Members
Julian Casablancas (vocals), Nick Valensi (guitar), Albert Hammond Jr. (guitar), Nikolai Fraiture (bass), and Fabrizio Moretti (drums)
Formation
The founding process of The Strokes was a serendipitous convergence of childhood connections and a shared musical vision. Julian Casablancas, Fabrizio Moretti, and Nick Valensi, childhood friends with varying musical experiences, came together in the late '90s. The trio's dynamic was enriched with the addition of guitarist Albert Hammond Jr. and bassist Nikolai Fraiture. Bonded by a mutual love for garage rock, punk, and new wave, the quintet officially formed The Strokes in 1998, embarking on a journey to synthesize their diverse influences into a sound that would later redefine the indie rock landscape. The amalgamation of their individual talents and shared passion for music set the stage for The Strokes' rise to prominence in the early 2000s.
Is This It (2001)
"Is This It" The Strokes" debut album released in 2001 under the reputable record label RCA, is an electrifying sonic manifesto that not only redefined the landscape of indie rock but also garnered widespread critical acclaim. Infused with a raw and unfiltered energy, the album became an instant classic, hailed for its gritty exploration of New York City's underground music scene. Featuring iconic tracks like "Last Nite" and "Someday," Julian Casablancas' charismatic vocals, Nick Valensi and Albert Hammond Jr.'s guitar interplay, and the band's overall swagger made "Is This It" a timeless masterpiece. Its critical acclaim propelled The Strokes to the forefront of the early 2000s indie rock revival, cementing their status as trailblazers in the genre.
Room On Fire (2003)
"Room On Fire" the sophomore album by The Strokes released in 2003, seamlessly follows the success of their groundbreaking debut, "Is This It" The Strokes" (2001). While "Is This It" The Strokes" quickly became a cultural touchstone and achieved widespread acclaim, "Room On Fire" faced the challenge of living up to its predecessor's legacy.
From the rhythmic urgency of "12:51" to the infectious guitar riffs of "Reptilia," each track on "Room On Fire" showcases The Strokes' continued commitment to crafting catchy, yet substantive, rock anthems. While not eclipsing the commercial success of their debut, the album solidified The Strokes' standing as stalwarts of the early 2000s rock revival, demonstrating their artistic growth and ability to sustain their unique sound.
Juicebox and First Impressions Of Earth (2005 - 2006)
"Juicebox" by The Strokes, released as a single on November 14, 2005, ahead of their album "First Impressions of Earth," faced an early online leak, adding to the anticipation. Despite this, the track's bold guitar riffs and Julian Casablancas' charismatic vocals contributed to its positive reception, marking a significant moment in The Strokes' musical journey. They also released a catchy B-side "Hawaii".
"First Impressions Of Earth" The Strokes' third studio album released in January 2006, received a mix of reviews. Critics praised the album's experimental departure from the band's earlier sound, commending Julian Casablancas' introspective lyrics, dynamic guitar work, and rhythmic innovation. Standout tracks like "Juicebox" and "You Only Live Once" showcased The Strokes' ability to evolve while retaining their signature coolness. Despite differing opinions, the album marked a bold exploration of new musical territories and sparked conversations about the band's artistic evolution within the indie rock landscape.
Angles (2011)
"Angles" released by The Strokes in 2011, is a pivotal album in the band's journey, receiving a mix of reviews. Critics lauded its experimentation and collaborative nature, showcasing a departure from their previous works. Standout tracks like "Under Cover of Darkness" and "Machu Picchu" received praise for blending The Strokes' signature sound with fresh influences. While some critics found the album's diversity refreshing, others felt it lacked cohesion. Despite mixed reviews, "Angles" signaled The Strokes' return with a revitalized energy, sparking conversations about their evolving musical direction.
Comedown Machine (2013)
"Comedown Machine" released by The Strokes in 2013, is a unique entry in their discography. The album showcases a departure from their traditional sound, embracing a more synth-driven and experimental approach. Tracks like "One Way Trigger" and "Tap Out" demonstrate The Strokes' willingness to evolve, dividing critics but still affirming their capacity for sonic exploration. "Comedown Machine" adds another layer to The Strokes' musical evolution, inviting listeners into a realm of unexpected sounds and creative divergence. The Strokes adopted a media blackout strategy, refraining from interviews and traditional promotional activities. This intentional approach added an air of mystery to the album's release, sparking curiosity and discussions about the band's creative intentions.
Future Present Past EP (2016)
"Future Present Past" is a 2016 EP by The Strokes, featuring tracks like "Drag Queen", "OBLIVIOUS" and "Threat Of Joy" offering a glimpse into the band's evolving sound during the period between their albums "Comedown Machine" and "The New Abnormal".
The New Abnormal (2020)
Produced by legendary music producer Rick Rubin, "The New Abnormal" is The Strokes' sixth studio album, released in 2020 after a seven-year hiatus. The album represents a return to the spotlight for the band and showcases a blend of their signature rock sound with fresh and contemporary elements. Notable tracks include "The Adults Are Talking" and "Selfless". "The New Abnormal" received critical acclaim for its maturity, experimentation, and the band's ability to evolve while staying true to their distinctive style. The album's release was a highly anticipated moment for fans, marking a successful comeback for The Strokes after their extended hiatus.
Albert Hammond Jr. confirmed, that The Strokes are working on a new album, a follow-up to the succesful "The New Abnormal".
Here are the band members' side projects along with their released albums:
Julian Casablancas:
Julian Casablancas - Phrazes For The Young (2009).The Voidz - Tyranny (2014), Virtue (2018).
Albert Hammond Jr.
Albert Hammond Jr. - Yours To Keep (2006), Como Te Llama? (2008), Momentary Masters (2016), Francis Trouble (2018).
Nick Valensi
CRX - New Skin (2016), Peek (2018).
Fabrizio Moretti
Little Joy - Little Joy (2008).machinegum - Conduit (2019).
Nikolai Fraiture
Nickel Eye - The Time Of The Assassins (2008).SUMMER MOON - With You Tonight (2017), Casino Days (2023).
05 Taken For A Fool
The Strokes Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Sister, don't you forget my number, on the door.
You've got something and it's so good to see,
Something wonderful that I could not be.
Everybody hanging on for their lives,
But you can't help them 'cause you don't have the time.
I know, everyone goes any damn place they like.
Yeah.
You get taken all the time for a fool.
I don't know why.
You're so gullible but I don't mind.
That's not the problem.
And I don't need anyone with me right now.
Monday, Tuesday is my weekend.
You get taken for a fool all the time.
I don't know why.
The ? are putting it on me
I can't let you 'cause I see what it means,
It's so early I don't want to wake up.
I wish I left you 'cause we never grew up.
Mama, it feels like just yesterday.
Mama, don't you forget my number
I don't want to be the one at the door.
I know, everyone goes any damn place they choose.
And I hope everyone well on the toxic radio.
A tourist, in the ghetto, not afraid of anything.
Except death, and anything else, that could maybe hurt the most. Yeah.
You get taken all the time for a fool.
I don't know why.
You're so gullible but I don't mind.
That's not the problem.
And I don't need anyone with me right now.
Monday, Tuesday is my weekend.
You get taken all the time for a fool.
I don't know why.
You get taken all the time for a fool.
I don't know why.
I don't know why.
The lyrics to The Strokes' song Taken for a Fool seem to address a sister figure who is quick to believe and trust others, ultimately leading to her being taken advantage of. The singer urges his sister to visit him while she still can and assures her not to forget his number on the door. He acknowledges the greatness and potential within his sister, something wonderful that he could not be himself. However, he also acknowledges her vulnerability and indicates that she doesn't have the time to help others who are hanging on for dear life.
In the second verse, the singer switches to addressing his mother, reminiscing about their past and worrying about becoming the person left at the door. He then states that everyone goes wherever they please and hopes that his message goes over well on toxic radio. The song also includes a line about being a tourist in the ghetto and not being afraid of anything except death and anything else that could cause the most pain, further emphasizing the vulnerability and fear that can arise even in seemingly fearless individuals.
Overall, the lyrics seem to address themes of vulnerability, trust, and the fear of being taken advantage of or left behind. The singer urges his sister and himself to stay aware and vigilant, acknowledging that the world is full of those who might exploit or hurt them.
Line by Line Meaning
Sister, visit us while you still can,
Asking a sibling to spend time together before it's too late
Sister, don't you forget my number, on the door.
Asking the sibling to remember their contact information in case they want to meet up again
You've got something and it's so good to see,
Complimenting the sibling on a positive trait they possess
Something wonderful that I could not be.
Acknowledging that the sibling is better at something than they are
Everybody hanging on for their lives,
Commenting on the struggles that people are facing
But you can't help them 'cause you don't have the time.
Feeling unable to provide support due to lack of time and energy
I know, everyone goes any damn place they like.
Acknowledging that people have different paths in life
I hope this goes over well, on the toxic radio.
Expressing a desire for the song to be well-received despite its controversial subject matter
You get taken all the time for a fool.
Pointing out how easily the sibling is deceived
I don't know why.
Expressing confusion about why the sibling is so gullible
You're so gullible but I don't mind.
Not being bothered by the sibling's gullibility
That's not the problem.
Stating that gullibility isn't the main issue
And I don't need anyone with me right now.
Preferring to be alone at the moment
Monday, Tuesday is my weekend.
Being off work on those days and considering them as free time
The ? are putting it on me
Feeling blamed for something
I can't let you 'cause I see what it means,
Refusing to go along with something because it's too risky
It's so early I don't want to wake up.
Not wanting to face the reality of the situation
I wish I left you 'cause we never grew up.
Regretting not ending the relationship sooner
Mama, it feels like just yesterday.
Reflecting on how quickly time has passed
Mama, don't you forget my number
Asking their mother to remember their contact information in case she needs to get in touch with them
I don't want to be the one at the door.
Not wanting to wait for someone to show up
A tourist, in the ghetto, not afraid of anything.
Feeling bold and fearless despite being in a dangerous place
Except death, and anything else, that could maybe hurt the most. Yeah.
Being afraid of anything that could cause physical or emotional pain
You get taken all the time for a fool.
Repeating the earlier observation about the sibling being easily deceived
I don't know why.
Again expressing confusion over why this keeps happening to the sibling
Lyrics © Warner/Chappell Music, Inc., BMG RIGHTS MANAGEMENT US, LLC
Written by: FABRIZIO MORRETTI, JULIAN CASABLANCAS, NICK VALENSI
Lyrics Licensed & Provided by LyricFind
Kylian Dash
De acuerdo con comentarios de gente que asistió a esa presentación, aseguran que tocaron la canción 2 veces antes, y en ambas hubo errores, pero los más notorios siempre fueron los de Fabrizio, por lo que para su presentación emitida en tv Julian ya venía bastante calientito.
0:00- 0:05 Fab propone el tempo con cierta cara de vergüenza o incomodidad.
0:23 "Fucking Pussy" (Pinche joto), dirigido para Fab.
0:50 - 0:57 Nikolai mira a Fab como diciendo "Lo estás haciendo bien, puedes hacerlo"
0:52 En ese mismo momento Julian hace una seña obscena a Fab (Mano izquierda, a sus espaldas)
1:13 Albert mirando a Fabrizio como señalando un cambio por venir [en la canción, obviamente]
1:18 Julian dice "Fucking pussy, c'mon"
1:29, 1:42, 1:50 miradas de ira de Jules a Fab
2:15 Julian señala a Fab con su pulgar, refiriéndose a él como el "turista en el barrio sin miedo a nada mas que a morir" xd
2:58 Interrumpe el verso que estaba por cantar, cambiándolo por "I don't know why", en señal de que tenían que tocar la versión extendida, Jules remarca esto al cambiar la letra por "Radio ending", entendiéndose que Fab estaba tocando la versión de radio, la más corta.
Una vez terminada la canción, Letterman se acerca para intentar remediar la evidente molestia entre los miembros, a lo que Julian responde con sarcasmo que la culpa fue de sí mismo y no de Fab, a lo que Letterman le responde que está siendo muy duro consigo mismo.
3:15, 3:40 Fab no deja de sonreír de manera poco natural.
Detrás o de fondo del escenario podemos notar cómo Julian levanta su pulgar a los miembros de la banda de manera cínica, persiguiendo a Fab y éste alejándose de él.
mteresa
0:00- 0:05 Fab proposes the time with a certain face of embarrassment or discomfort.
0:20 "Fucking Pussy" (Pinche joto), directed by Fab.
0:50 - 0:57 Nikolai looks at Fab as if to say "You're doing well, you can do it"
0:52 Just then Julian makes an obscene gesture to Fab (left hand, behind back)
1:13 Albert looking at Fabrizio as if signaling a change to come [in the song, of course]
1:18 Julian says "Fucking pussy, come on"
1:29, 1:42, 1:50 Jules stares at Fab
2:17 Julian points his thumb at Fab, referring to him as the "tourist in the neighborhood who fears nothing but death" xd
2:58 He interrupts the verse he was about to sing, changing it to "I don't know why", as a sign that they should play the extended version, Jules points this out by changing the lyrics to "Radio end", which means Fab was broadcasting the radio version, the shortest.
3:28 Julian ends the song by throwing a whoah, signifying they're broken.
After the song is over, Letterman comes over to try and make up for the obvious annoyance between the members, to which Julian sarcastically replies that it was his fault and not Fab's, to which Letterman tells him he was too hard on himself .
3:15, 3:40 Fab keeps smiling unnaturally.
Behind or in the background of the stage we can see how Julian cynically raises his thumb at the band members, chasing Fab and this away from him.
Kylian Dash
De acuerdo con comentarios de gente que asistió a esa presentación, aseguran que tocaron la canción 2 veces antes, y en ambas hubo errores, pero los más notorios siempre fueron los de Fabrizio, por lo que para su presentación emitida en tv Julian ya venía bastante calientito.
0:00- 0:05 Fab propone el tempo con cierta cara de vergüenza o incomodidad.
0:23 "Fucking Pussy" (Pinche joto), dirigido para Fab.
0:50 - 0:57 Nikolai mira a Fab como diciendo "Lo estás haciendo bien, puedes hacerlo"
0:52 En ese mismo momento Julian hace una seña obscena a Fab (Mano izquierda, a sus espaldas)
1:13 Albert mirando a Fabrizio como señalando un cambio por venir [en la canción, obviamente]
1:18 Julian dice "Fucking pussy, c'mon"
1:29, 1:42, 1:50 miradas de ira de Jules a Fab
2:15 Julian señala a Fab con su pulgar, refiriéndose a él como el "turista en el barrio sin miedo a nada mas que a morir" xd
2:58 Interrumpe el verso que estaba por cantar, cambiándolo por "I don't know why", en señal de que tenían que tocar la versión extendida, Jules remarca esto al cambiar la letra por "Radio ending", entendiéndose que Fab estaba tocando la versión de radio, la más corta.
Una vez terminada la canción, Letterman se acerca para intentar remediar la evidente molestia entre los miembros, a lo que Julian responde con sarcasmo que la culpa fue de sí mismo y no de Fab, a lo que Letterman le responde que está siendo muy duro consigo mismo.
3:15, 3:40 Fab no deja de sonreír de manera poco natural.
Detrás o de fondo del escenario podemos notar cómo Julian levanta su pulgar a los miembros de la banda de manera cínica, persiguiendo a Fab y éste alejándose de él.
andres sepulveda
Como sabes que le dice fucking pussy o otras cosas yo no lo logre captar y no lo escucho en el audio (duda seria ).
Kylian Dash
@andres sepulveda Leyendo sus labios, o bueno, para mí parece que dice eso jaja
Diego Alt.
@Kylian Dash Se nota clarisimo 🤣, julian estaba un poco loco ese dia
Juan Sebastian Sanchez Gonzalez
Que chismononon, tkm tio Kylian.
Frank Marin
Recuerdo haberlo leído en inglés en el vídeo original XD
Fredy Rojas
No se preocupen, ya hasta le pide a Fab que toque por favor.
Solange
Jajajajjaj
Kenet Ramirez
:D
ani
JAJAJAJAJAJAJAJJAAJ, drums please, fab.😔✊