Perhaps the most distinguishing feature of Pablo Honey is how undistinguished it sounds — as if the band was simply trying to make songs rather than a major statement.
The song would be their free pass to the MTV age and beyond, and also their cross to bear. In the early Nineties, fellow Thames Valley alt rockers Chapterhouse passed Radiohead a bootleg tape of prank phone calls that had been making the rounds in the New York comedy underground.
But the notion of phoning up people cold is so Nineties. Please come to Florida. The comedy duo would release it themselves the following year as the opening track on their platinum album, The Jerky Boys 2. Named for the day they gathered to rehearse each week, the nascent group weathered a lengthy hiatus while they attended university to reconvene in So we rerecorded it in a day and a half.
The five-song cassette was sold at an Oxford record shop called Manic Hedgehog, from which the demo took its unofficial name. They also came about spontaneously. When the band ran through the song at Chipping Norton Recording Studios, not far from their native Oxford, they had no idea the tape was rolling — and Jonny Greenwood was just messing around.
Louis Post-Dispatch in And it made the song. The positive effect was immediately apparent, and the band ended the take by bursting into applause. That performance would ultimately form the basis of the final track, including the Noise. Come on, you can do better than that.
Anybody can play guitar, but writing songs is a far harder challenge. The album was later described by guitarist Ed O'Brien as "a collection of our greatest hits as an unsigned band",  with smooth sonic textures, anthemic vocals, and walls of guitar noise. However, "Prove Yourself", which had led off Drill , reappears in a different recording, as do "You" and "Thinking About You" in reworked versions.
The album title comes from a prank call skit by the Jerky Boys , in which the caller poses as the victim's mother and says: "Pablo, honey? Please come to Florida.
In the heavy alternative musical climate of , Pablo Honey did not receive particular attention. However, several publications were enthusiastic about the band's forthcoming debut release, with NME referring to Radiohead as "one of rock's brightest hopes. Remarking that "British teenagerhood has never been grumpier," Q felt that it was a "good" album whose "best bits rival Nirvana , Dinosaur Jr.
In the United States, the band's debut single, " Creep ", prompted industry observers and fans to draw parallels between Radiohead and Nirvana, with some even touting Radiohead as the "British Nirvana".
Billboard said of the album: "Certain tracks here may remind listeners of U2 thanks largely to Thom E. Yorke's vocal mannerisms and overall guitar texturing , but lyrics have enough bite to make it on their own. Occasionally, though, it does offer clever lyrics and good hooks. Although Pablo Honey was not met with the critical fervour that Radiohead's later albums were, it has received praise in retrospective coverage. In , a Virgin poll saw Pablo Honey voted th in the all-time top albums,  while Q readers voted it the 61st greatest album of all time.
Retrospectively, Stephen Thomas Erlewine of AllMusic called Pablo Honey "a promising collection that blends U2 's anthemic rock with long, atmospheric instrumental passages and an enthralling triple-guitar attack that is alternately gentle and bracingly noisy.
The group has difficulty writing a set of songs that are as compelling as their sound, but when they do hit the mark Though later albums were better received, this remains one of rock's most impressive debuts.
In , Colin Greenwood said: "I'd give it a seven out of 10 — not bad for an album recorded in just two and a half weeks. We were in hock to Dinosaur Jr. Radiohead had no input into the reissue and the music was not remastered.
The "Collector's Editions" of Radiohead albums, issued without Radiohead's approval, were removed from streaming services. From Wikipedia, the free encyclopedia. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Retrieved 12 January The Sydney Morning Herald. Archived from the original on 12 June Retrieved 25 December Guitar World. Archived from the original on 3 September Retrieved 17 October The New Yorker.
Archived from the original on 14 February Retrieved 16 March ISBN Rolling Stone. Archived from the original on 11 August Retrieved 9 September Entertainment Weekly. New York. Archived from the original on 17 October Retrieved 22 May Los Angeles Times. Archived from the original on 26 December Retrieved 6 July April Archived from the original on 23 October Retrieved 5 July In the heavy alternative musical climate of , Pablo Honey did not receive particular attention.
However, several critics were enthusiastic about the band's forthcoming debut release. NME referred to the band as "one of rock's brightest hopes. Pablo Honey would not garner the widespread acclaim of Radiohead's subsequent releases, but received a generally favourable critical reaction. Q magazine, who also drew comparisons with Nirvana, awarded the album 3 out of 5 stars, equating to a "good" album, and wrote: "British teenagerhood has never been grumpier Stateside, several music publications gave the album positive reviews.
Rolling Stone wrote in its year-end review that "What elevates them to fab charm is not only the feedback and strumming fury of their guitarwork and the dynamism of their whisper-to-a-scream song structures, which recall the Who by way of the early Jam, but the way their solid melodies and sing-along choruses resonate pop appeal.
Certain tracks here may remind listeners of U2 thanks largely to Thom E. Yorke's vocal mannerisms and overall guitar texturing , but lyrics have enough bite to make it on their own. Entertainment Weekly gave the album a "B" rating, opining that it "mates Smiths-type self-consciousness with dramatic U2-like vocals and guitar, with Cure-style heavy but crunchy pop. The group has difficulty writing a set of songs that are as compelling as their sound, but when they do hit the mark — such as on 'Anyone Can Play Guitar,' 'Blow Out,' and the self-loathing breakthrough single 'Creep' — the band achieves a rare power that is both visceral and intelligent.
Mario Mundoz of the Los Angeles Times wrote: "This English quintet's debut doesn't really deliver anything you haven't heard before, steering too close to Smiths-like melodies and trying ever so hard to be depressed in the way the Cure popularized. Occasionally, though, it does offer clever lyrics and good hooks.