he wore "for three years". Recording According to the Radiohead bassist, Colin Greenwood, Radiohead's producer Nigel Godrich was initially unimpressed by "Everything in its Right Place". Radiohead worked on the song in a conventional band arrangement in Copenhagen and Paris, but without results. One night, while they were working in Gloucestershire, Yorke and Godrich transferred the song from piano to a Prophet-5 synthesiser. Yorke hesitated to use the line "Yesterday I woke up sucking a lemon", but recorded it at Godrich's encouragement. Godrich processed his vocals in Pro Tools using a scrubbing tool. For live performances, Radiohead recreated the vocal effect by manipulating Yorke's vocals with Kaoss Pads. The lead guitarist, Jonny Greenwood, said the song was a turning point in the making of Kid A: "We knew it had to be the first song, and everything just followed after it." He said it was the first time Radiohead had been happy to leave a song "sparse", instead of "layering on top of what's a very good song or a very good sound, and hiding it, camouflaging it in case it's not good enough". The guitarist Ed O'Brien and the drummer, Philip Selway, said the track forced them to accept that not every song needed every band member to play on it. O'Brien recalled: "It forced the issue, immediately! And to be genuinely sort of delighted that you'd been working for six months on this record and something great has come out of it, and you haven't contributed to it, is a really liberating feeling." Composition "Everything in its Right Place" is an electronic song featuring synthesiser and digitally manipulated vocals. ABC.net described it as "dissonant" and "ominous". According to NME, it features "Warp-style electronica, minimalism and all manner of glitchy creepiness", with a "weirdly hymnal dreamscape of ambient keys". O'Brien observed that it lacked the crescendos typical of Radiohead's previous songs. The minimalist composer Steve Reich, who reinterpreted "Everything in Its Right Place" for his 2014 album Radio Rewrite noted the song's unusual harmonic movement, observing that "it was originally in F minor, and it never comes down to the one chord, the F minor chord is never stated. So there's never a tonic, there's never a cadence in the normal sense." He also noted that the word "everything" follows the dominant and tonic: "The tonic and the dominant are the end of every Beethoven symphony, the end of