angeles: KCRW.
- Nic, Harcourt (20 October 2000). "Radiohead – Morning Becomes Eclectic". Morning Becomes Eclectic (Interview). Jonny and Colin Greenwood. KCRW.
- Swenson, Kylee (January 2001). "A Spy In the House of Music: Radiohead's Ed O'Brien Discusses Sonic Espionage". MC2 Magazine: 44–47. Archived from the original on 29 November 2014. Retrieved 19 November 2014.
I can't help but hear Björk influences on Kid A.
I think we've all been envious about the way Björk has been able to reinvent music. Also, I've been influenced by Aphex Twin, Boards of Canada, and Autechre. They truly seem to be the pioneers of new sound at the moment. While the band format is still valid, the really exciting things going on in music now are created in people's bedrooms.
- Zoric, Lauren (1 October 2000). "Fitter, Happier, More Productive". Juice Magazine. Archived from the original on 9 March 2016. Retrieved 19 May 2007.
- "Radiohead Revealed: The Inside Story of the Year's Most Important Album". Melody Maker. 29 March 2000. Archived from the original on 11 July 2007. Retrieved 18 March 2007.
- "Radiohead Warm Up with 'Amnesiac'". Rolling Stone. 24 May 2001. Archived from the original on 8 April 2016. Retrieved 6 June 2016.
- Pappademas, Alex (9 March 2012). "Jonny Greenwood, Radiohead's Runaway Guitarist". The New York Times. ISSN 0362-4331. Retrieved 22 June 2016.
- Zoric, Lauren (October 2000). "Fitter, Happier, More Productive". Juice.
- "Thom Yorke Talks About Life in the Public Eye". 12 July 2016. Archived from the original on 20 February 2009. Retrieved 29 March 2009.
- Atkins, Jamie (22 June 2017). "OK Computer – OKNOTOK 1997–2017". Record Collector. Retrieved 23 June 2017.
- "Thom recorded the song by himself, just using this old harmonium pedal organ, I suppose influenced by Tom Waits and that kind of singer/songwriter. And I just imagined it having harps and double basses. And so late one night, you know, tried to do a version, trying to disguise the fact that we don't have any real harps, and were cutting up all these samples and trying to make it all fit together, but I just love the sound of harps, and the atmosphere we were trying to get was one of, you know, how the Disney films from the fifties, where the colour fades slightly, and I think there was even one of the regular introductions that included the fairy spinning round". Sandall, Robert; Russell, Mark (20 January 2001). "Interview with Jonny & Colin". Mixing It (Interview). Jonny and Colin Greenwood. BBC Radio.
- "The Music Producers | Word Magazine". 3 July 2011. Archived from the original on 3 July 2011. Retrieved 16 August 2016.
- Yoo, Noah; Monroe, Jazz (3 May 2016). "Watch Radiohead's Video for New Song 'Burn the Witch'". Pitchfork. Archived from the original on 3 May 2016. Retrieved 3 May 2016.
- Reilly, Dan (10 May 2016). "The 21-Year History of Radiohead's 'True Love Waits,' a Fan Favorite Two Decades in the Making". Vulture. Archived from the original on 7 September 2016. Retrieved 10 September 2016.
- O'Brien, Ed (22 July 1999 – 26 June 2000). "Ed's Diary". Archived from the original on 13 April 2007. Retrieved 19 May 2007.
- Yago, Gideon (18 July 2001). "Played in Full". MTV. Viacom. Retrieved 14 July 2014.
- Kot, Greg (31 July 2001). "'It's difficult justifying being a rock band'". Chicago Tribune. Tribune Company. Retrieved 27 March 2012.
- Southall, Brian; Vince, Peter; Rouse, Allan (2011). Abbey Road: The Story of the World's Most Famous Recording Studios. Omnibus Press. ISBN 0-85712-676-8.
- Greenwood, Jonny. "Jonny Greenwood interivew". Ne Pas Avaler (Interview). Archived from the original on 1 April 2007. Retrieved 1 April 2007.
- NME (1 November 2000). "No more Thom for guitar rock". NME. Retrieved 30 November 2017.
- Lin, Marvin (2010). Radiohead's Kid A. A & C Black. ISBN 978-0-8264-2343-6. Retrieved 20 November 2014.
- Dickey, Jack (22 September 2011). "Put A Björk In It: How A 14-Year-Old Album Is Still Influencing Music". Musicweek2011. Deadspin. Archived from the original on 15 November 2014. Retrieved 20 November 2014.
- Taylor, Steve (27 September 2006). The A to X of Alternative Music. London: A&C Black. p. 32. ISBN 0-8264-8217-1.
- "Radiohead: The Escape Artists, Part Two". The Word. 7 May 2008. Archived from the original on 7 December 2008. Retrieved 6 November 2008.
- Gill, Andy (31 October 2003). "So long to Jonny guitar". The Independent. Retrieved 18 June 2017.
- Kennedy, Jake (November 2000). "Kid A Rock". Record Collector. Archived from the original on 9 March 2016. Retrieved 17 March 2007.
- Erlewine, Stephen Thomas. "Kid A – Radiohead". AllMusic. Archived from the original on 3 June 2012. Retrieved 8 September 2011.
- Segal, David (6 June 2001). "'Amnesiac': Radiohead To Remember". The Washington Post. Retrieved 10 March 2019.
- Cross, Alan (2012). Radiohead: the secret history. Joe Books. ISBN 9781927002308.
- Paoletta, Michael (7 October 2000). "Reviews & Previews – Albums". Billboard. Retrieved 19 January 2015.
- Hegarty, Paul; Halliwell, Martin (2011). Beyond and Before: Progressive Rock since the 1960s. Bloomsbury Publishing. ISBN 1-84574-065-3. Retrieved 19 January 2015.
- Welsh, April Clare. "Radiohead's 'Kid A' – The Album's Tracks Ranked In Order Of Greatness". NME. Retrieved 13 December 2018.
- Reynolds, Simon (October 2000). "Radio Chaos". Spin. Archived from the original on 27 September 2007. Retrieved 23 April 2007.
- "Radiohead – Kid A". Sputnikmusic. Retrieved 20 November 2018.
- Kearney, Ryan (31 May 2016). "The Radiohead Racket". New Republic. Archived from the original on 8 November 2016.
- "The 40 Greatest Stoner Albums". Rolling Stone. Archived from the original on 17 January 2016. Retrieved 6 January 2016.
- Nicholas, Taylor (11 May 2001). "Recovering the Memory of Pop Radiohead's 'Amnesiac'". PopMatters. Archived from the original on 24 September 2015. Retrieved 1 September 2015.
- "Treefingers song information". Green Plastic Radiohead. 2000. Archived from the original on 13 May 2007. Retrieved 18 May 2007.
- "Radiohead: Kid A: Special Collectors Edition". Archived from the original on 3 July 2015. Retrieved 4 July 2015.
- Radiohead (December 2000). "Radiohead: They're Not So Angst-ridden Once You Get to Know Them" (Interview). Interviewed by NY Rock. Archived from the original on 31 December 2005. Retrieved 1 April 2007.
- Fricke, David (2 August 2001). "Radiohead: Making Music That Matters". Rolling Stone. Retrieved 6 January 2019.
- "'How To Disappear Completely' – Readers' Poll: The 10 Best Radiohead Songs". Rolling Stone. 12 October 2011. Archived from the original on 17 January 2015. Retrieved 8 March 2015.
- "People of the Year: Thom Yorke of Radiohead". Archived from the original on 9 December 2015. Retrieved 4 July 2015.
- Smith, Andrew (1 October 2000). "Sound and fury". The Observer. Archived from the original on 10 November 2013. Retrieved 19 May 2007.
- Goodman, Elizabeth (12 June 2006). "Radiohead's Secret Weapon". Rolling Stone. Retrieved 3 March 2018.
- Yorke, Thom (23 March 2008). "Thom Yorke: why I'm a climate optimist". Guardian. Archived from the original on 18 May 2015. Retrieved 26 April 2015.
- Jones, Lucy (27 September 2013). "Stanley Donwood on the Stories Behind His Radiohead Album Covers". NME. Archived from the original on 27 September 2013. Retrieved 28 September 2013.
- "Arts Diary". The Guardian. 22 November 2006. Archived from the original on 26 September 2014. Retrieved 24 April 2007.
- Donwood, Stanley. "Bear over a swimming pool". Slowly Downward. Archived from the original on 10 June 2007. Retrieved 25 April 2007.
- Borow, Zev (November 2000). "The difference engine". Spin Magazine. Archived from the original on 5 March 2007. Retrieved 20 March 2007.
- Archive-Sorelle-Saidman. "Radiohead Plan Singles, Videos For Amnesiac, Yorke Says". MTV News. Retrieved 25 April 2019.
- "'Difficult' Radiohead album is a hit". BBC News. 4 October 2000. Archived from the original on 3 February 2009. Retrieved 22 March 2007.
- Goldsmith, Charles (18 September 2000). "Radiohead's New Marketing". The Wall Street Journal. Archived from the original on 27 September 2007. Retrieved 22 March 2007.
- "New Radiohead Album Floods The Internet". Billboard.com. 31 March 2003. Archived from the original on 22 September 2014. Retrieved 22 March 2007.
- Gold, Kerry (16 September 2000). "Control Freaks". The Vancouver Sun. Archived from the original on 9 March 2016. Retrieved 22 March 2007.
- Hyden, Steven. "How Radiohead's 'Kid A' Kicked Off the Streaming Revolution". Archived from the original on 30 September 2015. Retrieved 30 September 2015.
- Cohen, Warren (11 October 2000). "With Radiohead's Kid A, Capitol Busts Out of a Big-Time Slump. (Thanks, Napster.)". Inside.com. Retrieved 20 March 2007.
- O'Connor, Roisin (19 October 2016). "Glastonbury Festival 2017: Mysterious 'symbol' on Pyramid Stage ground sends Radiohead fans into frenzy". The Independent. Archived from the original on 27 February 2017. Retrieved 25 July 2017.
- "Radiohead – Modified Bear and Logo – 1.25" Button / Pin". Amazon.com. Retrieved 25 July 2017.
- Robinson, Joe. "Radiohead – Best Band Logos". Diffuser.fm. Archived from the original on 21 October 2016.
- "Source". Blender. July 2001. Archived from the original on 24 April 2008. Retrieved 25 July 2017.
- Farley, Christopher John (23 October 2000). "Radioactive". Time Europe. 156 (17). Archived from the original on 11 March 2011. Retrieved 22 March 2007.
- Oldham, James (24 June 2000). "Radiohead – Their Stupendous Return". NME. Archived from the original on 11 March 2016. Retrieved 15 May 2007.
- "Radiohead take Aimster". BBC News. 2 October 2000. Archived from the original on 7 March 2006. Retrieved 17 March 2007.
- Zoric, Lauren (22 September 2000). "I think I'm meant to be dead ..." The Guardian. Archived from the original on 2 January 2014. Retrieved 18 May 2007.
- Marianne Tatom Letts (8 November 2010). Radiohead and the Resistant Concept Album: How to Disappear Completely. Indiana University Press. pp. 158, 167, 219. ISBN 0-253-00491-8. Archived from the original on 26 December 2016.
- "US adopts Kid A". BBC News. 12 October 2000. Archived from the original on 3 February 2009. Retrieved 22 March 2007.
- "US Success for Radiohead". BBC News. 14 June 2001. Archived from the original on 13 March 2007. Retrieved 22 March 2007.
- "Reviews for Kid A by Radiohead". Metacritic. Archived from the original on 25 June 2015. Retrieved 14 July 2015.
- Messer, Kate X. (27 October 2000). "Radiohead: Kid A (Capitol)". The Austin Chronicle. Archived from the original on 17 August 2016. Retrieved 8 July 2015.
- DeRogatis, Jim (3 October 2000). "'Kid A' tops new album class". Chicago Sun-Times. Archived from the original on 8 October 2016. Retrieved 8 July 2015.
- Browne, David (6 October 2000). "Kid A". Entertainment Weekly (562). ISSN 1049-0434. Archived from the original on 15 July 2015. Retrieved 8 September 2011.
- Sweeting, Adam (29 September 2000). "Mourning glories". The Guardian. Archived from the original on 13 March 2016. Retrieved 3 July 2017.
- Cameron, Keith (26 September 2000). "Radiohead – Kid A". NME. Archived from the original on 17 October 2000. Retrieved 15 March 2015.
- DiCrescenzo, Brent (2 October 2000). "Radiohead: Kid A". Pitchfork. Archived from the original on 22 August 2011. Retrieved 8 September 2011.
- Maconie, Stuart (November 2000). "Radio Ga Ga". Q (170): 96.
- Fricke, David (12 October 2000). "Kid A". Rolling Stone. Archived from the original on 24 April 2012. Retrieved 23 May 2012.
- Reynolds, Simon (October 2000). "Radio Chaos". Spin. 16 (10): 171–72. Archived from the original on 26 December 2016. Retrieved 8 July 2015.
- Christgau, Robert (13 February 2001). "Pazz & Jop Preview". The Village Voice. Retrieved 8 July 2015.
- "Are Radiohead OK?". The Irish Times. Retrieved 15 November 2018.
- Sheffield, Rob (2 October 2015). "How Radiohead Shocked the World: A 15th-Anniversary Salute to 'Kid A'". Rolling Stone. Archived from the original on 3 August 2017. Retrieved 24 June 2017.
- Irvin, Jim (October 2000). "Boys in the bubble". Mojo.
- Hornby, Nick (30 October 2000). "Beyond the Pale". The New Yorker. Archived from the original on 2 April 2015. Retrieved 14 March 2015.
- Beaumont, Mark (20 September 2000). "Radiohead Kid A". Melody Maker. Archived from the original on 28 May 2016. Retrieved 25 April 2007.
- Petridis, Alexis (1 July 2001). "CD of the week: Radiohead: Amnesiac". The Guardian. Retrieved 11 November 2018.
- Hampton, Howard. "MUSIC; 70's Rock: The Bad Vibes Continue". Retrieved 1 December 2018.
- "RADIOHEAD Kid A". Billboard. Archived from the original on 4 December 2000. Retrieved 15 March 2015.
- "Bloomberg – Are you a robot?". www.bloomberg.com. Retrieved 21 November 2018.
- "Kid A". Acclaimed Music. Archived from the original on 20 May 2007. Retrieved 31 March 2007.
- "43rd Annual Grammy Awards Winners". Grammy.com. Archived from the original on 2 April 2015. Retrieved 8 March 2015.
- "43rd Annual Grammy Awards – 2001". Rock on the Net. Archived from the original on 11 March 2015. Retrieved 9 March 2015.
- Phipps, Keith (1 September 2009). "Radiohead: Kid A / Amnesiac / Hail To The Thief (Deluxe Editions)". The A.V. Club. Archived from the original on 9 October 2014. Retrieved 8 September 2011.
- Mitchum, Rob (25 August 2009). "Radiohead: Kid A: Special Collectors Edition". Pitchfork. Archived from the original on 25 August 2011. Retrieved 8 September 2011.
- "Radiohead: Kid A". Q (362): 107. August 2016.
- "Radiohead: Kid A". Record Collector: 92.
[S]uitably liberated... These are recordings with soul...
- Sheffield, Rob (2004). "Radiohead". In Brackett, Nathan; Hoard, Christian (eds.). The New Rolling Stone Album Guide (4th ed.). Simon & Schuster. pp. 671–72. ISBN 0-7432-0169-8.
- "Top 100 albums of 2000–2004". Pitchfork. Archived from the original on 30 March 2015. Retrieved 15 March 2015.
- Beaumont, Mark (11 October 2010). "Radiohead's Kid A: still not much cop". The Guardian. Archived from the original on 2 April 2015. Retrieved 15 March 2015.
- Ezell, Brice. "Is Everything in Its Right Place? A (Polite) Dissent to 'Kid A'". PopMatters. Archived from the original on 29 June 2017.
- Lynskey, Dorian (14 January 2016). "From Kid A to Straight Outta Compton – five flawed albums that became classics". The Guardian. Archived from the original on 29 May 2017. Retrieved 24 June 2017.
- Kent, Nick (1 June 2001). "Happy now?". Mojo.
- Wang, Jon Blistein,Amy X.; Blistein, Jon; Wang, Amy X. (30 March 2019). "Read David Byrne's Rock and Roll Hall of Fame Tribute to Radiohead". Rolling Stone. Retrieved 30 March 2019.
- "RollingStone, '500 Greatest Albums of All Time". Archived from the original on 5 September 2014.
- "Radiohead, 'Kid A' – 500 Greatest Albums of All Time". Rolling Stone. 31 May 2012. Archived from the original on 2 March 2015. Retrieved 8 March 2015.
- "100 Best Songs of the 2000s". Rolling Stone. 17 June 2011. Retrieved 16 June 2018.
- "The Top 50 albums, 2000–2005". Stylus magazine. 18 January 2005. Archived from the original on 6 March 2005. Retrieved 1 April 2007.
- "The All-Time 100 Albums". Time. 13 November 2006. Archived from the original on 24 April 2011. Retrieved 3 March 2009.
- "100 Best Albums of the Decade (2000–2009)" Archived 6 June 2017 at the Wayback Machine. Rolling Stone. Archived at rockonthenet.com. Retrieved 22 June 2010.
- "The Top 200 Albums of the 2000s: 20–1". Pitchfork. 2 October 2009. Archived from the original on 7 March 2016. Retrieved 2 October 2009.
- "The 100 best pop albums of the Noughties". The Times. 21 November 2009. Retrieved 26 December 2009.
- Thomson, Graeme (27 November 2009). "Albums of the decade No 2: Radiohead – Kid A". The Guardian. Archived from the original on 8 September 2013. Retrieved 10 October 2011.
- "Coldplay, Radiohead to be reissued on vinyl". NME. IPC Media. 10 July 2008. Archived from the original on 2 November 2011. Retrieved 2 November 2011.
- Sherwin, Adam (28 December 2007). "EMI accuses Radiohead after group's demands for more fell on deaf ears". The Times. Archived from the original on 6 July 2008. Retrieved 29 August 2011.
- McCarthy, Sean (18 December 2009). "The Best Re-Issues of 2009: 18: Radiohead: Pablo Honey / The Bends / OK Computer / Kid A / Amnesiac / Hail to the Thief". PopMatters. Archived from the original on 20 December 2009. Retrieved 29 August 2011.
- Christman, Ed (4 April 2016). "Radiohead's Early Catalog Moves From Warner Bros. to XL". Billboard. Retrieved 6 May 2017.
- Spice, Anton (6 May 2016). "Radiohead to reissue entire catalogue on vinyl". thevinylfactory.com. Retrieved 6 May 2017.
- "The 100 Best Albums of the 2000s". Fact. 1 December 2010. Archived from the original on 19 July 2017. Retrieved 25 July 2017.
- "The 100 Best Albums Ever". Hot Press. 2006. Retrieved 14 May 2007.
- "The 100 Greatest Albums of Our Lifetime 1993–2006". 2006. Retrieved 25 April 2007.
- "The 100 Greatest British Albums Ever". NME. 2006. Archived from the original on 2 February 2015. Retrieved 25 April 2007.
- "The Top 100 Greatest Albums of The Decade". NME. 11 November 2009. Archived from the original on 11 July 2017. Retrieved 25 July 2017.
- "The Top 200 Albums of the 2000s". Pitchfork. 2009. Archived from the original on 14 March 2016. Retrieved 19 October 2009.
- "Top 30 albums van de jaren 00". Platendraaier. 2015. Retrieved 16 September 2015.
- "The 500 Greatest Albums of All Time". Rolling Stone. 2004. Archived from the original on 22 October 2012. Retrieved 6 September 2009.
- "The 40 Greatest Stoner Albums: Radiohead, 'Kid A'". Rolling Stone. 2013. Archived from the original on 30 April 2014. Retrieved 13 July 2014.
- "100 Greatest Albums, 1985–2005". Spin Magazine. 2005. Archived from the original on 4 August 2009. Retrieved 14 May 2007.
- "The 50 Best Albums of 2000–2004". Stylus Magazine. 2005. Archived from the original on 6 March 2005. Retrieved 25 April 2007.
- Tyrangiel, Josh; Light, Alan (13 November 2006). "The All-Time 100 albums". Time. Archived from the original on 21 October 2011. Retrieved 5 May 2007.
- Robert Dimery; Michael Lydon (23 March 2010). 1001 Albums You Must Hear Before You Die: Revised and Updated Edition. Universe. ISBN 978-0-7893-2074-2.
- "Amazon.com: Radiohead: Kid A (Collector's Edition): Music". Amazon. Archived from the original on 12 April 2015. Retrieved 5 April 2015.
- "RADIOHEAD – Kid A [2CD+DVD] 2009 [COLLECTOR'S EDITION] Box Set: €24.95". Silver Tentacle, Music Store. Archived from the original on 12 April 2015. Retrieved 5 April 2015.
- "Australiancharts.com – Radiohead – Kid A". Hung Medien. Retrieved 18 June 2017.
- "Austriancharts.at – Radiohead – Kid A" (in German). Hung Medien. Retrieved 18 June 2017.
- "Ultratop.be – Radiohead – Kid A" (in Dutch). Hung Medien. Retrieved 18 June 2017.
- "Ultratop.be – Radiohead – Kid A" (in French). Hung Medien. Retrieved 18 June 2017.
- "Radiohead Chart History (Canadian Albums)". Billboard. Retrieved 18 June 2017.
- "Dutchcharts.nl – Radiohead – Kid A" (in Dutch). Hung Medien. Retrieved 18 June 2017.
- "Lescharts.com – Radiohead – Kid A". Hung Medien. Retrieved 18 June 2017.
- "GFK Chart-Track Albums: Week 40, 2000". Chart-Track. IRMA. Retrieved 18 June 2017.
- "Italiancharts.com – Radiohead – Kid A". Hung Medien. Retrieved 18 June 2017.
- "Charts.org.nz – Radiohead – Kid A". Hung Medien. Retrieved 18 June 2017.
- "Swedishcharts.com – Radiohead – Kid A". Hung Medien. Retrieved 18 June 2017.
- "Swisscharts.com – Radiohead – Kid A". Hung Medien. Retrieved 18 June 2017.
- "Official Albums Chart Top 100". Official Charts Company. Retrieved 18 June 2017.
- "Radiohead Chart History (Billboard 200)". Billboard. Retrieved 18 June 2017.
- "ARIA Charts – Accreditations – 2001 Albums". Australian Recording Industry Association.
- "Canadian album certifications – Radiohead – Kid A". Music Canada. Retrieved 5 September 2018.
- "French album certifications – Radiohead – Kid A" (in French). Syndicat National de l'Édition Phonographique. Retrieved 24 April 2018.
- "Japanese album certifications – Radiohead – Kid A" (in Japanese). Recording Industry Association of Japan. Retrieved 2 May 2018.
- "IFPI Norsk platebransje Trofeer 1993–2011" (in Norwegian). IFPI Norway.
- "British album certifications – Radiohead – Kid A". British Phonographic Industry. Retrieved 17 June 2017. Select albums in the Format field. Select Platinum in the Certification field. Type Kid A in the "Search BPI Awards" field and then press Enter.
- DeSantis, Nick. "Radiohead's Digital Album Sales, Visualized". Retrieved 30 January 2018.
- "American album certifications – Radiohead – Kid A". Recording Industry Association of America. Retrieved 17 June 2017. If necessary, click Advanced, then click Format, then select Album, then click SEARCH.
- Lin, Marvin (25 November 2010). "Radiohead's Kid A". 33⅓ series. New York: Continuum International Publishing Group. ISBN 978-0-8264-2343-6.
- Ed's Diary: Ed O'Brien's studio diary from Kid A/Amnesiac recording sessions, 1999–2000 (archived at Green Plastic)
- Marzorati, Gerald. "The Post-Rock Band". The New York Times. 1 October 2000. Retrieved on 4 November 2010.
- "All Things Reconsidered: The 10th Anniversary of Radiohead's 'Kid A'" (a collection of articles). PopMatters. November 2010. Retrieved on 4 November 2010.