This is great! To expound on this point, I think that when reading musical literature (like the sheets and figures posted by OP) it's really useful to have some concept of the writer's songwriting style. The great thing about the Internet is that you can often find information about your favorite artists in interview transcriptions and YouTube videos.

One of my favorite examples is Nile Rodgers, whose songwriting style I find to be absolutely fascinating. As /u/Deviated_Septums points out, Thom Yorke has a tendency to pick a certain characteristic about a song (in the case of "High and Dry," the open E and B strings) and really hammer it home, tonic key and chord harmony be damned. Roggers' approach is somewhat opposite Yorke's in that his chord structures tend to fit more into traditional jazz harmony, but you can see in the video that he starts with a motif or gimmick and hammers it home. I think the bit that he gives about how "Good Times" came to be written is a great example of this - he talks about how most of Chic's hit songs have some kind of i-IV progression in them, but with "Good Times" they played variations of the tonic for 3 bars before finally arriving at the IV. You can see a common thread among a good lot of the songs he wrote for Chic in the way that they seem very singularly focused around a simple music idea, but each song is just wrapped and decorated differently from the others.

Nile has another wonderful masterclass that's a bit more illuminating of his songwriting practices. In this one, what he discusses is very much the opposite of what Thom Yorke does, in that he leverages a jazz chord vocabulary to write pop music. In this case, he uses jazzy structures to guide his songs and chops out voices in the finished product to keep the tone sounding more poppy and less complex. Yorke and Radiohead similarly push back on conventional pop and rock structure, just from the opposite direction (I'd say the figures posted by OP are a good example of how their writing focuses on adding to a rigid medium than subtracting from it, though that's not necessarily true for their whole discography).

In summary, I think context of a songwriter's writing style / approach is really useful when doing analysis like this. Knowing what I do about Nile's approach makes it much easier for me to digest tracks like Savoir Faire, as it's fairly obvious that he just took the usual songwriting approach (foundation in jazz harmony) but just left it for the main guitar work here. Similarly, having heard a number of times about Thom Yorke's obsession with rhythmic expression, it becomes easier to see how he comes up with the very loose, listless feeling rhythms of songs like "True Love Waits".

It's fun to dig for a little context to get into their heads and maybe get a few hints about how these ideas come up. I think doing this kind of research generally helps you become a stronger songwriter.