continued a 2000 tour of Europe in a custom-built tent free of advertising; they also promoted Kid A with three sold-out North American theatre concerts. Kid A received a Grammy Award for Best Alternative Album and a nomination for Album of the Year in early 2001. It won both praise and criticism in independent music circles for appropriating underground styles of music; some British critics saw Kid A as a "commercial suicide note" and "intentionally difficult", and longed for a return to Radiohead's earlier style. Fans were similarly divided; along with those who were appalled or mystified, many saw it as the band's best work. Yorke denied that Radiohead had set out to eschew expectations, saying: "We're not trying to be difficult ... 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." The album was ranked one of the best of all time by publications including Time and Rolling Stone; Rolling Stone, Pitchfork and the Times named it the best album of the decade. Radiohead's fifth album, Amnesiac, was released in May 2001. It comprised additional tracks from the Kid A sessions, including "Life in a Glasshouse", featuring the Humphrey Lyttelton Band. Radiohead stressed that they saw Amnesiac not as a collection of B-sides or outtakes from Kid A but an album in its own right. It topped the UK Albums Chart and reached number two in the US, and was nominated for a Grammy Award and the Mercury Music Prize. Radiohead embarked on a world tour, visiting North America, Europe and Japan. "Pyramid Song" and "Knives Out", Radiohead's first singles since 1998, were modestly successful. I Might Be Wrong: Live Recordings, released in November 2001, features performances of seven songs from Kid A and Amnesiac, plus a performance of the unreleased track "True Love Waits". 2002–2006: Hail to the Thief and solo work In July and August 2002, Radiohead toured Portugal and Spain, playing a number of new songs. For their next album, they sought to explore the tension between human and machine-generated music and capture a more immediate, live sound. They and Godrich recorded most of the material in two weeks at Ocean Way Recording in Los Angeles. The band described the recording process as relaxed, in contrast to the tense sessions for Kid A and Amnesiac. Radiohead also composed