{"id":267762,"date":"2025-11-17T12:20:10","date_gmt":"2025-11-17T12:20:10","guid":{"rendered":"https:\/\/www.newsbeep.com\/uk\/267762\/"},"modified":"2025-11-17T12:20:10","modified_gmt":"2025-11-17T12:20:10","slug":"jonny-greenwoods-favourite-radiohead-guitar-part","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/uk\/267762\/","title":{"rendered":"Jonny Greenwood’s favourite Radiohead guitar part"},"content":{"rendered":"

\"Jonny<\/p>\n

(Credit: Zach Klein)<\/p>\n

Mon 17 November 2025 9:32, UK <\/p>\n

Radiohead maestro Jonny Greenwood<\/a> is a leader of the fretboard. He has delivered many compelling, enthralling and outright astounding moments on the six-string over the years, pushing the instrument to new heights and helping to change its parameters in the contemporary era.<\/p>\n

Greenwood\u2019s sonic explorations within Radiohead are marked by his eclectic guitar stylings, innovative use of effects pedals, and a penchant for pushing sonic boundaries. His guitar work, mixing textures and atmospheres, defy conventional norms, elevating Radiohead\u2019s music to intangible realms.<\/p>\n

Given that he is such\u00a0a vital guitarist<\/a>, the question of Greenwood\u2019s finest moment on the instrument has been a point of conversation for years. Much like Johnny Marr before him, Greenwood\u2019s approach to the instrument has inedibly changed how it is now perceived, and, much like Marr, he has created a universal sound that feels steeped in British culture. But, in typical British fashion, when asked to reflect on his own work, he is unwilling to be too brash. <\/p>\n

Naturally, that hasn\u2019t stopped the six-string supremo from being asked about what his favourite guitar line is for the band. Typically coy, the man himself offers up insightful answers that turn the question on its head and present a different perspective. After all, Greenwood and Radiohead have made a career out of thinking outside the box.<\/p>\n

Greenwood was questioned about his guitar playing when speaking to The Guardian<\/a> in 2018 to promote his acclaimed soundtrack for Phantom Thread, longtime collaborator Paul Thomas Anderson\u2019s hit historical drama. Discussing the best work of his career, he was reluctant to mention just one but noted that \u2018Ful Stop\u2019 from A Moon Shaped Pool has particularly \u201csatisfying\u201d phasing arpeggios. <\/p>\n

\u201cI\u2019m more proud of what we\u2019ve written than how I play. \u2018Ful Stop\u2019 has good phasing arpeggios, which are really satisfying,\u201d he said. \u201cAlso, talking of PTA, I like the version of \u2018Present Tense\u2019 he filmed with me and Thom, performing in his back garden. That\u2019s a nice guitar line, how it supports the song and dances around.\u201d<\/p>\n

Elsewhere, Greenwood was asked if he still likes to strip things back during rehearsals, to which he responded: \u201cOf course. Nothing\u2019s more exciting than playing an electric guitar in a small room with a good drummer.\u201d<\/p>\n

He added: \u201cAnd sometimes it\u2019s worth recording what you play, and sharing that with other people \u2013 just not always.\u201d<\/p>\n

There\u2019s a good chance that Greenwood\u2019s pick was connected to one of their latest releases because he believes that the band\u2019s evolution is always the most important piece of the puzzle. After all, this is a group that almost completely refuses to play their biggest hit in \u2018Creep\u2019. But, listening back to the track, there is a delicacy within the song that seems to perfectly capture the spirit of Greenwood\u2019s playing, so perhaps he has thought about a bit himself after all. <\/p>\n<\/p>\n

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