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publicguitar and drums have switched roles here - the guitar plays the same lick repeatedly over this guitar solo, while the drums are the thing that changes
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publici find it incredibly funny that frank zappa’s entire discography is ironic, with the exception of this song which goes “racism bad”
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publicDrums start playing more bass/tom to build up to climax
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publicFeels like the climax of the solo. Big bend.
Going back and listening more carefully, the reason it feels like the climax is because the drums help build up tension right before it. Starting at 3:12, the drums play a bass/tom heavy beat, creating this buildup. That rhythm also stops after this climax.
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publicThe guitar solo on this song makes me think of aerial combat. When I listen to it I imagine a fighter jet fighting off a fleet of enemies and emerging victorious.
This introduction to the solo, where a faded version of the solo starts playing before the actual solo starts playing, evokes the sensation of feeling a sonic boom before you see a jet plane fly by
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publicopening synths cut out to just a rumbly bass line and the vocals. reminds me of the intro to 
踊り子. i love this combination a lot (rumbly bass line and vocals), want to use it sometime in a song
踊り子. i love this combination a lot (rumbly bass line and vocals), want to use it sometime in a song
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publicfinally: i respect the guitarist's choice to not use trap rhythms on the solo, but i think it would still sound cool, and i want to try doing so myself
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publicgreat guitar solo on this. in my head, the obvious solo would go for the same rhythmic patterns of the vocals. the guitarist doesn't do that here which is cool.
the solo shreds but it doesn't go overboard with it, and starts more melodically with some big bends
the tone is also monstrously good, i get goosebumps when the solo starts
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publicgreat combination of trap and metal, building off the blueprint of tracks like 
Fuck Around and Find Out (feat. $NOT).
Fuck Around and Find Out (feat. $NOT).
the thumpy guitar riff is reminiscent of Tosin Abasi's style, 
Physical Education comes to mind as an example
Physical Education comes to mind as an example ...
publicabsolutely killer bass solo (more like a bass break I guess) here
repeats the same motif but its totally locked in with the drums and feels incredible
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publicLove the electric guitar comping on this - complements the vocals very well. Busy, but not too busy.
The phrasing sounds very much like Carlos Santana - maybe 
Smooth (feat. Rob Thomas). Both songs also open with guitar solos.
Smooth (feat. Rob Thomas). Both songs also open with guitar solos.
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publicI love the piano solo on this. It's pretty simple, starts mostly pentatonic but gets jazzier. Would be fun to transcribe
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publicI've listened to this song a lot while traveling, mostly because the lyrics are kind of about it.
Far Away is not super similar to this song musically, but it evokes the same feeling of wanting to explore somewhere new. I also listen to it a lot while travelling
Far Away is not super similar to this song musically, but it evokes the same feeling of wanting to explore somewhere new. I also listen to it a lot while travelling...
publicI love the percussion at the start of this, the sound of drumsticks and a kick drum
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publicThe start of the guitar solo here quotes a motif from the song right before it on the album, 
Spring Spring (motif introduced around 0:20 in original song)
Spring Spring (motif introduced around 0:20 in original song)
I also really like the phrasing in this solo, it's very relaxed and spacey.
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publickiller #bass line
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publicListen to how the bass and drums cut out at the climax of the solo, it's incredible
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publicAs the piano solo builds into a climax, the guitar comping switches from a syncopated rhythm to strumming on the beat for emphasis
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publicThe fuzz intensifies further here.
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publicI don't like the way the bass is mixed here - it sounds terribly muddy. There's enough room in the low end to have the bass come through more clearly.
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publicI really like Nick Valensi's #guitar work on this song - the #solo after the chorus is great. I tried transcribing it, and it's actually quite difficult, requires some pretty fast alternate picking.
It's also played in #dorian-mode , sharping the 6th of the minor scale.
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publicThe first time I was trying to solo over a new song with The Walkups, I accidentally regurgitated the first four bars of the solo on this song without meaning to. I've never transcribed this solo, and at the time I wasn't even particularly fond of this song. I was sure I had copied my solo from somewhere but wasn't sure where. This song came on shuffle a couple days later while I was biking to work and I suddenly realized I had unconsciously ripped off an entire measure of the solo.
Anyways, I like this solo a lot.
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publicBy convention, I'm used to guitar solos happening after the second chorus, where a bridge would usually be in a song. But it seems like a lot of indie rock songs tend to place them right after the first chorus. This song does that, 
I Bet You Look Good On The Dancefloor and 
The Modern Age do as well.
I Bet You Look Good On The Dancefloor and The Modern Age do as well.
Come to think of it, I can't think of a single Strokes song where the solo happens during the bridge.
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publicThere's this accompanying riff that he plays during the chorus that's fantastic where he arpeggiates the triads to chords of the chorus. It sounds so angular and distinct.
He definitely has a very distinctive soloing style, especially for a indie rock guitarist. He really likes playing intervals, triads and changes - it's a lot more sophisticated than your basic pentatonic indie rock soloing (which is mostly what I do). Contrast this to the solos in Arctic Monkeys songs (which I still really like!), which are almost all pentatonic, with basic bends - think I Bet You Look Good On The Dancefloor. Even fancier indie rock solos like the one in 
Slow Dance II (or 
Even Flow, if we want to expand to grunge) are mostly pentatonic, and draw mostly from the Hendrix/SRV style of playing. What Nick Valensi plays here sounds completely different, and that's cool.
I Bet You Look Good On The Dancefloor. Even fancier indie rock solos like the one in Slow Dance II (or Even Flow, if we want to expand to grunge) are mostly pentatonic, and draw mostly from the Hendrix/SRV style of playing. What Nick Valensi plays here sounds completely different, and that's cool.
