This page is Radiohead β In Rainbows β chord + lyric charts. It is one of the projects Brandon built and put online. The grown-up details are below, tap Grown-up mode to read them the normal way.
Tracks 02-10 charted from the FROMAUDIO pass (Moises htdemucs_6s stems; vocals excluded from chord detection; alignment is timestamp-approximate). Track 01 '15 Step' has no Moises stems available β FROMCDN chart only. Verify fine chord placement by ear. Β· Built 2026-06-12 14:06
Key Bm. Root from bass MIDI, quality diatonic to key (guitar = power chords). Word alignment approximate β verify by ear.
C#dim Translations νκ΅μ΄ (Korean) TΓΌrkΓ§e EspaΓ±ol Π ΡΡΡΠΊΠΈΠΉ (Russian) FranΓ§ais Italiano ΩΨ§Ψ±Ψ³Ϋ 15 Step Lyrics The opening track to In Rainbows builds from an electronic beat to a full band number with warm guitar tones and propelling bass. Bm Lyrically, itβs a song about love and betrayal, as well as the repetition ofβ¦ Read More [Chorus] How come I end up where I started? How come I end up where I went wrong? Won't take my eyes off the ball again You reel me out, then you cut the string How come I end up where I started? How come I end up where I went wrong? Won't take my eyes off the ball again First you reel me out and then you cut the string [Verse 1] You used to be alright, what happened? Did the cat get your tongue? Did your string come undone? One by one One by one It comes to us all It's as soft as your pillow [Verse 2] You used to be alright, what happened? Et cetera, et cetera Fads for whatever ( Yay! ) Fifteen steps, then a sheer drop [Interlude] ( Yay! Yay! ) [Chorus] How come I end up where I started? How come I end up where I went wrong? Won't take my eyes off the ball again You reel me out, then you cut the string
Source: Moises chord analysis from htdemucs_6s stems. Key: D major/modal, 4:01.
Verse and chorus are D power chord static (ambiguous major/minor). Bridge drops to Gm-Dm-Am.
One of Radiohead's most riff-driven songs β the chord progression IS the riff.
Key: D modal (ambiguous Mixolydian / Dorian β major scale with minor borrowings).
Bodysnatchers' harmonic story is restraint then collapse: eight minutes of D holding the room, followed by a bridge that opens every locked door at once (Gm-Dm-Am), then slams back to D for the outro. The riff is the chord.
[Intro β 0:00] D (single repeated guitar riff β D power chord, no other harmonic content) [Verse 1 β 0:10] D I do not understand D What it is I've done wrong D Full of holes, check for pulse D Blink your eyes D One for yes, two for no [Chorus β 0:45] D I have no idea what I am talking about D I am trapped in this body and can't get out [Verse 2 β 1:10] D You killed the sound D Removed backbone D A pale imitation D With the edges sawn off [Chorus 2 β 1:35] D I have no idea what you are talking about D Your mouth moves only with someone's hand up your arse [Bridge β 2:07] Gm Dm Has the light cut out for you? Gm Because the light's gone out for me Dm Am It is the twenty-first century Gm Dm It can follow you like a dog Am Gm It brought me to my knees Gm Dm They got a skin and they put me in Gm Dm They got a skin and they put me in Am Gm On the lines wrapped 'round my face Am Gm On the lines wrapped 'round my face Dm G And for anyone else to see Dm G And for anyone else to see D I'm a lie [Outro β 3:30] Dm G D I've seen it coming D They've seen it coming D They've seen it coming D They've seen it coming (D riff returns β same as intro, no resolution)
Source: Moises chord analysis from htdemucs_6s stems. Key: E major (Moises agree), 4:14.
Main motion: E β G#m β A β B (I β iii β IV β V). Extremely sparse, one chord per phrase.
Outro breaks modal with Am (parallel iv). Alignment is bar-approximate.
Key: E major. Scale: E, F#, G#, A, B, C#, D#
Primary motion: **A β C#m β B β G#m** (vocal phrase spans IV-vi-V-iii), with **E** as the tonic home the song never quite commits to landing on until the final bars. The outro's shift to Am signals collapse of the major frame.
[Instrumental Intro β 0:00] E G#m (sustained, single notes only β no full chords struck) A B [Verse 1 β 0:12] A Don't get any big ideas C#m They're not gonna happen E G#m You paint yourself white A And fill up with noise B But there'll be something missing [Chorus β 0:50] E G#m Now that you've found it, it's gone A B Now that you feel it, you don't G#m E You've gone off the rails [Verse 2 β 1:30] A So don't get any big ideas C#m They're not gonna happen E G#m You'll go to Hell A For what your dirty mind is thinking [Chorus 2 β 2:10] E G#m Now that you've found it, it's gone A B Now that you feel it, you don't G#m E You've gone off the rails [Non-Lyrical Outro β 2:55] A C#m (held vowels β "Don't get any big ideas") E G#m A Am (Am enters β borrowed iv, the chromatic collapse) E Am E (final held E over dissolving Am)
Source: Moises chord analysis from htdemucs_6s stems. Key: E minor (Moises agree), 5:18.
Main arpeggio loop: Em β F#m β A (i β ii β IV). Outro builds through Bm β G β B (iv β bIII β V).
The song never fully resolves β it builds to an "escape" that lands on G and fades.
Key: E minor. Scale: E, F#, G, A, B, C, D
Primary arpeggio loop (repeats throughout verses): **Em β F#m β A** (alternates 2Γ then resets). Chorus is a sustained Em wash. Outro escalates Em β Bm β G β B before the fade.
[Verse 1 β 0:00] Em F#m In the deepest ocean A The bottom of the sea Em Your eyes F#m They turn me Em A Why should I stay here? Em Why should I stay? [Verse 2 β 0:25] Em F#m I'd be crazy not to follow A Follow where you lead Em Your eyes F#m They turn me Em A Turn me into phantoms (Way out) F#m Em I follow to the edge (Way out) F#m A Of the earth (Way out) Em And fall off F#m A Yeah, everybody leaves (Way out) Em F#m If they get the chance (Way out) A Em And this (Way out) F#m A Is my chance (Way out) [Chorus β 1:00] Em I get eaten by the worms F#m A And weird fishes Em Picked over by the worms F#m A And weird fishes Em F#m Weird fishes A Em Weird fishes [Instrumental Break β 1:40] Em F#m A (Γ 4) Em F#m G (arpeggi descend to G) [Outro β 2:40] Em Yeah, I Bm G I hit the bottom B Hit the bottom and escape Em Escape Bm G I hit the bottom B Hit the bottom and escape Em Bm G Escape B Em (fade on Em β no resolution, just dissolution)
Source: Moises chord analysis from htdemucs_6s stems. Key: E minor (Moises), 3:48.
Verse: C β E (bVI β I Picardy) oscillation. Outro: Em β G β C descending.
The song is one of the album's most harmonically compressed β two-chord shuttle through most of the runtime.
Key: E minor. Scale: E, F#, G, A, B, C, D
The C β E shuttle that runs through both verse sections is harmonically ambiguous by design: C major makes E minor sound like a borrowed Picardy, and E major makes C sound like a borrowed bVI from A major. "All I Need" β the lyric β arrives when the chords commit to nothing. The outro's shift to Em β G β C is the only moment of true tonic clarity on the track.
[Intro β 0:00] C G C G (Jonny Greenwood's strings enter β sparse) [Verse 1 β 0:20] C I'm the next act waiting in the wings E I'm an animal trapped in your hot car C I am all the days that you choose to ignore [Chorus β 0:55] C E You are all I need C E You're all I need C I'm in the middle of your picture E Lying in the reeds [Verse 2 β 1:15] C I am a moth who just wants to share your light E I'm just an insect trying to get out of the night C E I only stick with you because there are no others [Chorus 2 β 1:50] C E You are all I need C E You're all I need C I'm in the middle of your picture E Lying in the reeds [Outro β 2:55] Em G C It's all wrong, it's all wrong, it's all wrong Em G C It's alright, it's alright, it's alright Em G C It's all wrong, it's alright Em G C It's alright, it's alright (Em β G β C cycling, strings swell, fade to silence)
Source: Moises chord analysis from htdemucs_6s stems. Key: G major (Moises agree), 2:07.
Acoustic guitar + strings, rapid chromatic passing. Primary motion: Bm/B β G chromatic descent.
Two-verse structure with chorus, extremely compressed harmonic vocabulary.
Key: G major. Scale: G, A, B, C, D, E, F#
The song's architecture is descent: Bm opens each verse, the chromatic middle passage drops through D#βGβGmβF, and the chorus surfaces on CβG before the Gm/F coda pulls back under. Every chord movement in Faust Arp is going somewhere down.
[Intro β 0:00] One, two, three, four (acoustic guitar only, no chord yet) [Verse 1 β 0:07] Bm B Wakey wakey, rise and shine Bm It's on again, off again, on again Bm B Watch me fall like dominoes Bm In pretty patterns D# G Fingers in the blackbird pie D# G I'm tingling, tingling, tingling Bm It's what you feel not what you ought to B What you ought to Bm Reasonable and sensible [Chorus β 0:55] C G Dead from the neck up Gm F C I guess I'm stuffed, stuffed, stuffed G Bm We thought you had it in you G But not, not, not G For no real reason [Verse 2 β 1:15] Bm B Squeeze the tubes and empty bottles Bm I take a bow, take a bow, take a bow D# G It's what you feel not what you ought to D# What you ought to G The elephant that's in the room D# Is tumbling, tumbling, tumbling G D# In duplicate and triplicate and G D# Plastic bags G In duplicate and triplicate [Chorus 2 β 1:40] C G Dead from the neck up Gm F C I guess I'm stuffed, stuffed, stuffed G Bm We thought you had it in you G But not, not, not C G Exactly where do you get off Gm F Is enough, is enough? C G I love you but enough is enough Gm F Enough of that stuff G There's no real reason [Outro β 2:00] Gm F You've got a head full of feathers Gm You got melted to butter (strings only, fade)
Source: Moises chord analysis from htdemucs_6s stems. Key: E minor, 4:49.
Main verse loop: Em β D β C (i β bVII β bVI), Aeolian descending motion.
Bridge "Because we separate": Em β Am β B (i β iv β V), classical minor cadence.
Outro dissolves to Am β Em. Album title chord is Em β Am at 4:06.
Key: E minor / E Aeolian. Scale: E, F#, G, A, B, C, D
Primary verse loop: **Em β D β C β Em** (i β bVII β bVI β i). This is textbook Aeolian modal rock β the same descending stepwise motion as "Stairway to Heaven" compressed into a 4-bar shuttle. The bridge breaks the pattern for the only time with a real V chord (B major), making "blank shore" the harmonic peak of the whole album.
[Intro β 0:00] Em D C (Phil Selway's shaker groove enters alone β minimal) [Verse 1 β 0:10] Em D Reckoner C Em You can't take it with you D C Dancing for your pleasure [Verse 2 β 0:40] Em D You are not to blame for C Em Bittersweet distractor D C Dare not speak its name Em D Dedicated to all huβ C All human beings [Chorus β 1:25] Em Am B Because we separate like ripples on a blank shore Em (In rainbows) Em Am B Because we separate like ripples on a blank shore Em (In rainbows) [Verse 3 β 1:55] Em D Reckoner C Em Take me with you D C Dedicated to all huβ Em All human beings [Instrumental Bridge β 2:20] Em Am B (strings climb β Thom falsetto enters wordless) Em Am B Am Em [Extended Outro β 3:20] Em D C (return to Aeolian verse loop) Em D C Em D C Am Em (In rainbows β the two-chord close) Am Em Am Em (fade to silence β Am landing on Em each time, never the other way round)
Source: Moises chord analysis from htdemucs_6s stems. Key: D minor, 5:26.
Main verse: Dm β Gm (i β iv). Chorus adds F β Bb (bIII β bVI).
Long outro: Gm β F β Dm cycling, gradually stripping to bass and piano alone.
Key: D minor. Scale: D, E, F, G, A, Bb, C
The harmonic architecture is restraint: Dm and Gm trade for nearly three minutes before the chorus opens to F and Bb. The A major at the very end (5:22) is the only dominant cadence in the entire track β five and a half minutes of avoiding resolution, then a single bar of V that fades before it can land.
[Intro β 0:00] F Dm Gm (Rhodes and guitar, slow drift) [Verse 1 β 0:18] Dm I don't want to be your friend Gm I just want to be your lover Dm No matter how it ends Gm No matter how it starts [Chorus β 0:52] F Dm Forget about your house of cards Gm Bb And I'll do mine F Dm Forget about your house of cards Gm Bb And I'll do mine Dm Gm And fall off the table, get swept under Dm Bb Denial, denial [Verse 2 β 1:30] Dm The infrastructure will collapse Gm From voltage spikes Dm Throw your keys in the bowl Gm Kiss your husband 'goodnight' [Chorus 2 β 2:00] F Dm And forget about your house of cards Gm Bb And I'll do mine F Dm Forget about your house of cards Gm Bb And I'll do mine Dm Gm Fall off the table, get swept under Dm Bb Denial, denial Dm Bb Denial, denial Gm Dm (Your ears should be burning) Bb Fm Denial, denial Dm (Your ears should be burning) [Extended Outro β 3:30] Bb Fm (bass drops β the floor falls out) Gm F Dm (cycling down β Gm lands, F lifts briefly, Dm closes) Gm F Dm Gm F Dm Gm Dm Gm F Dm F Dm F F A (only major V in the song β never resolves β fades here)
Source: Moises chord analysis from htdemucs_6s stems. Key: B minor (Moises agree), 4:08.
Primary shuttle: Bm β Em (i β iv). Chorus adds D β F# β G (III β V β bVI) for the lift.
Relentless pulse. No real resolution β the jigsaw lands on Bm and stays there.
Key: B minor. Scale: B, C#, D, E, F#, G, A
Primary shuttle: **Bm β Em** (iβiv), unresolved oscillation through both long verses. Chorus breaks the pattern with D β F# β G β Bm, the closest thing to a cadence in the song. The final Bm after "your jigsaw falling into place" is the only real downbeat.
[Intro β 0:00] Bm Em Bm Em (drums only + light guitar) [Verse 1 β 0:08] Bm Em Just as you take my hand Bm Em Just as you write my number down Bm Em Just as the drinks arrive Bm Em Just as they play your favourite song Bm D As your bad day disappears Bm Em No longer wound up like a spring Bm Em Before you've had too much D Bm Come back in focus again Em Bm The walls are bending shape Em Bm They've got a Cheshire cat grin D Bm All blurring into one Em Bm This place is on a mission Bm Em Before the night owl Bm Em Before the animal noises Bm Em Closed circuit cameras D Bm Before you're comatose [Verse 2 β 1:07] Bm Em Before you run away from me Bm Em Before you're lost between the notes Em Bm The beat goes 'round and 'round Em Bm The beat goes 'round and 'round F# Bm I never really got there Em Bm I just pretended that I had D Em Words are blunt instruments Bm Em Words are sawn-off shotguns F# Bm Come on and let it out F# Bm Come on and let it out F# Bm Come on and let it out F# Bm Come on and let it out Em Bm Before you run away from me Em Bm Before you're lost between the notes D F# Just as you take the mic G Bm Just as you dance, dance, dance [Chorus β 2:25] D F# A jigsaw falling into place G Bm So there is nothing to explain D F# You eye each other as you pass G Bm She looks back, and you look back D F# Not just once, and not just twice G Wish away your nightmare F# Wish away the nightmare G Bm You got the light, you can feel it on your back G F# A light, you can feel it on your back D F# G Bm Your jigsaw falling into place
Source: Moises chord analysis from htdemucs_6s stems. Key: C# minor, 4:41.
Intro: C# (Picardy) β E β A figure. Body: A β C#m two-chord loop (bVI β i), 70+ bars.
Outro: C#m β E β F#m β C#m (i β bIII β iv β i). Final chord held 18 seconds.
The album's closing track. One of the most harmonically still songs Radiohead ever recorded.
Key: C# minor. Scale: C#, D#, E, F#, G#, A, B
The motion from the intro C# Picardy into the A β C#m loop is the whole song's arc in miniature: a brief major light, then 3+ minutes of A and C#m trading in near-silence. The outro's F#m arrival at 3:09 is the only new chord in the entire second half. The final C#m held for 18 seconds is the last sound on the album.
[Intro β 0:00] C# E (piano, single notes β no full chords yet) A E C#m E C# [Verse 1 β 0:20] C# E When I'm at the pearly gates A This'll be on my videotape, my videotape C#m E When Mephistopheles is just beneath A And he's reaching up to grab me A C#m This is one for the good days A C#m And I have it all here A C#m In red, blue, green A C#m In red, blue, green A C#m You are my centre when I spin away A C#m Out of control on videotape C#m A C#m On videotape, on videotape, on videotape A C#m On videotape, on videotape, on videotape [Verse 2 β 2:05] A C#m This is my way of saying goodbye A C#m Because I can't do it face to face A C#m So I'm talking to you beforeβ A No matter what happens now C#m You shouldn't be afraid A C#m Because I know today has been A C#m The most perfect day A C#m I've ever seen [Outro β 3:09] C#m E F#m (piano descend β two-note figure, no words) C#m E F#m C#m E F#m C#m E F#m C#m (held 18 seconds β album ends)