Released: October 2005
Hurtling towards us on indie rock’s highway, ‘…Dancefloor’ came with its palms open. Guitars sounded like cars veering off the racetrack whilst Alex Turner’s lyrical dexterity hit with thrilling but entirely gob smacking levels of ingenuity. He seemed like he’d come from another time, a scholar amongst the knuckle dragging indie slackers who were rhyming ‘love’ with ‘dove’. His soon-to-be-legendary character portraits were nascent but here he shows his flair for the cheeky and literary; a quick nod to Shakespeare here, a wink to Duran Duran there. An indie hero was born on the ‘…Dancefloor’. (PE)
How We Wrote 'I Bet That You Look Good On The Dance Floor'
"I can remember recording it the first time we did it, because we did it with this guy Alan Smyth in Sheffield. And then when we started our first record with James Ford and this guy Mike Crossey in Liverpool. We did like a week [in the studio], we'd been on tour and we'd done like ten songs in a week and we were like, 'This is it! We've done us our album! Put it our tomorrow, please – yesterday if you can?!' But everything was kind of… we did it on tape and it was recorded at about 300 miles per hour. It were a bit too live. And at that point it was suggested to us that perhaps we try a different avenue. So we went back with this producer called Jim Abiss in Lincoln and started going through the songs and listening to the demos and trying to pick the best bits. Because everyone was so into these demos of it we wanted to get a bit of that, but kind of like a better recording of it.
It's funny because when we were recording that tune, the video was already on telly for it. So people would be watching TV in the other room or whatever and be like, 'Quick! We're on MTV' or whatever, because the version we did for the video we did another recording of it, it was just us playing in a TV studio or whatever. That version of it was just there and then. So we were trying to cut it in one room and it was on the telly in the other room. It was like, 'Just use that maybe?!'
So we did it with Jim in Lincoln, and then that became the version. But it all came from that drum thing at the beginning originally. That was the first part of the song, that drum bit. I play the lead [guitar] on it, but I really can't remember when that happened, or even what practise room we were in. But I remember Matt [Helders] playing that thing. I guess it was some exercise that he'd seen somewhere, or a version of it, which he'd sped-up, because he was doing it as fast as he could. A lot of those songs back then came from something that he'd played, because he almost plays riffs on drums, or plays leads.
It's more fun than ever to play it now. I probably fell out with it for a moment somewhere along the way. But I fall out with all of them at some point. But I'd never imagine not playing it [live], and now when it comes round in the set it's just like…fun. We all really enjoy playing that.
Some of the other songs we've written since then are a bit more complex and you have to concentrate a little bit more and you have to think about singing in tune and playing the right notes. And that one, you can sort of have a laugh with it for a few minutes. We still manage to murder it something though."
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