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).
The Strokes -You're So Right
The Strokes Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Tell me what happened
Tell me what happened
If you like
Get off on the same floor
Get off on the same floor
Get off on the same floor
Every night
What are the reasons
What are the reasons
What are the reasons
To follow
I wanna tell you
I wanna tell you
I wanna tell you
Nothing
In my eye, even though
They are worms in the dirt
I'm done with the office
I'm done with the office
I'm done with the office
Hello, forest
I still want to ask you
I still want to ask you
I still want to ask you
Something more
In my eye, even though
They are worms in the dirt
I don't want to fight
Don't wanna beg
You and me
I don't want to fight
Don't wanna beg
You and me
I don't want to fight
Don't wanna beg
You and me
Why?
I don't wanna argue
I don't wanna argue
I don't wanna argue
Think you would
I wouldn't hurt you
I wouldn't hurt you
I'd never even hurt you if I could
The Strokes's song You're So Right is a ambiguous masterpiece, with lyrics whose meaning is open to interpretation. The song starts off with lead singer Julian Casablancas asking someone to tell him what happened, as if something has gone wrong and he's trying to piece together the situation. He then suggests that they both get off on the same floor every night, perhaps referring to a sexual encounter or an office routine that they share. However, he quickly dismisses this idea by saying "what are the reasons to follow", implying that he doesn't quite know what he wants.
The lyrics then take a strange turn with the line "in my eye, even though they are worms in the dirt". This could be interpreted in various ways, but it seems to suggest that the singer is seeing beauty in something that is normally considered unpleasant or repulsive. The metaphorical meaning of this line is left up to the listener's interpretation.
The chorus of the song repeats the lines "I don't want to fight, don't want to beg, you and me, why?" This could be interpreted as the singer trying to maintain a peaceful relationship without tension or conflict, but not fully understanding why that's important. Overall, You're So Right is a complex and enigmatic song that showcases The Strokes's unique songwriting style.
Line by Line Meaning
Tell me what happened
Please explain the events that occurred
Tell me what happened
I need more information about what took place
Tell me what happened
What occurred is unclear and I'm asking for clarification
If you like
Providing an option for the listener to share
Get off on the same floor
We are getting out of the elevator at the same level
Get off on the same floor
We exit the elevator at the same location consistently
Get off on the same floor
Reinforcing the fact that we share a common exit point
Every night
This is a regular occurrence that happens in the evenings
What are the reasons
What are the motivations behind the action being taken
What are the reasons
I require a logical explanation for the behavior being displayed
What are the reasons
Asking for a proper justification
To follow
What is the course of action that should be pursued
I wanna tell you
I have something I wish to share
I wanna tell you
There is something important that needs to be communicated
I wanna tell you
An urge to express oneself and have an audience to listen
Nothing
This statement is not of great significance
In my eye, even though
Despite my perception being flawed, I still see
They are worms in the dirt
What I am seeing with flawed perception is actually unimportant
I'm done with the office
I have concluded my time in my workplace
I'm done with the office
I am finished with my job and ready to move on
I'm done with the office
This job is no longer satisfying or interesting
Hello, forest
Embarking on a new journey with nature
I still want to ask you
There is a remaining question I would like to pose
I still want to ask you
There is more information I would like to obtain from you
I still want to ask you
I seek further knowledge from the listener
Something more
There is additional information that is needed
I don't want to fight
There is no desire to engage in conflict
Don't wanna beg
Avoiding the act of pleading or requesting excessively
You and me
The two of us in the midst of a disagreement
I don't want to fight
Stressing once more that conflict is not wanted
Don't wanna beg
Reinforcing the desire to avoid excessive pleading
You and me
It is the two of us who are facing issues
I don't want to fight
A final declaration that conflict is undesirable
Don't wanna beg
Emphasizing the aversion to excessive requests
You and me
Reiterating that it is the two of us who are involved
Why?
What is the reason behind these issues
I don't wanna argue
Stating that disagreeing is not enjoyable
I don't wanna argue
Conflict is something to be avoided
I don't wanna argue
There is no interest in arguing
Think you would
Believing that the other person desires to argue
I wouldn't hurt you
Ensuring the other person that there is no intention of causing harm
I wouldn't hurt you
Reaffirming that harm is not the intended goal
I'd never even hurt you if I could
The statement that causing harm is undesirable and will not happen
Lyrics © Warner/Chappell Music, Inc.
Written by: JULIAN CASABLANCAS, NICK FRAITURE
Lyrics Licensed & Provided by LyricFind
@javonmccovery3081
LYRICS:
One by one, ticking time bombs won
It's not the secrets of the government
That's keeping you dumb
Oh, it's the other way around, wait
What's that sound?
One by one, baby, here they come
He wants it easy, he want it relaxed
Said, "I can do a lot of things, but I can't do that"
Two steps forward, then three steps back, alright
Won't you take a walk outside? Oh, no
Can't you find some other guy? Oh, no
One-nine-six-nine, what's that sound? Oh, no
Keeping down the underground, oh, no
The end has no end, the end has no end
The end has no end, the end has no end
He want it easy, he want it relaxed
Said, "I can do a lot of things, but I can't do that"
Two steps forward then three steps back, it won't be easy
Won't you take a walk outside? Oh, no
Can't you find another guy? Oh, no
One-nine-six-three, what's that sound? Oh, no
Keeping down the underground, oh, no
The end has no end, the end has no end
The end has no end, the end has no end
The end has no end, the end has no end
The end has no end, the end has no end
@jmjmjam
easily the greatest band of the 2000's
@impulseki9896
jmjmjam easily the greatest band ever
@lucakat9262
@@impulseki9896 yeah, they are known as the last great rock n roll band and I can see why.
@laytonn1160
@@lucakat9262 parquet courts last album is pretty nice
@lucakat9262
@@laytonn1160 each to their own. You have the right to your opinion.✌
@Dehothedestroyer
*ever
@eireal6175
00:31 probably one of the most iconic, technical and underrated riff of the 2000
@davidmfass
I guess that's the state of music these days. 1960's-1990's most songs had incredible guitar. But I agree, it's a nice lick. I should learn it.
@yanniscuypers1259
It reminds me a bit of sweet child o mine although the song is overall totally different
@edwickquiles5331
It's about dang time that riff got the cred it deserves(!). Really.