Radiohead Song Rankings

An exhaustive ranking of the complete Radiohead studio discography. This directory tracks the band's unprecedented evolution from their early 1990s alternative rock origins and the massive success of "Creep" to the defining, dystopian art-rock of OK Computer. It catalogs their radical pivot into electronic and experimental music with Kid A and Amnesiac, all the way through to the lush, orchestral arrangements of A Moon Shaped Pool. Every officially released studio track is documented here, providing rich historical context, musical analysis, and exact album mappings to trace the trajectory of one of modern music's most innovative and unpredictable bands.

MusicAll Studio Songs

🌍 World Ranking

▲ Top 5

Where I End and You Begin (2003)

A driving, intensely rhythmic rock track anchored by Colin Greenwood's incredible bassline and an early synthesizer called the ondes Martenot.

Decks Dark (2016)

A cool, rhythmic track with a heavy bassline, featuring a haunting choir and comparing impending dread to an alien spacecraft blocking out the sky.

Everything in Its Right Place (2000)

A groundbreaking, synthesizer-driven opener featuring heavily manipulated vocal loops that instantly signaled the band's total departure from guitar rock.

House of Cards (2007)

A warm, reverb-soaked track featuring a remarkably straightforward, romantic lyricism over a swaying, hypnotic rhythm.

Pyramid Song (2001)

A staggering, majestic piano ballad featuring incredibly complex, swinging timing inspired by Charles Mingus and Egyptian underworld mythology.

▼ Bottom 5

I Can't (1993)

A bright, jangly pop-rock tune masking darker themes of personal failure and resignation.

-5

Ful Stop (2016)

A krautrock-inspired, slow-burning electronic juggernaut that steadily builds into a frantic, layered, and menacing sonic swirl.

-4

Vegetable (1993)

A shifting, grunge-indebted track that moves from quiet anxiety to a furiously loud guitar climax.

-3

Lurgee (1993)

A slow-building, reverb-heavy track that hints at the more expansive, atmospheric sound the band would later adopt.

-2

We Suck Young Blood (2003)

A slow, horrific jazz-dirge featuring creepy, off-beat handclaps and a brief, manic tempo shift.

-1

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All Items (100)

Where I End and You Begin (2003) — A driving, intensely rhythmic rock track anchored by Colin Greenwood's incredible bassline and an early synthesizer called the ondes Martenot.+5

Decks Dark (2016) — A cool, rhythmic track with a heavy bassline, featuring a haunting choir and comparing impending dread to an alien spacecraft blocking out the sky.+4

Everything in Its Right Place (2000) — A groundbreaking, synthesizer-driven opener featuring heavily manipulated vocal loops that instantly signaled the band's total departure from guitar rock.+3

House of Cards (2007) — A warm, reverb-soaked track featuring a remarkably straightforward, romantic lyricism over a swaying, hypnotic rhythm.+2

Pyramid Song (2001) — A staggering, majestic piano ballad featuring incredibly complex, swinging timing inspired by Charles Mingus and Egyptian underworld mythology.+1

You (1993) — A dynamic opener with alternating time signatures and a soaring, strained vocal performance from Thom Yorke.—

Creep (1993) — The inescapable, self-deprecating grunge-pop anthem driven by Jonny Greenwood's iconic, aggressive dead-note guitar crunches.—

How Do You? (1993) — A fast, punky, distorted track reflecting the band's early, raw garage rock influences.—

Stop Whispering (1993) — An atmospheric, U2-inspired stadium rocker written as an homage to the Pixies.—

Thinking About You (1993) — A fast-paced acoustic punk ballad dealing with feelings of inadequacy and masturbation.—

Anyone Can Play Guitar (1993) — A cynical, layered critique of the Jim Morrison rock-star mythos and the MTV generation.—

Ripcord (1993) — A heavy, jagged rock track utilizing severe distortion to mask feelings of musical and personal entrapment.—

Prove Yourself (1993) — A deeply pessimistic, straightforward rocker that originally served as the band's first-ever commercial single.—

Blow Out (1993) — The album closer featuring complex jazz chords that devolve into a chaotic, feedback-heavy noise-rock squall.—

Planet Telex (1995) — A woozy, tremolo-heavy keyboard opener written while the band was returning from a pub, signaling a sharp departure from their debut.—

The Bends (1995) — A soaring, anthemic rock track detailing the psychological pressure and isolation of sudden touring fame.—

High and Dry (1995) — A pristine acoustic pop song famously recorded as a demo, exploring themes of compromised integrity.—

Fake Plastic Trees (1995) — A beautiful, devastating acoustic crescendo dealing with artificiality and emotional exhaustion in modern life.—

Bones (1995) — A gritty, upbeat guitar-driven track centered around visceral themes of physical decay and aging.—

(Nice Dream) (1995) — A gentle, string-backed lullaby that abruptly shatters into a noisy, dissonant guitar bridge.—

Just (1995) — An incredibly tense, jagged track featuring a relentless, ascending chord progression and a fiercely aggressive guitar solo.—

My Iron Lung (1995) — A complex, quiet-loud-quiet critique of their own massive success with 'Creep', stitched together from a live performance.—

Bullet Proof ... I Wish I Was (1995) — A delicate, shimmering piece utilizing ethereal, sci-fi guitar effects over a simple acoustic progression.—

Black Star (1995) — A melancholic, straightforward alternative rock track exploring a deteriorating relationship through space-themed metaphors.—

Sulk (1995) — A soaring, classic-rock style anthem originally written in response to the 1987 Hungerford massacre.—

Street Spirit (Fade Out) (1995) — A relentlessly dark, hypnotic arpeggiated closing track that Yorke has described as one of the band's saddest songs.—

Airbag (1997) — A heavily edited, DJ-Shadow-inspired drum loop colliding with massive, jagged cello and guitar lines to simulate a car crash.—

Paranoid Android (1997) — An ambitious, multi-part six-minute epic blending acoustic anxiety, brutal heavy metal riffs, and a soaring choral section.—

Subterranean Homesick Alien (1997) — A lush, reverb-drenched electric piano track inspired by Bob Dylan and detailing fantasies of alien abduction.—

Exit Music (For a Film) (1997) — A chilling, acoustic-to-fuzz-bass dirge written for Baz Luhrmann's Romeo + Juliet, capturing the doomed lovers' final moments.—

Let Down (1997) — A deeply layered, polyrhythmic marvel of arpeggiated guitars dealing with the crushing emptiness of modern transportation and consumerism.—

Karma Police (1997) — A Beatles-esque piano ballad of corporate dread that collapses into a wash of manipulated analog delay feedback.—

Fitter Happier (1997) — A dystopian spoken-word interlude performed by a Macintosh SimpleText voice synthesizer over eerie, disjointed piano and strings.—

Electioneering (1997) — A fiercely political, cowbell-driven hard rock track aimed squarely at the hypocrisy of IMF policies and global politicians.—

Climbing Up the Walls (1997) — A terrifying, claustrophobic track featuring distorted drums, eerie Mellotron strings, and a final, blood-curdling scream.—

No Surprises (1997) — A deceptively sweet, glockenspiel-driven lullaby covering themes of suburban suffocation and eventual suicide.—

Lucky (1997) — A massive, sweeping rock track originally recorded for a charity compilation, featuring a distinct, high-pitched guitar screech intro.—

The Tourist (1997) — A slow, waltz-time closer demanding that the frantic modern world 'idiot, slow down', ending with the simple ping of a microwave bell.—

Kid A (2000) — A cold, glitchy electronic lullaby featuring vocals entirely obscured by a vocoder, simulating the voice of a cloned child.—

The National Anthem (2000) — A chaotic, driving track anchored by a massive fuzz-bass riff and ending in a completely unhinged free-jazz brass section.—

How to Disappear Completely (2000) — A gorgeous, desperately sad acoustic ballad floating on a sea of eerie, microtonal string arrangements.—

Treefingers (2000) — A serene, Brian Eno-inspired ambient instrumental created by digitally processing Ed O'Brien's guitar chords.—

Optimistic (2000) — The most conventional rock song on Kid A, featuring an infectious, primal guitar groove and cynical lyrics about commercial survival.—

In Limbo (2000) — A disorienting, swirling track with complex, overlapping time signatures that simulates the feeling of being completely lost at sea.—

Idioteque (2000) — A frantic, apocalyptic dance track built entirely around a sampled 1970s computer music chord progression.—

Morning Bell (2000) — A clinical, shuffling drumbeat accompanying lyrics about a bitter divorce and 'cutting the kids in half'.—

Motion Picture Soundtrack (2000) — A funereal, painfully beautiful closer played on an antique pump organ, swelling with cinematic harp samples.—

Packt Like Sardines in a Crushd Tin Box (2001) — A metallic, clanging electronic opener assuring the listener that 'I'm a reasonable man, get off my case'.—

Pulk/Pull Revolving Doors (2001) — A jarring, mechanical rhythm track featuring autotuned, spoken-word musings on the nature of different doors.—

You and Whose Army? (2001) — A dark, crooning jazz ballad that unexpectedly explodes into an intense, defiant rock climax.—

I Might Be Wrong (2001) — A bluesy, menacing guitar riff layered over a tight electronic drum loop, standing as one of the band's best hybrid tracks.—

Knives Out (2001) — A dense, arpeggiated, Smiths-influenced guitar track exploring morbid themes of cannibalism and emotional cruelty.—

Morning Bell/Amnesiac (2001) — A slower, dirge-like alternate version of the Kid A track, lacking the driving drums and opting for an unsettling, haunted atmosphere.—

Dollars and Cents (2001) — A paranoid, krautrock-inspired jam built out of an extensive studio improvisation, attacking global economic systems.—

Hunting Bears (2001) — A brief, solitary electric guitar instrumental echoing the desolate soundscapes of Ennio Morricone.—

Like Spinning Plates (2001) — A deeply unsettling electronic track created by playing the backing track of 'I Will' completely in reverse.—

Life in a Glasshouse (2001) — A mournful, New Orleans-style jazz funeral dirge featuring a legendary trumpet performance by Humphrey Lyttelton.—

2 + 2 = 5 (2003) — A tense, building critique of Orwellian doublethink that bursts into a spectacularly aggressive, distorted rock climax.—

Sit Down. Stand Up (2003) — An eerie, repetitive track detailing political subjugation that accelerates into a frantic, laser-heavy electronic breakdown.—

Sail to the Moon (2003) — A shifting, beautiful piano lullaby written for Yorke's son, warning of environmental collapse.—

Backdrifts (2003) — A chilly, programmed electronic track featuring squelching synthesizers and themes of sliding backwards into authoritarianism.—

Go to Sleep (2003) — A brisk, acoustic-driven rock track ending with a spectacular, digitally stuttered guitar solo from Jonny Greenwood.—

The Gloaming (2003) — A clicking, shadowy electronic track built from tape loops, heavily reflecting the post-9/11 political anxiety of the era.—

There There (2003) — A thundering, tribal, tom-heavy masterpiece that slowly builds into a blistering, soaring guitar finale.—

I Will (2003) — A short, devastatingly quiet acoustic vocal harmony track written in response to civilian casualties in the Gulf War.—

A Punchup at a Wedding (2003) — A groovy, funk-inflected piano track dripping with bitter, mocking lyrics aimed at hypocritical critics.—

Myxomatosis (2003) — A brutally fuzzy, overdriven synthesizer riff drives this aggressive, deeply paranoid track about losing control of one's own mind.—

Scatterbrain (2003) — A breezy, complexly woven guitar track offering a moment of weary calm amidst the dense anxiety of the record.—

A Wolf at the Door (2003) — A grim, waltz-like closer featuring a frantic, almost-rapped vocal delivery from Yorke detailing severe extortion and societal dread.—

15 Step (2007) — A frantic, 5/4 time signature electronic beat colliding with warm, melodic jazz guitars and a children's cheering choir.—

Bodysnatchers (2007) — A heavy, driving, heavily distorted rocker that captures the band at their most visceral and energetic since the 1990s.—

Nude (2007) — A lush, breathtakingly beautiful ballad featuring swirling strings and a haunting vocal performance that took over a decade to finally record.—

Weird Fishes/Arpeggi (2007) — A shimmering, interlocking masterclass in arpeggiated guitars that gradually builds to an incredibly satisfying, propulsive climax.—

All I Need (2007) — A dark, obsessive love song anchored by a thick synthesizer bassline that ends in a massive, cathartic crash of piano and cymbals.—

Faust Arp (2007) — A brief, Beatles-esque acoustic track punctuated by staccato string arrangements and rapid-fire, poetic vocal delivery.—

Reckoner (2007) — A gorgeous, percussion-heavy groove featuring Yorke's stunning falsetto and a lush, emotional string section breakdown.—

Jigsaw Falling Into Place (2007) — A fast-paced, intensely kinetic acoustic rocker detailing a nervous, drug-fueled night out at a club.—

Videotape (2007) — A devastating, syncopated piano ballad acting as a final message to a loved one, built around a heavily concealed, shifting rhythm.—

Bloom (2011) — A sprawling, oceanic opening track heavily utilizing looping, polyrhythmic drum samples and swirling, chaotic horns.—

Morning Mr Magpie (2011) — A tense, jittery funk track driven by a relentless, repeating acoustic guitar riff and tightly syncopated percussion.—

Little by Little (2011) — A dense, clicking track featuring Latin-inspired percussion and intertwining acoustic and electric guitar lines.—

Feral (2011) — A dark, heavily chopped and manipulated instrumental featuring unrecognizable vocal loops and a heavy, dubstep-influenced bassline.—

Lotus Flower (2011) — A slinky, highly rhythmic electronic dance track driven by a powerful synth bass and defined by Yorke's falsetto vocal hooks.—

Codex (2011) — A sparse, incredibly peaceful piano ballad featuring gentle horns and themes of absolution and jumping into a clear lake.—

Give Up the Ghost (2011) — An acoustic, folk-leaning track utilizing a simple vocal loop pedal to build a beautiful, haunting chorus of harmony.—

Separator (2011) — A bright, dreamlike track built around a solid, hip-hop inspired drum break and soaring, intertwining guitar melodies.—

Burn the Witch (2016) — An intensely anxious track driven by aggressive, col legno string arrangements, warning of groupthink and modern witch hunts.—

Daydreaming (2016) — A breathtakingly sad, cinematic ambient track featuring delicate piano playing, reversed vocals, and deep themes of personal loss.—

Desert Island Disk (2016) — A warm, acoustic folk song with an almost Nick Drake-esque intimacy, exploring themes of spiritual rebirth.—

Glass Eyes (2016) — A brief, desperately lonely string and piano arrangement detailing a panic attack upon arriving at a train station.—

Identikit (2016) — A sharp, rhythmic track featuring a prominent choir, a rare synthesizer solo, and the repeated refrain 'broken hearts make it rain'.—

The Numbers (2016) — A lush, orchestral protest song advocating for climate action, featuring a sweeping, dramatic string section arranged by Jonny Greenwood.—

Present Tense (2016) — A bossa-nova infused, beautiful track about using dance as a defense mechanism against a collapsing world.—

Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief (2016) — An eerie, cinematic piece blending electronic drum loops with heavy, unsettling James Bond-style string orchestration.—

True Love Waits (2016) — The final, devastating studio version of a beloved live track played for over twenty years, transformed here into a stark, incredibly moving piano arrangement.—

We Suck Young Blood (2003) — A slow, horrific jazz-dirge featuring creepy, off-beat handclaps and a brief, manic tempo shift.-1

Lurgee (1993) — A slow-building, reverb-heavy track that hints at the more expansive, atmospheric sound the band would later adopt.-2

Vegetable (1993) — A shifting, grunge-indebted track that moves from quiet anxiety to a furiously loud guitar climax.-3

Ful Stop (2016) — A krautrock-inspired, slow-burning electronic juggernaut that steadily builds into a frantic, layered, and menacing sonic swirl.-4

I Can't (1993) — A bright, jangly pop-rock tune masking darker themes of personal failure and resignation.-5