In Rainbows is the seventh studio album by English rock band Radiohead. It was self-released on 10 October 2007 as a pay-what-you-wantdownload, followed by a physical release internationally by XL Recordings in December 2007 and in the United States on 1 January 2008 by TBD Records. It was Radiohead's first release after their recording contract with EMI ended with their previous album Hail to the Thief (2003).

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Radiohead worked on In Rainbows for more than two years, beginning in early 2005. In 2006, after their initial recording sessions with new producer Spike Stent proved fruitless, the band toured Europe and North America performing In Rainbows material before re-enlisting longtime producer Nigel Godrich. The album is more personal than previous Radiohead albums, with singer Thom Yorke describing most of the songs as his versions of 'seduction songs'.^[1] Radiohead incorporated a variety of musical styles and instruments, using electronic instruments, string arrangements, piano, and the ondes Martenot.

The album's pay-what-you-want release, the first for a major act, made headlines around the world and sparked debate about implications for the music industry. The physical release debuted at number 1 on the UK Albums Chart and the US Billboard 200, and had sold over three million copies worldwide by October 2008. The album received critical acclaim and was ranked one of the best albums of 2007 and of the decade by various publications. It won two Grammy Awards for Best Alternative Music Album and Best Boxed or Special Limited Edition Package. In 2012, Rolling Stone placed In Rainbows at number 336 on their updated list of the 500 Greatest Albums of All Time.

• 6Release
• 8Critical reception
• 11In Rainbows Disk 2

Background[edit]

In 2004, after finishing the world tour in support of their sixth studio album Hail to the Thief (2003), Radiohead went on hiatus. As Hail to the Thief was the last album released on Radiohead's six-album contract with EMI, the band had no contractual obligation to release new material. According to the New York Times, in 2006, Radiohead was 'by far the world's most popular unsigned band'.^[2] Drummer Philip Selway said: 'It was definitely time to take a break. There was still a desire amongst us to make music, but also a realisation that other aspects of our lives were being neglected. And we'd come to the end of our contract, which gives you a natural point to look back over at what you've achieved as a band.'^[3] Singer and songwriter Thom Yorke worked on his first solo album, The Eraser (2006), and multi-instrumentalist Jonny Greenwood composed his first solo works, the soundtracks Bodysong (2004) and There Will Be Blood (2007).^[3]

Recording[edit]

In March 2005, Radiohead began writing and recording new music in their Oxfordshire studio without their longtime producer Nigel Godrich. Guitarist Ed O'Brien said they chose to work without Godrich to 'get out of the comfort zone ... we've been working together for 10 years, and we all love one another too much'.^[4] Bassist Colin Greenwood later denied this, saying Godrich had been busy working with Charlotte Gainsbourg and Beck.^[5]

At the Ether Festival in July 2005, Greenwood and Yorke performed a version of the future In Rainbows track 'Weird Fishes/Arpeggi' with the London Sinfonietta orchestra and the Arab Orchestra of Nazareth.^[6][7] Regular recording sessions began in August 2005, with Radiohead updating fans on their progress intermittently on their new blog, Dead Air Space. The sessions were slow, and the band struggled to regain confidence; according to Yorke, 'we spent a long time in the studio just not going anywhere, wasting our time, and that was really, really frustrating.'^[8] O'Brien said the band considered splitting up, but kept working 'because when you got beyond all the shit and the bollocks, the core of these songs were really good'.^[3] They attributed their slow progress to a lack of momentum after their break^[8] and the lack of deadline and producer.^[3]

In December 2005, Radiohead asked producer Spike Stent, who had worked with artists including U2 and Björk, to help them work through their material. O'Brien told Mojo: 'Spike listened to the stuff we'd been self-producing. These weren't demos, they’d been recorded in proper studios, and he said, 'The sounds aren't good enough.'^[3] The collaboration with Stent was unsuccessful and ended in April 2006.^[9]

In an effort to break the deadlock, Radiohead decided to tour for the first time since 2004. They performed in Europe and North America in May and June 2006, and returned to Europe for several festivals in August, performing many new songs.^[8] According to Yorke, 'We basically had all these half-formed songs, and we just had to get it together. And rather than it being a nightmare, it was really, really good fun, because suddenly everyone is being spontaneous and no one's self-conscious because you're not in the studio ... It felt like being 16 again.'^[8]

After the tour, Radiohead re-enlisted Godrich, who, according to Yorke, 'gave us a walloping kick up the arse'.^[10] In October 2006, recording started at Tottenham House in Marlborough, Wiltshire, a country house scouted by Godrich where Radiohead worked for three weeks. The band members lived in caravans, as the building was in a state of disrepair;^[3] Yorke described it as 'derelict in the stricter sense of the word, where there's holes in the floor, rain coming through the ceilings, half the window panes missing ... There were places you just basically didn't go. It definitely had an effect. It had some pretty strange vibes.'^[10] The sessions were productive, and the band recorded 'Jigsaw Falling into Place' and 'Bodysnatchers'.^[11] In October, Yorke wrote on Dead Air Space that Radiohead had 'started the record properly now ... starting to get somewhere I think. Finally.'^[12]

In December 2006, sessions took place at Halswell House, Taunton and Godrich's Hospital Studios in Covent Garden, where the band recorded 'Videotape' and 'Nude'.^[3] In January 2007, Radiohead resumed recording in their Oxfordshire studio and started to post photos, lyrics, videos and samples of new songs on Dead Air Space.^[13] In June, having wrapped up recording, Godrich posted clips of songs on Dead Air Space.^[14][15]

Excluding 'Last Flowers', which Yorke recorded in the Eraser sessions,^[16] the In Rainbows sessions produced 16 songs.^[17] After the 56-minute, 14-track Hail to the Thief, Radiohead wanted their seventh album to be concise.^[17] They settled on ten songs, saving the rest for the limited edition. The album was mastered by Bob Ludwig in July 2007 at Gateway Mastering, New York City.^[18]

Music[edit]

In Rainbows incorporates elements of alternative rock,^[19]art rock,^[19]experimental rock,^[20] and art pop.^[21] The opening track, '15 Step', features a handclap rhythm inspired by 'Fuck the Pain Away' by Peaches.^[22] Radiohead planned to record handclaps by a group of children from the Matrix Music School & Arts Centre in Oxford;^[23] when the clapping proved 'not quite good enough', they decided to record the children cheering instead.^[1]

Radiohead recorded a version of 'Nude' during the OK Computer sessions, but discarded it. The OK Computer version was inspired by Al Green, and featured a Hammond organ, a 'straighter' feel, and different lyrics.^[24] During the early sessions for In Rainbows, Colin Greenwood wrote a new bassline for the song, which, according to Godrich, 'transformed it from something very straight into something that had much more of a rhythmic flow'.^[24]

Radiohead performed a song with the working title 'Reckoner' in 2001. During the In Rainbows sessions, they abandoned the original 'Reckoner' and created a new song with the same name.^[25] Yorke released the original song as a solo single, 'Feeling Pulled Apart by Horses', in 2009.^[26]

'Bodysnatchers', a song Yorke described as sounding like Wolfmother and 'Neu! meets dodgy hippy rock',^[3] was recorded when he was in a period of 'hyperactivemania'.^[1] On 'All I Need', Jonny Greenwood wanted to capture the white noise generated by a band playing loudly in a room, a sound which never occurs in the studio. His solution was to have a string section play every note of the scale, blanketing the frequencies.^[27]

Yorke described the process of composing 'Videotape' as 'absolute agony', stating that the song 'went through every possible parameter'. One day, Yorke left the studio, returning to find that Godrich and Jonny Greenwood had stripped the song down to the version found on the album, a minimal piano ballad.^[28]

Lyrics[edit]

Yorke said that the In Rainbows lyrics are based on 'that anonymous fear thing, sitting in traffic, thinking, 'I'm sure I'm supposed to be doing something else' ... it's similar to OK Computer in a way. It's much more terrifying.'^[29] At the same time, Yorke felt 'there's very little anger in In Rainbows. It's in no way political, or, at least, doesn't feel that way to me. It very much explores the ideas of transience. It starts in one place and ends somewhere completely different.'^[30] In another interview, Yorke said the album was 'about the fucking panic of realising you're going to die! And that any time soon [I could] possibly [have] a heart attack when I next go for a run.'^[31]

Ed O'Brien described the lyrics as 'universal. There wasn't a political agenda. It's being human.'^[32] The song 'Bodysnatchers' is inspired by Victorianghost stories, the 1972 novel The Stepford Wives and Yorke's feeling of 'your physical consciousness trapped without being able to connect fully with anything else.'^[27] 'Jigsaw Falling into Place' is about a set of observations and different experiences, partly of the chaos witnessed by Yorke when he used to go out on the weekend in Oxford. Yorke said 'The lyrics are quite caustic—the idea of 'before you're comatose' or whatever, drinking yourself into oblivion and getting fucked-up to forget ... [there] is partly this elation. But there's a much darker side.'^[1]

Artwork[edit]

The In Rainbows artwork was designed by longtime Radiohead collaborator Stanley Donwood.^[33] Donwood worked in the studio while Radiohead worked on the album, which allowed the mood of the music to be conveyed in his artwork.^[30] He displayed images in the studio and on the studio computer for the band to interact with and comment on. He also posted images daily on the Radiohead website, though none were used in the final artwork.^[34]

Donwood experimented with photographic etching, putting prints into acid baths^[35] and throwing wax at paper, creating images influenced by NASA space photography.^[30] He originally planned to explore suburban life, but realised it did not fit the album, saying 'it's a sensual record and I wanted to do something more organic'. Describing the album cover, Donwood said: 'It's very colourful ... It's a rainbow but it is very toxic, it's more like the sort of one you'd see in a puddle.'^[36] The band decided not to release the cover for the digital release, preferring to hold it back for the physical release.^[36] The limited edition includes a booklet containing additional artwork by Donwood.^[35]

Release[edit]

On 1 October 2007, Jonny Greenwood announced Radiohead's seventh album on Radiohead's blog, writing: 'Well, the new album is finished, and it's coming out in 10 days; we've called it In Rainbows.'^[37] The post contained a link to inrainbows.com, where users could pre-order an MP3 version of the album for any amount they wanted, including £0—a landmark use of the pay-what-you-want model for music sales.^[37] Colin Greenwood explained the internet release as a way of avoiding the 'regulated playlists' and 'straitened formats' of radio and TV, ensuring listeners around the world would experience the music at the same time, and preventing leaks in advance of a physical release.^[38]

Formats and distribution[edit]

For the In Rainbows download, Radiohead employed the network provider PacketExchange to bypass public internet servers, using a less-trafficked private network.^[39] The download was packaged as a ZIP file containing the album's ten tracks encoded in a 160 kbit/sDRM-freeMP3 format.^[40] The staggered online release began at about 5:30am GMT on 10 October 2007. On 10 December, the download was removed.^[41]

Fans could also order a limited 'discbox' edition from inrainbows.com, containing the album on CD and two 12' heavyweight 45 rpm vinyl records with artwork and lyric booklets, plus an enhanced CD with eight additional tracks, digital photos and artwork, packaged in a hardcover book and slipcase. The limited edition was shipped from December 2007.^[42] In June 2009, Radiohead made the second In Rainbows disc available for download on their website for £6.^[43]

Radiohead ruled out an internet-only distribution for fear that some fans would not have internet access.^[8]In Rainbows was released on CD and vinyl in Japan by BMG on 26 December 2007,^[44] in Australia on 29 December 2007 by Remote Control Records,^[45] and in the United States and Canada on 1 January 2008 by ATO imprint TBD Records and MapleMusic/Fontana respectively.^[46][47]

Elsewhere, the album was released on 31 December 2007 by independent record label XL Recordings,^[48] which had released Yorke's solo album The Eraser.^[49] The CD release came in a cardboard package containing the CD, lyric booklet, and several stickers that could be placed on the blank jewel case to create cover art.^[50]In Rainbows was the first Radiohead album available for download in several digital music stores, such as the iTunes Store and Amazon MP3.^[51] On 10 June 2016, it was added to the free streaming service Spotify.^[52]

Radiohead retained ownership of the recordings and compositions for In Rainbows. The download and limited editions of the album were self-released; for the physical release, Radiohead licensed the music to record labels.^[53] Licensing agreements for all releases were managed by the band's publisher, Warner Chappell Music Publishing.^[53]

Reaction[edit]

The pay-what-you-want release, the first for a major act, made headlines worldwide and sparked debate about the implications for the music industry.^[27] According to Mojo, the release was 'hailed as a revolution in the way major bands sell their music', and the media's reaction was 'almost overwhelmingly positive'.^[11]Time called it 'easily the most important release in the recent history of the music business'^[54] and Jon Pareles of The New York Times wrote that 'for the beleaguered recording business Radiohead has put in motion the most audacious experiment in years'.^[27] The NME wrote that 'the music world seemed to judder several rimes off its axis', and praised the fact that everyone, from fans to critics, had access to the album at the same time on release day: 'the kind of moment of togetherness you don’t get very often.'^[55] Singer Bono of U2 praised Radiohead as 'courageous and imaginative in trying to figure out some new relationship with their audience'.^[56]

The release also drew criticism. Trent Reznor of Nine Inch Nails thought it did not go far enough, calling it 'very much a bait and switch, to get you to pay for a Myspace-quality stream as a way to promote a very traditional record sale'. Reznor independently released his sixth album Ghosts I-IV under a Creative Commons licence the following year.^[57] Singer Lily Allen called the release 'arrogant', saying: '[Radiohead have] millions of pounds. It sends a weird message to younger bands who haven't done as well. You don't choose how to pay for eggs. Why should it be different for music?'^[58] In the Guardian, journalist Will Hodgkinson wrote that Radiohead had made it impossible for less successful musicians to compete and make a living from their music.^[59]Kim Gordon of Sonic Youth told the Guardian the release 'seemed really community-oriented, but it wasn't catered towards their musician brothers and sisters, who don’t sell as many records as them. It makes everyone else look bad for not offering their music for whatever.'^[60]

Radiohead's managers defended the release as 'a solution for Radiohead, not the industry', and doubted 'it would work the same way [for Radiohead] ever again'.^[61] Radiohead have not used the pay-what-you-want system for subsequent releases.^[62] In February 2013, Yorke told the Guardian that though Radiohead had hoped to subvert the corporate music industry with In Rainbows, he feared they had instead played into the hands of content providers such as Apple and Google: 'They have to keep commodifying things to keep the share price up, but in doing so they have made all content, including music and newspapers, worthless, in order to make their billions. And this is what we want?'^[63]

Dispute with EMI[edit]

As Radiohead's recording contract with EMI ended after the 2003 release of Hail to the Thief, Radiohead recorded In Rainbows without a record label. In 2005, Yorke told Time: 'I like the people at our record company, but the time is at hand when you have to ask why anyone needs one. And, yes, it probably would give us some perverse pleasure to say 'Fuck you' to this decaying business model.'^[54] In August 2007, as Radiohead were finishing In Rainbows, EMI was acquired by the private equity firm Terra Firma for US$6.4 billion (£4.7 billion).^[64][65]

EMI executives including Keith Wozencroft, who had signed Radiohead to EMI, travelled regularly to Radiohead's Oxfordshire studio in hopes of negotiating a new contract.^[49] Even in the days leading to the album announcement, the executives believed a deal could be made, and were 'devastated' when Radiohead's team informed them of the pay-what-you-want plan a day in advance.^[49] Radiohead wanted the rights to their back catalog, which new EMI owner Guy Hands refused.^[49] He believed that Radiohead had already decided on their plan and would only have canceled it with a 'really big' offer.^[49]

After an EMI spokesman stated that Radiohead had demanded 'an extraordinary amount of money',^[66] Radiohead's management and Yorke released statements denying that they had asked for a large advance, but instead wanted control over their back catalogue.^[66][67] According to Hands: 'They wanted a lot of money ... And they wanted their masters back, which we valued even more. At our valuation, it was millions and millions that they wanted.'^[49]

According to Eamonn Forde, author of The Final Days of EMI, Radiohead had lost faith in EMI and thought the new ownership would be a 'bloodbath'.^[49] O'Brien said: 'It was really sad to leave all the people [we'd worked with] ... But Terra Firma don't understand the music industry.'^[31] Days after Radiohead signed to XL, EMI announced a box set of Radiohead material recorded before In Rainbows, released in the same week as the In Rainbows special edition. Commentators including the Guardian saw the move as retaliation for the band choosing not to re-sign with EMI.^[68]

Promotion[edit]

On New Year's Eve 2007, Current TV streamed a webcast performance filmed at Radiohead's Oxford studios featuring In Rainbows songs, poetry and additional footage.^[69] In March 2008, Radiohead partnered with animation site Aniboom to create a contest whereby entrants submitted storyboards for an animated music video for an In Rainbows song. The winner, who would receive $10,000 to create a full-length music video, was chosen by AniBOOM, Radiohead, TBD Records, and Adult Swim; Adult Swim aired the winning video.^[70] The band awarded $10,000 each to four different winners, plus $1,000 to each of ten semifinalists to create a one-minute clip.^[71] Radiohead toured North America, Europe, South America and Japan in support of In Rainbows from May 2008 until March 2009.^[72][73]

Critical reception[edit]

In Rainbows received widespread critical acclaim, earning a rating of 88 out of 100 on review aggregate site Metacritic, which indicates 'universal acclaim'.^[74] Various reviewers, such as The Guardian's Alexis Petridis, attributed the album's quality to Radiohead's performance in the studio and that the band sounded like they were enjoying themselves.^[78] Others, such as Billboard's Jonathan Cohen, commended the album for not being overshadowed by its marketing hype.^[85] Andy Kellman of AllMusic wrote that In Rainbows 'will hopefully be remembered as Radiohead's most stimulating synthesis of accessible songs and abstract sounds, rather than their first pick-your-price download.'^[75]

The NME described the album as 'Radiohead reconnecting with their human sides, realising you [can] embrace pop melodies and proper instruments while still sounding like paranoid androids ... this [is] otherworldly music, alright.'^[80]Will Hermes, writing in Entertainment Weekly, called In Rainbows 'the gentlest, prettiest Radiohead set yet' and stated that it 'uses the full musical and emotional spectra to conjure breathtaking beauty'.^[77]Rob Sheffield of Rolling Stone praised its 'vividly collaborative sonic touches' and concluded: 'No wasted moments, no weak tracks: just primo Radiohead.'^[83] In 2011, The Rolling Stone Album Guide described it as Radiohead's 'most expansive and seductive album, possibly their all-time high.'^[86]

Jon Dolan of Blender called In Rainbows a 'far more pensive and reflective' album than Hail to the Thief, writing that it 'formulates a lush, sensualized ideal out of vague, layered discomfort.'^[87]Spin's Mikael Wood felt that the album 'succeeds because all of that cold, clinical lab work hasn't eliminated the warmth from their music',^[84] while Pitchfork's Mark Pytlik dubbed it a more 'human' album that 'represents the sound of Radiohead coming back to earth.'^[81]Robert Christgau, writing for MSN Music, gave In Rainbows a two-star honourable mention and noted that the album, having been developed in concert, was 'more jammy, less songy and less Yorkey, which is good.'^[88]The Wire was more critical, finding 'a sense here of a group magisterially marking time, shying away... from any grand, rhetorical, countercultural purpose.'^[89]

Accolades[edit]

In Rainbows was ranked among the best albums of 2007 by many music publications.^[90] It was ranked number one by Billboard, Mojo and PopMatters; third by NME and The A.V. Club; fourth by Pitchfork and Q; and sixth by Rolling Stone and Spin.^[90] It was also ranked one of the best albums of the decade by several publications: the NME ranked it 10th,^[91]Paste ranked it 45th,^[92]Rolling Stone ranked it 30th,^[93] and the Guardian ranked it 22nd,^[94] while Newsweek ranked the album fifth on its list of the 10 best albums of the decade.^[95]

Rolling Stone ranked the album number 336 on their updated 2012 version of The 500 Greatest Albums of All Time.^[96] It was included in the book 1001 Albums You Must Hear Before You Die.^[97]

In Rainbows was nominated for the short list of the 2008 Mercury Prize^[98] and was nominated for several awards at the 51st Annual Grammy Awards: Album of the Year, Best Alternative Music Album, Best Boxed or Special Limited Edition Package and Producer of the Year, Non-Classical (for Nigel Godrich), with three Grammy nominations also for 'House of Cards' for Best Rock Performance by a Duo or Group with Vocal, Best Rock Song and Best Music Video.^[99]In Rainbows won awards for Best Alternative Music Album and Best Boxed or Special Limited Edition Package.^[100]

Sales[edit]

In early October 2007, a Radiohead spokesperson reported that most downloaders paid 'a normal retail price' for the download version, and that most fans had pre-ordered the limited edition.^[101] Citing a source close to the band, Gigwise.com reported that the album had sold 1.2 million digital copies before its retail release;^[102] however, this was dismissed by Radiohead manager Bryce Edge as 'exaggerated'.^[103] In December 2007, Yorke stated that Radiohead had made more money from digital sales of In Rainbows than the digital sales of all previous Radiohead albums combined.^[28]

In October 2008, one year after the album's release, Warner Chappell reported that although most people paid nothing for the download, pre-release sales for In Rainbows were more profitable than the total sales of Hail to the Thief, and that the limited edition had sold 100,000 copies.^[104] In 2009, Wired reported that Radiohead had made an 'instantaneous' £3 million from the album.^[105]Pitchfork saw this at proof that 'Radiohead could release a record on the most secretive terms, basically for free, and still be wildly successful, even as industry profits continued to plummet,' thanks to the support of their fan community.^[106]

Because inrainbows.com is not a chart-registered retailer, In Rainbows download and limited edition sales were not eligible for inclusion in the UK Albums Chart.^[107] On the week of its retail release, In Rainbows peaked at number one on the UK Album Chart,^[108] with first week sales of 44,602 copies.^[109] After some record stores broke street date agreements, the album entered the Billboard 200 at number 156. However, in the first week of official release, it sold 122,000 copies in the United States,^[110] making it the 10th independently distributed album to reach number one on the Billboard 200.^[111] In October 2008, Warner Chappell Music Publishing reported that In Rainbows had sold three million copies (1.75 million of which were physical format sales^[112]) since its retail release.^[113] The vinyl edition of In Rainbows was the bestselling vinyl album of 2008.^[114][115]

In the US, 'Nude' reached number 37 on the Billboard Hot 100, and was Radiohead's first single to appear on the Billboard Pop 100 chart. 'Bodysnatchers' reached number eight on the US Hot Modern Rock Tracks chart.^[116] 'Jigsaw Falling into Place' peaked at number 69 in airplay on alternative rock-oriented stations.^[117]

Track listing[edit]

All tracks written by Radiohead.

In Rainbows Disk 2[edit]

The special edition of In Rainbows included a second disc, In Rainbows Disk 2, which contains eight additional tracks. In 2009, Radiohead made the tracks available to purchase as downloads on their website.^[121] In October 2016, Disk 2 was made available to stream and purchase on services such as Apple Music, Spotify and iTunes.^[122]

Track listing[edit]

All tracks written by Radiohead.

Personnel[edit]

Charts[edit]

Certifications[edit]

References[edit]

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Rainbow is the third studio album by American singer Kesha. It was released on August 11, 2017 by Kemosabe and RCA Records. Primarily a pop record, Rainbow incorporates elements of pop rock, glam rock, neo soul, and country pop. Its lyrical themes range from letting go of the past, finding forgiveness within oneself for past mistakes, self-worth, and female empowerment.^[3] Kesha assumed an integral role in the album's production and collaborated with several producers, including Ricky Reed, Drew Pearson, Ben Folds, and her mother Pebe Sebert.

Following the release of her second studio album, Warrior (2012), Kesha dealt with several struggles in her personal and professional life, including a stint in a treatment center for an eating disorder and emotional issues, as well as a highly publicized legal battle with her former record producer Dr. Luke, whom she accused of sexual, physical, and emotional abuse. Kesha began writing material for her next album while in rehab in 2014 and as her recording contract at the time obliged her to work with Dr. Luke, she later recorded a series of new songs on her own and gave them to her record label. In 2016, it was confirmed that work had officially commenced on Kesha's third studio album, with Sony Music Entertainment assuring Kesha she would be able to produce a new album without having to work with Dr. Luke, the founder of Kemosabe Records. 'Praying' was released as the lead single from Rainbow in July 2017, going on to be certified platinum in several countries worldwide. 'Learn to Let Go' and 'Woman' were released as the second and third singles from the album thereafter, seeing moderate commercial success worldwide.^[4][5]

Rainbow marks a noticeable departure from the electropop sound of Kesha's first two studio albums. She co-wrote all but two tracks on the album, and said that she wanted her new music to reflect that she is a 'real person having a complete human experience,' stating that there was no balance in her previous work.^[6] Kesha stated that the album was inspired by several of her musical influences, including Iggy Pop, T. Rex, Dolly Parton, The Beatles, The Rolling Stones, The Beach Boys, James Brown, and Sweet. The album also features collaborations and guest appearances by Parton, Eagles of Death Metal, and The Dap-Kings Horns.

Rainbow debuted at number one on the Billboard 200 chart in the United States with 117,000 album-equivalent units and was the subject of universal acclaim from music critics, with several complimenting the feminist angle and uniqueness of the record as well as Kesha's vocal performance and ability to interweave different genres of music on the album. The album has been certified Gold by the Recording Industry Association of America (RIAA) and was nominated for Best Pop Vocal Album at the 60th Annual Grammy Awards, marking Kesha's first Grammy nomination. Kesha promoted the album through television and music festival performances and embarked on both the Rainbow Tour (2017–2019) and The Adventures of Kesha and Macklemore (2018), with American rapper Macklemore.

• 4Critical reception
• 9Charts

Background and recording[edit]

Kesha initially began writing songs for her third studio album while as a patient at Timberline Knolls, an Illinois treatment centre, for an eating disorder in 2014. Eager to write music while in treatment, a friend brought her a toy keyboard, and after some negotiation, the staff let her keep it.^[6] She was not permitted to use any instrument with a power cord, explaining in an interview with Rolling Stone that the staff did not want her to have any objects that could be used for suicide: 'And I was like, 'I respect all of that, but please let me have a keyboard or my brain's going to explode. My head has all these song ideas in it, and I just really need to play an instrument.'^[7] She completed work on several songs while in treatment, and following her release from rehab, she removed the dollar sign from her name, explaining it as a way of taking back her power.^[6] In her August 2014 Teen Vogue cover interview, Kesha revealed she had recorded 14 new songs while in rehab.^[8] Thereafter, Kesha filed an ongoing lawsuit against her former producer, Dr. Luke, accusing him of sexual, physical and emotional abuse. Since her recording contract at the time obliged her to work with the man she accused of abuse, Kesha subsequently became unable to release any new music under her label unless she worked with Dr. Luke, to which she refused.^[9][10] As a result, Kesha recorded 22 new songs on her own during the legal battle and later gave them to her label.^[11][12] After Sony Music Entertainment assured the singer she would be able to produce a new album without Dr. Luke, the founder of her label, work on Kesha's third studio album officially commenced.^[13][14] In the summer of 2016, Kesha embarked on her third world tour, the Kesha and the Creepies: Fuck the World Tour. The tour commenced on July 23, 2016, in Las Vegas and ended on October 29, 2016, in Maine. The tour included various covers of songs and several rock and country reworks of her own hit singles.^[15][16]

In a New York Magazine profile in October 2016, Kesha stated that as much as her first two studio albums Animal (2010) and Warrior (2012) represented who she was, she felt there was 'no balance', saying that she is 'a real person having a complete human experience' and she wanted her future music to represent that: 'To this day, I've never released a single that’s a true ballad, and I feel like those are the songs that balance out the perception of you, because you can be a fun girl. You can go and have a crazy night out, but you also, as a human being, have vulnerable emotions. You have love.'^[6] In an interview with Good Morning America the week of Rainbow's release, Kesha stated that she had written every song on the album and described Rainbow as 'quite literally saving [her] life', and expressed her hope that the album would help people. She also explained the symbolism of the album's title, saying that she thinks 'color symbolizes hope – and the rainbow, it's no coincidence that it's also the symbol for the LGBT community. I've always just found hope in the bright colors, and I wanted to bring that more into my everyday life. Now my house is covered in rainbows, and my life and my body – I have like 10 rainbow tattoos. I go to the tattoo artist and it's like, 'A rainbow something?'^[17]

Composition[edit]

Kesha has said that Rainbow was inspired by her 'true' musical influences: Iggy Pop, T. Rex, Dolly Parton, The Beatles, The Rolling Stones, The Beach Boys, James Brown, and Sweet.^[18] The album contains a combination of both mournful cuts and upbeat dance tracks such as 'Woman' and 'Bastards'. The album opens with the country-infused cut 'Bastards', which, as Katie Baillie of Metro analyzed, is 'about not letting the bullies drag you down.' 'Woman' was inspired by a 'pussy grabbing comment' Donald Trump made, which angered Kesha and made her yell 'I'm a motherfucking woman!' This line is included throughout the song. Kesha wrote the title track on a toy keyboard while in rehab. It opens only with vocals and basic chords played on a piano.^[3] The first line Kesha sings is, 'Got back the stars in my eyes, I see the magic inside of me.' Baillie writes that the track 'builds in both sound an emotion [...] as a full live orchestra kicks in.' Kesha was inspired to write 'Learn to Let Go' by one of her friends who went through 'the worst childhood imaginable.' The track is also based on Kesha's struggles while making Rainbow.^[3]

Promotion[edit]

Kesha performed in Japan at the Summer Sonic Festival on two dates: August 19 in Osaka and August 20, 2017 in Tokyo.^[19] Following this, Kesha staged a solo concert in Nagoya on August 21.^[20] In September, Kesha performed at the KAABOO and iHeartRadio festivals.^[21] Kesha was also a performer at the MTV Europe Music Awards on November 12.^[22] Kesha, alongside many other popular female singers, performed “Praying” at the 60th Annual Grammy Awards in 2018.

Kesha embarked on the Rainbow Tour, which began in Birmingham on September 26, 2017. She will also go on a co-headlining tour with American rapper Macklemore named The Adventures of Kesha and Macklemore (2018). The tour is scheduled to take place in 30 cities in North America during the summer.

Critical reception[edit]

Rainbow received acclaim from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album has an average score of 81 out of 100, which indicates 'universal acclaim' based on 27 reviews.^[24] Katie Baillie of Metro, who reviewed Rainbow a month before its release, called it a 'powerful, emotional and strongly feminist record that is worth the four-year wait.' She wrote that the 'vulnerability of some songs will bring a tear to your eye, while others are so close to Kesha's old sound it'll have dance floors filled everywhere in no time.' She described the album as 'a roller coaster of emotions, making you weep at the sadness of Rainbow and fist-pumping the air with Woman, and it was so worth the wait.'^[3]

Andrew Uterberger of Billboard complimented Kesha's ability to make every song on the album sound different as well as differentiate herself from the electropop sound of her first two albums, stating that 'it all works' and writing: 'Kesha has the swagger for neo-glam, the grit for old-school soul, the pipes for power-balladry – listening to some of the spine-shivering feats she accomplishes on 'Praying,' it's practically unthinkable that she was mostly consigned to sing-speaking her way through the majority of her musical career. And she's not even half done: Before the end of Rainbow, the singer formerly known as K-Money will have sauntered her way through train-chugging, Johnny Cash-via-Kacey Musgraves country ('Hunt You Down'), schlocky frat rock ('Boogie Feet') and quirky singer-songwriter parables ('Godzilla'). And the only arguable stumble in the bunch comes with the stomping 'Boots,' which pairs the taunting wordplay of Kesha 1.0 ('If you can’t handle these claws/ You don’t get this kitty) with an electro-folk stomp that feels like a lukewarm version of Miley Cyrus' Bangerz.'^[35]

Brittany Spanos of Rolling Stone gave Rainbow 4 stars out of a possible 5 and wrote: 'On her excellent comeback record, Rainbow, Kesha channels that drama into the best music of her career – finding common ground between the honky-tonks she loves (her mom is Nashville songwriter Pebe Sebert) and the dance clubs she ruled with hits like 'Tik Tok' and 'Die Young,' between glossy beats, epic ballads and grimy guitar riffs. In the process, she also finds her own voice: a freshly empowered, fearlessly feminist Top 40 rebel.' Spanos also noted the noticeable departure from the electropop sound of Kesha's first two albums, writing, 'Kesha used to sing about partying with rich dudes and feeling like P. Diddy. Rainbow is full of sympathetic (if at times cloying) prisoner metaphors and therapist clichés [...] Across the board, she achieves a careful balance of her diverse musical selves: The gospel-tinged 'Praying' takes the high road by wishing the best to the people who have hurt her, and 'Woman' is a blissfully irreverent, proudly self-sufficient retro-soul shouter backed by Brooklyn funk crew the Dap-Kings.'^[36] She also stated that the album's 'most powerful moment' is the singer's cover of Dolly Parton's 'Old Flames Can't Hold a Candle to You', saying, 'Parton herself helps out on guest vocals. But this isn't some Grand Ole Opry homage. Kesha flips and filters it through her dreamy vision, turning the sweet tune into rousing rockabilly until the standard sounds refreshed and vividly modern, battle-tested and born again. Just like the woman singing it.'^[36]

Katherine Flynn of Consequence of Sound complimented Kesha's ability to retain her uniqueness on the record and stated that the album 'feels much more organic' than her previous work, writing: 'Rainbow, as a comprehensive work, feels much more organic and of this earth than anything by dollar-sign Ke$ha. There’s a strong, organic rock and country influence that places her much more firmly in a lineage, a tradition, instead of the weird, airless, EDM-influenced vacuum that she inhabited on songs like the title track of 2012's Warrior and hits like 'Blow'.'^[37] In an equally favorable review, Hilary Weaver of Vanity Fair described Rainbow as 'a blatant, angry response to the singer’s battle with a legal system that has left her feeling frustrated and trapped as an artist—but also a powerful pop album that earns the anticipation', writing: 'This is an unapologetically open and honest Kesha we have never heard before—her voice is still recognizable but not as poppy and more focused with a message she wants her audience to hear loud and clear. She seems to come closest to directly referencing Dr. Luke once, as 'the boogeyman under [her] bed' in 'Letting Go'; the album is a more general, vocal proclamation against anyone who has wronged her in the past. This is Kesha’s story, but it’s also the response that any woman in the Trump era of 'locker-room talk' might want to blast in her car on a particularly frustrating day.' She also described Kesha as being in a 'far different place than when her last album was released', calling her a 'symbol of women standing up against patriarchal forces keeping them down' and writing: 'It lends an automatic weight to Rainbow that Ke$ha might not have been able to shoulder—but Kesha, at least as she appears on this album, is up to the challenge.'^[1]

In a more mixed review, Chris Willman of Variety stated that Kesha seems 'stuck between a rock and a hard place' on Rainbow, writing: 'For a while, anyway, it seems that a better title for this album than Rainbow would have been Warrior (except she used that one on her previous record). It would be nice to report that the songs addressing the distress of the last few years reveal her as a great confessional singer/songwriter, but the clunkiness of her most sober material here blunts its impact. Her most angry/inspirational tracks, like 'Don’t Let the Bastards Get You Down,' 'Learn to Let Go,' and 'Praying,' suffer not from seriousness but relative artlessness as Kesha unleashes a stream of Deepak-ian self-help bromides (embellished with plenty of Tupac-ian language) that’d sound better as bathroom-mirror sticky-note affirmations than they do as gospel-choir-backed lyrics.' He also negatively compared Kesha to Pink and the Dixie Chicks on the album, writing: 'The moment for some kind of personal revelation is nigh, but all these pop-psych clichés leave you feeling you know less about the real Kesha than you did coming in.'^[38] Willman also lamented that the moments where Kesha expresses glimpses of her previous electropop 'ridiculousness' on the album '[feel] refreshing and, just maybe, even more authentic. Not that you’d want her to push past her pain prematurely, but when it comes to the writing part, Kesha just happens to still be cleverer at playing koo-koo than guru.'^[38]

Accolades[edit]

Rainbow appeared on multiple publications year-end lists for 2017, which ranked their choices for best albums of the year.

Commercial performance[edit]

In the United States, Rainbow debuted at number one on the Billboard 200 with 117,000 album-equivalent units, which consisted of 90,000 pure album sales. It became her second number-one album in the country after Animal (2010).^[50] On December 14, 2017, the album was certified Gold by Recording Industry Association of America (RIAA),^[51] denoting sales of 500,000 copies. The album's lead single 'Praying' has also been certified platinum in several countries worldwide.^[52] The record opened atop the Canadian Albums Chart with 10,000 album-equivalent units earned and 7,000 copies sold.

The album debuted at number 4 on the UK Albums Chart^[53] with 9,770 copies sold.^[54] The album fell to Number 20 the following week, and spent a total of 3 weeks on the chart.^[53]

Awards and nominations[edit]

Kesha received two nominations at the 60th Annual Grammy Awards, including Best Pop Vocal Album and Best Pop Solo Performance for 'Praying'.^[55]

Track listing[edit]

Notes

• ^{^[a]} – main and vocal production
• ^{^[b]} – co-production
• ^{^[c]} – vocal production

Personnel[edit]

Credits adapted from Tidal.^[57]

• Chuck Ainlay – mixing engineer (12)
• Nick Annis – guitar (4)
• Justin Armstrong – engineer (5)
• Heather Borror – violin (5)
• David Boucher – mixing engineer (8)
• Ben Bram – background vocals (8)
• Gabriel Cabezas – cello (8)
• Ingmar Carlson – assistant engineer (2, 5), engineer (10, 14)
• Jon Castelli – mixing engineer (2, 5, 10)
• Dave Catching – guitar (2, 10)
• Billy Centenaro – engineer (5)
• Rogét Chahayed – piano, programming (11)
• Sergio Chávez – engineer (2)
• Kenton Chen – background vocals (8)
• Rebecca Chung-Filice – cello (5)
• Joe Costa – engineer (8)
• Stuart Crichton – recording engineer (2, 6), engineer (6), background vocals (2, 6), programming (2)
• Hannah Crofts – background vocals (5)
• Robbie Crowell – keyboard (9, 12)
• Spencer Cullum – guitar (9, 12, 14)
• Matt Dyson – assistant engineer (8)
• Eagles of Death Metal – background vocals (2, 10)
• Jon Estes – bass guitar (9, 12)
• Kevin Estrada – recording engineer (10)
• Shawn Everett – mixing engineer (9)
• Faithful Central Bible Church Choir – choir (8)
• Katie Faraudo – French horn (8)
• Gary Ferguson – drums (9)
• Jeremy Fetzer – guitar (12)
• Ian Fitchuk – drums (12)
• Robin Florent – assistant engineer (1, 3, 4, 6, 7, 11, 13)
• Christopher Foerstel – viola (5)
• Ben Folds – bass guitar, celesta, percussion, piano, timpani(8)
• Chris Galland – mixing engineer (1, 3, 4, 6, 7, 11, 13)
• Chris Garcia – mixing engineer (9)
• Jeff Gartenbaum – assistant engineer (8)
• Cochemea Gastelum – baritone saxophone (3)
• Antonia Gauci – engineer (5)
• Ira Glansbeek – cello (8)
• Dave Guy – trumpet (3)
• Bobby Holland – engineer (14)
• Jesse Hughes – vocals, guitar (2, 10)
• Jeff Jackson – assistant engineer (1, 3, 4, 6, 7, 11, 13)
• Ramage Jacobs – mandolin (14)
• Andrew Joslyn – strings, violin (5)
• Andrew Kamman – violin (5)
• Theo Katzman – percussion (8)
• Kesha – lead vocals (all tracks), background vocals (2, 6)
• Ryan Lerman – background vocals (8)
• David Levitt – electric guitar (9)
• Sarah Malmstrom – violin (5)
• Manny Marroquin – mixing engineer (1, 3, 4, 6, 7, 11, 13)
• Seth May-Patterson – viola (5)
• Matt McJunkins – bass guitar (2, 10)
• Kieron Menzies – mixing engineer (9)
• Nate Mercereau – guitar (1, 11)
• Georgia Mooney – background vocals (5)
• Rob Moose – violin (8)
• Ryan Nasci – assistant engineer (2, 5, 10, 14)
• Rick Nowels – organ (9)
• Garrett Overcash – violin (5)
• Charlie Paakkari – assistant engineer (8)
• Zack Pancoast – assistant engineer (9, 12)
• Drew Pearson – engineer (1, 13, 14), recording engineer (3, 10), guitar (1, 3), keyboard (3, 13), piano (3, 13, 14), programming (3, 13), banjo (14), bass guitar (14)
• Tom Peyton – horn (13)
• Tim Pierce – guitar (9)
• Jonny Price – programming (4)
• Ricky Reed – bass guitar (1), drums (1, 6), guitar (1, 4), programming (4, 11, 13), güiro(6), keyboard (13), piano (13)
• Dean Reid – mixing engineer (9)
• Fareed Salamah – engineer (3)
• Pebe Sebert – background vocals (6, 10, 14)
• Ethan Shumaker – engineer (1, 4, 6, 7, 13)
• Alex Sopp – flute (8)
• Michael Stankiewicz – mixing engineer (9), recording engineer (12)
• Neal Sugarman – tenor saxophone (3)
• Jorma Vik – drums (2, 10)
• Dave Way – engineer (8)
• Ivan Wayman – assistant engineer (9)
• Eli Weinberger – cello (5)
• Lara Wickes – oboe (8)
• Katherine Wighton – background vocals (5)
• Saundra Williams – background vocals (3)
• Danielle Withers – background vocals (8)
• Trevor Yasuda – mixing engineer (9)

Charts[edit]

Certifications[edit]

In Rainbows Full Album

Release history[edit]

Kesha Rainbow Full Album

See also[edit]

References[edit]

1. ^ ^abWeaver, Hilary (August 10, 2017). 'Kesha's Rainbow Is a Defiant Comeback'. Vanity Fair. Retrieved November 20, 2017.
2. ^'Rainbow on Google Play'. Google Play. Retrieved July 8, 2017.
3. ^ ^abcdBaillie, Katie (July 6, 2017). 'Kesha's new album Rainbow is a powerful, emotional and strongly feminist record that is worth the 4-year wait'. Metro. Retrieved July 6, 2017.
4. ^'BBC - Radio 1 - Playlist'. Radio 1. Retrieved November 3, 2017.
5. ^'Top 40/M Future Releases - Mainstream Hit Songs Being Released and Their Release Dates'. AllAccess Music Group. January 23, 2018. Archived from the original on January 11, 2018. Retrieved January 11, 2018.
6. ^ ^abcdBrodesser-Akner, Taffy (October 26, 2016). 'The Exile: Kesha, Interrupted'. New York Magazine. Retrieved November 19, 2017.
7. ^Hiatt, Brian (October 4, 2017). 'The Liberation of Kesha'. Rolling Stone. Retrieved November 19, 2017.
8. ^Mike Wass (June 25, 2014). 'Kesha Stuns On The Cover Of 'Teen Vogue', Opens Up About Her Eating Disorder And Rehab Stint'. Idolator. Retrieved June 12, 2015.
9. ^Joe Coscarelli (February 24, 2016). 'Kesha Speaks Out About Dr. Luke Case as Adele Voices Support'. The New York Times.
10. ^Andrew Flanagan (February 25, 2016). 'Sony Music Breaks Silence on Kesha & Dr. Luke'. Billboard.
11. ^McHenry, Jackson (October 26, 2016). 'Kesha Has Already Written and Recorded 22 New Songs That Are Just Waiting to Be Released; Dr. Luke Claims 'She Exiled Herself''. Vulture. Retrieved December 1, 2016.
12. ^McDermott, Maeve (October 26, 2016). 'Kesha wrote a 22-song album – and can't release it'. USA Today. Retrieved December 1, 2016.
13. ^Ungerman, Alex (September 13, 2016). 'Kesha Sparks Taylor Swift Collaboration Rumors With Cryptic Photo -- See What She Said!'. Entertainment Tonight. Retrieved December 1, 2016.
14. ^Denham, Jess (September 13, 2016). 'Taylor Swift and Kesha rumoured to be collaborating after mysterious Instagram post'. The Independent. Retrieved December 1, 2016.
15. ^'Kesha Announces Kesha and The Creepies: The Fuck the World Tour'. Pitchfork. Retrieved October 25, 2016.
16. ^Spanos, Brittany (July 19, 2016). 'Kesha Announces Tour, 'Creepy' New Music Project'. Rolling Stone. Retrieved December 1, 2016.
17. ^Reed, Ryan (August 9, 2017). 'Watch Kesha Perform on 'Good Morning America,' Talk 'Life-Saving' New Album'. Rolling Stone. Retrieved November 19, 2017.
18. ^Reed, Ryan (July 6, 2017). 'Read Kesha's Poignant Essay About Celebratory New Song 'Woman''. Rolling Stone. Retrieved July 14, 2017.
19. ^'サマーソニック2017出演決定' [Summer Sonic 2017 Appearance Decided] (in Japanese). Sony Music Entertainment Japan. February 6, 2017. Retrieved July 20, 2017.
20. ^'ケシャ、名古屋単独公演が決定！' [Kesha plans on a solo billed Nagora concert] (in Japanese). rockin’on holdings inc. June 23, 2017. Retrieved July 20, 2017.
21. ^'iHeartRadio Music Festival 2017 Lineup Revealed: The Weeknd, Harry Styles, Miley Cyrus & More'.
22. ^'All the Performances Ranked From Worst to Best at the 2017 MTV EMAs'. Billboard.
23. ^'Rainbow by Kesha reviews'. AnyDecentMusic?. Retrieved October 1, 2017.
24. ^ ^ab'Rainbow by Kesha'. Metacritic. Retrieved August 22, 2017.
25. ^'Rainbow - Kesha - Songs, Reviews, Credits c'. AllMusic. Retrieved August 11, 2017.
26. ^'Kesha finds her true colors on her comeback record Rainbow'. Avclub.com. August 11, 2017. Retrieved August 12, 2017.
27. ^'Album Review: Kesha – Rainbow'. Consequence of Sound. August 9, 2017. Retrieved August 11, 2017.
28. ^Renner Brown, Eric (August 7, 2017). 'Kesha's comeback album Rainbow is an artistic triumph'. Entertainment Weekly. Retrieved August 7, 2017.
29. ^Petridis, Alexis (August 10, 2017). 'Kesha: Rainbow review – wronged pop avenger makes a captivating comeback'. The Guardian. Retrieved August 11, 2017.
30. ^'Kesha – 'Rainbow' Review – NME'. Nme.com. Retrieved August 11, 2017.
31. ^'Kesha: Rainbow Review'. Pastemagazine.com. Retrieved August 17, 2017.
32. ^'Kesha: Rainbow Album Review – Pitchfork'. Pitchfork.com. Retrieved August 11, 2017.
33. ^'Review: Kesha's Battle Cry of Many Colors on 'Rainbow''. Rolling Stone. Retrieved August 11, 2017.
34. ^Cinquemani, Sal (August 7, 2017). 'Kesha: Rainbow'. Slant Magazine. Retrieved August 7, 2017.
35. ^Uterberger, Andrew (August 9, 2017). 'Album of the Week: Kesha's 'Rainbow'. Billboard. Retrieved October 23, 2017.
36. ^ ^abSpanos, Brittany (August 9, 2017). 'Kesha: Review: Kesha's Battle Cry of Many Colors on 'Rainbow''. Rolling Stone. Retrieved November 19, 2017.
37. ^Flynn, Katherine (August 9, 2017). 'Kesha – Rainbow'. Consequence of Sound. Retrieved November 19, 2017.
38. ^ ^abWillman, Chris (August 11, 2017). 'Album Review: Kesha's 'Rainbow''. Variety. Retrieved November 19, 2017.
39. ^'Billboard's 50 Best Albums of 2017: Critics' Picks'. Billboard. December 12, 2017. Retrieved December 12, 2017.
40. ^'The Best Albums of 2017'. Complex. December 6, 2017. Retrieved December 11, 2017.
41. ^'The 10 Best Albums of 2017'. Cosmopolitan.com. December 13, 2017. Retrieved December 28, 2017.
42. ^'Best Albums of 2017: EW Picks 25 Greatest'. Entertainment Weekly. December 6, 2017. Retrieved December 11, 2017.
43. ^'The 100 Best Albums of 2017'. Noisey. Retrieved December 11, 2017.
44. ^'The 50 Best Albums of 2017: NPR'. NPR. December 12, 2017.
45. ^'PEOPLE Picks the 10 Best Albums of 2017'. People.com. December 8, 2017. Retrieved December 17, 2017.
46. ^Rolling Stone Staff (November 27, 2017). '50 Best Albums of 2017'. Rolling Stone. Retrieved November 27, 2017.
47. ^Raisa Bruner (December 4, 2017). 'The Top 10 Albums of 2017'. Time. Retrieved December 11, 2017.
48. ^'The best albums of 2017: Yahoo Entertainment staff picks'. Yahoo!. December 20, 2017. Retrieved October 24, 2018.
49. ^Rajona, Wyzman (December 20, 2017). 'Taylor Swift, Loïc Nottet, Lorde... Les meilleurs albums pop de l'année' [Taylor Swift, Loïc Nottet, Lorde... The best pop albums of the year] (in French). Melty. Retrieved September 5, 2018.
50. ^Caulfield, Keith (August 20, 2017). 'Kesha's 'Rainbow' Debuts at No. 1 on Billboard 200 Albums Chart'. Billboard. Retrieved August 21, 2017.
51. ^'Gold & Platinum - RIAA'. Riaa.com. Retrieved December 28, 2017.
52. ^'ARIA Australian Top 50 Singles'. Australian Recording Industry Association. September 4, 2017. Retrieved September 2, 2017.
53. ^ ^ab'rainbow - full Official Chart History'. Official Charts Company. Retrieved December 28, 2017.
54. ^'Twitter'. Mobile.twitter.com. Retrieved December 28, 2017.
55. ^'See The Full List Of 60th Grammy Nominees'. Grammy Award. Retrieved November 28, 2017.
56. ^'【CD】レインボー＜初回限定仕様＞ Album'. Tower Records Japan. Japan. Retrieved August 5, 2017.
57. ^'Rainbow / Kesha TIDAL'. Tidal. Retrieved February 11, 2018.
58. ^'Australiancharts.com – Kesha – Rainbow'. Hung Medien. Retrieved August 19, 2017.
59. ^'Austriancharts.at – Kesha – Rainbow' (in German). Hung Medien. Retrieved August 23, 2017.
60. ^'Ultratop.be – Kesha – Rainbow' (in Dutch). Hung Medien. Retrieved August 18, 2017.
61. ^'Ultratop.be – Kesha – Rainbow' (in French). Hung Medien. Retrieved August 18, 2017.
62. ^'Kesha Chart History (Canadian Albums)'. Billboard. Retrieved August 24, 2017.
63. ^'Czech Albums – Top 100'. ČNS IFPI. Note: On the chart page, select 201733 on the field besides the word 'Zobrazit', and then click over the word to retrieve the correct chart data. Retrieved August 22, 2017.
64. ^'Dutchcharts.nl – Kesha – Rainbow' (in Dutch). Hung Medien. Retrieved August 18, 2017.
65. ^'Kesha: Rainbow' (in Finnish). Musiikkituottajat – IFPI Finland. Retrieved August 20, 2017.
66. ^'Le Top de la semaine : Top Albums – SNEP (Week 33, 2017)'. Syndicat National de l'Édition Phonographique. Retrieved August 21, 2017.
67. ^'Offiziellecharts.de – Kesha – Rainbow' (in German). GfK Entertainment Charts. Retrieved August 18, 2017.
68. ^'Irish Albums Chart: 18 August 2017'. Irish Recorded Music Association. Retrieved August 19, 2017.
69. ^'Album – Classifica settimanale WK 33 (dal 2017-08-11 al 2017-08-17)' (in Italian). Federazione Industria Musicale Italiana. Retrieved August 21, 2017.
70. ^'レインボー ケシャ' (in Japanese). Oricon. Retrieved September 10, 2017.
71. ^'Billboard Japan Top Albums Sales (2017/08/28)' (in Japanese). Billboard Japan. August 28, 2017. Retrieved September 10, 2017.
72. ^'NZ Top 40 Albums Chart'. Recorded Music NZ. August 21, 2017. Retrieved August 18, 2017.
73. ^'Norwegiancharts.com – Kesha – Rainbow'. Hung Medien. Retrieved August 19, 2017.
74. ^'Oficjalna lista sprzedaży :: OLiS - Official Retail Sales Chart'. OLiS. Polish Society of the Phonographic Industry. Retrieved August 24, 2017.
75. ^'Official Scottish Albums Chart Top 100'. Official Charts Company. Retrieved August 19, 2017.
76. ^'2017년 32주차 Album Chart' (in Korean). Gaon Music Chart. Retrieved August 20, 2017.
77. ^'2017년 32주차 Album Chart' (in Korean). Gaon Music Chart. Retrieved August 20, 2017.
78. ^'Top 100 Albumes — Semana 33: del 11.08.2017 al 17.08.2017' (in Spanish). Productores de Música de España. Retrieved August 23, 2017.
79. ^'Swedishcharts.com – Kesha – Rainbow'. Hung Medien. Retrieved August 18, 2017.
80. ^'Swisscharts.com – Kesha – Rainbow'. Hung Medien. Retrieved August 23, 2017.
81. ^'Official Albums Chart Top 100'. Official Charts Company. Retrieved August 19, 2017.
82. ^'Kesha Chart History (Billboard 200)'. Billboard. Retrieved August 24, 2017.
83. ^'Top Billboard 200 Albums – Year-End 2017'. Billboard. Retrieved December 12, 2017.
84. ^'Canadian album certifications – Kesha – Rainbow'. Music Canada. Retrieved October 2, 2017.
85. ^'American album certifications – Kesha – Rainbow'. Recording Industry Association of America. Retrieved December 18, 2017.If necessary, click Advanced, then click Format, then select Album, then click SEARCH.
86. ^Various citations concerning the August 11, 2017, release of Rainbow:
    • 'Amazon.com: Rainbow [Clean]: Kesha'. United States: Amazon.com. Retrieved July 6, 2017.
    • 'Rainbow (Explicit) by Kesha on Apple Music'. iTunes Store. United Kingdom. Retrieved July 7, 2017.
    • 'Rainbow (Explicit) by Kesha on Apple Music'. iTunes Store. United States. Retrieved July 6, 2017.
    • 'Rainbow (Clean) by Kesha on Apple Music'. iTunes Store. United States. Retrieved July 6, 2017.
87. ^'Rainbow : KESHA ローチケHMV – SICP-5573'. Japan: Roachke HMV. Retrieved July 31, 2017.
88. ^'Rainbow, Intérprete: Kesha' (in Portuguese). Livraria Cultura. Archived from the original on August 24, 2017. Retrieved August 24, 2017.

Radiohead In Rainbows Full Album Download

External links[edit]

• Rainbow at Discogs (list of releases)

In Rainbows Album Download