Editing OK Computer (section)

===Influence===
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| quote = A lot of people have taken ''OK Computer'' and said, 'This is the yardstick. If I can attain something half as good, I'm doing pretty well.' But I've never heard anything really derivative of ''OK Computer''—which is interesting, as it shows that what Radiohead were doing was probably even more complicated than it seemed.
| source = —Josh Davis ([[DJ Shadow]])<ref>{{cite web|url=https://citizeninsane.eu/media/uk/uncut/07/pt_2007-02_uncut.htm|title=Uncut #117|website=citizeninsane.eu|access-date=2020-03-31}}</ref>
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| quote = The whole sound of it and the emotional experience crossed a lot of boundaries. It tapped into a lot of buried emotions that people hadn't wanted to explore or talk about.
| source = —[[James Lavelle]]<ref>{{Cite book|url=https://books.google.com/books?id=bGjsvmNt8UgC&pg=PA123|title=SPIN|date=September 1999|language=en}}</ref>
}}

The release of ''OK Computer'' coincided with the decline of [[Britpop]].<ref group="nb">Britpop, which reached its peak popularity in the mid-1990s and was led by bands such as [[Oasis (band)|Oasis]], [[Blur (band)|Blur]] and [[Pulp (band)|Pulp]], was typified by nostalgic [[homage (arts)|homage]] to [[British rock]] of the 1960s and 1970s. The genre was a key element of the broader cultural movement [[Cool Britannia]]. Starting in 1997, a number of events marked the end of the genre's heyday; these included Blur spurning the conventional Britpop sound on ''[[Blur (Blur album)|Blur]]'' and Oasis' ''[[Be Here Now (album)|Be Here Now]]'' failing to live up to the expectations of critics and the public. See [[#CITEREFFootman2007|Footman 2007]], pp. 177–178</ref> [[Alexis Petridis]] of ''The Guardian'' called the album "the defining sound of rock's post-Britpop shift".<ref name="Petridis-2023"/> Through ''OK Computer''{{'}}s influence, the dominant UK guitar pop shifted toward an approximation of "Radiohead's paranoid but confessional, slurry but catchy" approach.<ref>{{citation
 | title = The 50 Greatest Bands: 15
 | magazine = [[Spin (magazine)|Spin]]
 | date = February 2002}}</ref> Many newer British acts adopted similarly complex, atmospheric arrangements; for example, the post-Britpop band [[Travis (band)|Travis]] worked with Godrich to create the languid pop texture of ''[[The Man Who]]'', which became the fourth best-selling album of 1999 in the UK.<ref>{{citation
 | title = A Marriage Made in Song
 | last = Gulla
 | first = Bob
 | magazine = [[CMJ]] New Music Monthly
 | date = April 2000}}</ref> Some in the British press accused Travis of appropriating Radiohead's sound.<ref>{{citation
 | title = Travis
 | last = Sullivan
 | first = Kate
 | magazine = [[Spin (magazine)|Spin]]
 | date = May 2000}}</ref> Steven Hyden of ''AV Club'' said that by 1999, starting with ''The Man Who'', "what Radiohead had created in ''OK Computer'' had already grown much bigger than the band," and that the album went on to influence "a wave of British-rock balladeers that reached its zenith in the '00s".<ref name="Oasis and Radiohead"/>

''OK Computer'' influenced the next generation of British alternative rock bands,<ref group="nb">Specifically, critics have cited the album's influence on Muse, [[Coldplay]], [[Snow Patrol]], [[Keane (band)|Keane]], Travis, [[Doves (band)|Doves]], [[Badly Drawn Boy]], [[Editors (band)|Editors]] and [[Elbow (band)|Elbow]]. See:
* {{citation
 | url = https://www.theguardian.com/music/musicblog/2007/jun/15/tenyearsofokcomputerandwd
 | last = Aza
 | first = Bharat
 | title = Ten years of OK Computer and what have we got?
 | newspaper = [[The Guardian]]
 | date = 15 June 2007 | archive-url = https://www.webcitation.org/60jE5qiBg?url=http://www.guardian.co.uk/music/musicblog/2007/jun/15/tenyearsofokcomputerandw
 | archive-date = 6 August 2011 | url-status = live
 | ref = none
 }}
* {{citation
 | title = The Empire Strikes Back
 | last = Eisenbeis
 | first = Hans
 | magazine = [[Spin (magazine)|Spin]]
 | date = July 2001
 | ref = none }}
* {{citation
 | title = Album review: Radiohead Reissues – Collectors Editions
 | date = 8 April 2009 | url = http://www.uncut.co.uk/music/radiohead/reviews/13013
 | newspaper = [[Uncut (magazine)|Uncut]]
 | last = Richards
 | first = Sam
 | archive-url = https://web.archive.org/web/20101206061947/http://www.uncut.co.uk/music/radiohead/reviews/13013
 | archive-date = 6 December 2010 | access-date = 29 August 2011 | url-status = live
 | ref = none
 }}</ref> and musicians in a variety of genres have praised it.<ref group="nb">Musicians who have praised the album include [[R.E.M.]] frontman [[Michael Stipe]], former [[The Smiths|Smiths]] guitarist [[Johnny Marr]], DJ Shadow, [[Guns N' Roses]] guitarist [[Slash (musician)|Slash]], [[Manic Street Preachers]] member [[Nicky Wire]], [[The Divine Comedy (band)|The Divine Comedy]] frontman [[Neil Hannon]], [[Mo' Wax]] label owner [[James Lavelle]], [[Sonic Youth]] and [[Gastr del Sol]] member and experimental musician [[Jim O'Rourke (musician)|Jim O'Rourke]], former [[Depeche Mode]] member [[Alan Wilder]] and contemporary composer [[Esa-Pekka Salonen]]. See:
* {{citation
 | first = Chad
 | last = Bidwell
 | title = Jim O'Rourke
 | date = 25 February 1999
| url = http://ink19.com/1999/02/magazine/interviews/jim-orourke-2
 | website = Ink 19
 | access-date = 11 May 2017
| archive-url = https://web.archive.org/web/20170331030644/http://ink19.com/1999/02/magazine/interviews/jim-orourke-2
 | archive-date = 31 March 2017
| url-status = live
 | ref = none
 }}
* {{citation
 | first = David
 | last = Cavanagh
 | author-link = David Cavanagh
 | title = Communication Breakdown
 | date = February 2007
 | magazine = [[Uncut (magazine)|Uncut]]
 | ref = none }}
* {{citation
 | title = 09: Radiohead: ''OK Computer''
 | last = Smith
 | first = RJ
 | magazine = [[Spin (magazine)|Spin]]
 | date = September 1999
 | ref = none }}
* {{citation
 | title = The maestro rocks
 | date = 28 January 2003 | url = https://www.latimes.com/archives/la-xpm-2003-jan-28-et-timberg28-story.html
 | newspaper = [[Los Angeles Times]]
 | last = Timberg
 | first = Scott
 | access-date = 5 August 2011 | archive-url = https://www.webcitation.org/60jEeH0tI?url=http://articles.latimes.com/2003/jan/28/entertainment/et-timberg28
 | archive-date = 6 August 2011 | url-status = live
 | ref = none
 }}
* {{citation
 | title = Alan Wilder of Recoil & Depeche Mode's 13 Favourite LPs – Page 8
 | date = 9 May 2011 | url = http://thequietus.com/articles/06219-alan-wilder-depeche-mode-favourite-records?page=8
 | magazine = [[The Quietus]]
 | last = Turner
 | first = Luke
 | access-date = 6 September 2011 | archive-url = https://www.webcitation.org/61VQGlUlk
 | archive-date = 6 September 2011 | url-status = live
 | ref = none
 }}</ref> [[Bloc Party]]<ref>{{citation
 | title = Introducing Bloc Party
 | date = 4 December 2003
| url = http://drownedinsound.com/in_depth/8568-introducing-bloc-party
 | newspaper = [[Drowned in Sound]]
 | last = Nunn
 | first = Adie
 | access-date = 29 July 2011
| archive-url = https://web.archive.org/web/20110806055102/http://drownedinsound.com/in_depth/8568-introducing-bloc-party
 | archive-date = 6 August 2011
| url-status = live
 }}</ref> and [[TV on the Radio]]<ref>{{citation
 | title = TV on the Radio: Coming in Loud and Clear
 | date = 13 April 2007 | url = https://www.washingtonpost.com/wp-dyn/content/article/2007/04/12/AR2007041200693.html
 | newspaper = [[The Washington Post]]
 | last = Harrington
 | first = Richard
 | archive-url = https://web.archive.org/web/20121102102404/http://www.washingtonpost.com/wp-dyn/content/article/2007/04/12/AR2007041200693.html
 | archive-date = 2 November 2012
| url-status = live
}}</ref> listened to or were influenced by ''OK Computer''; TV on the Radio's debut album was titled ''[[OK Calculator]]'' as a lighthearted tribute.<ref>{{citation
 | title = Tough Questions for TVOTR's Tunde Adebimpe
 | date = 11 April 2011 | url = http://www.spin.com/articles/tough-questions-tvotrs-tunde-adebimpe/
 | magazine = [[Spin (magazine)|Spin]]
 | last = Sellers
 | first = John
 | archive-url = https://web.archive.org/web/20111209174537/http://www.spin.com/articles/tough-questions-tvotrs-tunde-adebimpe
 | archive-date = 9 December 2011
| url-status = live
}}</ref> Radiohead described the pervasiveness of bands that "sound like us" as one reason to break with the style of ''OK Computer'' for their next album, ''[[Kid A]]''.<ref>{{citation
 | first = Peter
 | last = Murphy
 | title = How I learned to stop worrying and loathe the bomb
 | date = 11 October 2001 | magazine = [[Hot Press (magazine)|Hot Press]]
 | url = http://www.hotpress.com/archive/1607168.html
 | archive-url = https://web.archive.org/web/20110525145608/http://www.hotpress.com/archive/1607168.html
 | archive-date = 25 May 2011
| url-status = live
}}</ref>

Although ''OK Computer''{{'}}s influence on rock is widely acknowledged, several critics believe that its experimental inclination was not authentically embraced on a wide scale. Footman said the "Radiohead Lite" bands that followed were "missing [''OK Computer''{{'s}}] sonic inventiveness, not to mention the lyrical substance".{{sfn|Footman|2007|p=219}} [[David Cavanagh]] said that most of ''OK Computer''{{'}}s purported mainstream influence more likely stemmed from the ballads on ''The Bends''. According to Cavanagh, "The populist albums of the post-''OK Computer'' era—the [[The Verve|Verve]]'s ''[[Urban Hymns]]'', Travis's ''[[Good Feeling (Travis album)|Good Feeling]]'', [[Stereophonics]]' ''[[Word Gets Around]]'', [[Robbie Williams]]' ''[[Life thru a Lens]]''—effectively closed the door that ''OK Computer''{{'}}s boffin-esque inventiveness had opened."<ref name="CAVANAGH"/> [[John Harris (critic)|John Harris]] believed that ''OK Computer'' was one of the "fleeting signs that British rock music might [have been] returning to its inventive traditions" in the wake of Britpop's demise.{{sfn|Harris|2004|p=369}} While Harris concludes that British rock ultimately developed an "altogether more conservative tendency", he said that with ''OK Computer'' and their subsequent material, Radiohead provided a "clarion call" to fill the void left by Britpop.{{sfn|Harris|2004|p=369}} The ''Pitchfork'' journalist Marc Hogan argued that ''OK Computer'' marked an "ending point" for the rock-oriented [[album era]], as its mainstream and critical success remained unmatched by any rock album since.<ref name="Hogan">{{cite magazine|last=Hogan|first=Marc|author-link=Marc Hogan|url=https://pitchfork.com/features/ok-computer-at-20/10038-exit-music-how-radioheads-ok-computer-destroyed-the-art-pop-album-in-order-to-save-it/|title=Exit Music: How Radiohead's OK Computer Destroyed the Art-Pop Album in Order to Save It|magazine=[[Pitchfork (website)|Pitchfork]]|access-date=11 March 2010|date=20 March 2017}}</ref>

''OK Computer'' triggered a minor revival of progressive rock and ambitious concept albums, with a new wave of prog-influenced bands crediting ''OK Computer'' for enabling their scene to thrive. [[Brandon Curtis]] of [[Secret Machines]] said, "Songs like 'Paranoid Android' made it OK to write music differently, to be more experimental&nbsp;... ''OK Computer'' was important because it reintroduced unconventional writing and song structures."<ref name="progeny">
{{citation
 | first = Matt
 | last = Allen
 | title = Prog's progeny
 | date = 14 June 2007 | url = https://www.theguardian.com/music/2006/aug/11/popandrock
 | newspaper = [[The Guardian]]
 | archive-url = https://web.archive.org/web/20100404071217/http://www.guardian.co.uk/music/2006/aug/11/popandrock
 | archive-date = 4 April 2010
| url-status = live
}}</ref> [[Steven Wilson]] of [[Porcupine Tree]] said, "I don't think ambition is a dirty word any more. Radiohead were the Trojan Horse in that respect. Here's a band that came from the indie rock tradition that snuck in under the radar when the journalists weren't looking and started making these absurdly ambitious and pretentious—and all the better for it—records."<ref>{{cite news|url=http://news.bbc.co.uk/1/hi/entertainment/8266922.stm|title=It's back&nbsp;... Prog rock assaults album charts|work=BBC News|first=Tim|last=Masters|date=23 September 2009|access-date=8 March 2012|archive-url=https://web.archive.org/web/20170805093418/http://news.bbc.co.uk/1/hi/entertainment/8266922.stm|archive-date=5 August 2017|url-status=live}}</ref> In 2005, ''[[Q (magazine)|Q]]'' named ''OK Computer'' the tenth-best progressive rock album,<ref name="belfasttelegraph">{{cite news|url=http://www.belfasttelegraph.co.uk/entertainment/music/news/az-of-progressive-rock-28548926.html|title=A-Z of progressive rock|work=[[Belfast Telegraph]]|first=Jonathan|last=Brown|date=27 July 2010|access-date=5 November 2016|archive-url=https://web.archive.org/web/20161105160805/http://www.belfasttelegraph.co.uk/entertainment/music/news/az-of-progressive-rock-28548926.html|archive-date=5 November 2016|url-status=live}}</ref> and in 2014 it was voted the 87th-greatest by readers of ''[[Prog (magazine)|Prog]].''<ref>{{cite web | url= https://www.loudersound.com/features/the-100-greatest-prog-albums-of-all-time-100-81 | title= The 100 Greatest Prog Albums Of All Time | work=Louder | author1=Hannah May Kilroy | author2=Jerry Ewing | date=6 August 2014 | access-date=11 March 2024}}</ref>

In 2006, the American reggae band the [[Easy Star All-Stars]] released ''[[Radiodread]]'', a reggae interpretation of ''OK Computer''.<ref>{{Cite web |last=Tangari |first=Joe |title=Easy Star All-Stars: Radiodread |url=https://pitchfork.com/reviews/albums/9417-radiodread/ |access-date=30 May 2024 |website=[[Pitchfork (website)|Pitchfork]] |language=en-US}}</ref> In 2007, the music blog ''[[Stereogum]]'' released ''OKX: A Tribute to OK Computer'', with covers by artists including [[Vampire Weekend]].<ref>{{Cite web |last=Lapatine |first=Scott |date=12 March 2015 |title=Stereogum Presents... OKX: A Tribute To OK Computer |url=https://www.stereogum.com/1787251/stereogum-presents-okx-a-tribute-to-ok-computer/columns/theme-week/radiohead-week/ |access-date=30 May 2024 |website=[[Stereogum]] |language=en}}</ref>