the riverboat song arctic monkeys

The 30 Best Arctic Monkeys Songs

By Rolling Stone

Rolling Stone

Any band that hits as hard as Arctic Monkeys hit in 2005 runs the risk of forever being trapped in rock ’n’ roll amber, doomed to push the same four-chord boulder up a hill, or fall into a nostalgic abyss. Arctic Monkeys not only avoided that fate, they thrived in the face of it. In the 18 years since their debut single (“Fake Tales of San Francisco” b/w “From the Ritz to the Rubble,” still both among their best), they’ve crafted one of the most compelling catalogs in contemporary music, and Alex Turner has solidified his place as one of this generation’s great songwriters and frontmen. 

Arctic Monkeys achieved this not through pandering or “playing the hits,” but by regularly confounding expectations: enlisting Josh Homme to gunk up their jitteriness with some desert sludge, or trading in their guitars for pianos as they embarked on a full-blown space odyssey. And through his lyrics, Turner crafted a language and style all his own. He’s a yarn weaver, as quick with a quip or a clever bit of wordplay as he is with some stark, sincere, sage distillation of the ways we live and love. Even as his metaphors have grown more oblique, his imagery a touch phantasmagorical and deliciously ludicrous, his words remain grounded in the kind of kitchen sink realism that made Arctic Monkeys’ earliest recordings so thrilling and immediate.

So here are 30 great Arctic Monkeys songs that celebrate and showcase that creativity and breadth. Like any best of list, think of this as just a best of list, not the best of list (in other words, please don’t @ us). Hopefully, though, this list expresses what’s so great about those lovable lads from Sheffield — the way they got us to stop asking, who the fuck are Arctic Monkeys? , and start wondering, who the fuck are Arctic Monkeys going to be next?

‘Teddy Picker’

In case you’re a bit confused as to the meaning of its title — as I was when I first heard it — the “teddy picker” refers to a claw machine, symbolizing pick-me people who will do anything for fame. It’s one of several songs off sophomore album Favourite Worst Nightmare that tackle this theme, and without question the most acid-tongued. Turner, his fiery lyrics buoyed by drummer Matt Helders’ shouty backup vocals, takes no prisoners here: “They’ve sped up to the point where they provoke/You to tell the fucking punchline before you have told the joke/Well sorry, sunshine, it doesn’t exist/It wasn’t in the Top 100 list.” The man has a way with words. — M.S.

“Red Light Indicates Doors are Secure”

One day, there will be a jukebox musical based on Whatever People Say I Am, That’s What I’m Not . It’ll be set in a working-class Sheffield club, and the “Red Light Indicates Doors Are Secured” number will be the sleeper hit of the show. We meet the lads following yet another alcohol-fueled evening as they run afoul of one of the UK’s famous no-BS cab drivers in pre-Uber times. (Listen, this gent didn’t memorize tens-of-thousands of streets and landmarks for his hackney license to put up with this lot — getting in his car with food, for fuck’s sake). The title comes from a sign on the doors of black cab — one of the many very precise details packed into this banger. Can already hear the theater audience singing along with the rallying cry of  “ It’s High Green mate/via Hillsborough, please! ” — L.T.

‘Secret Door’

This high-drama Humbug tune is a smart and effusive love story, in which Turner reflects on getting romantically entangled with a famous woman. The song unfolds at a Wednesday night party, one he anticipates he won’t enjoy and that she won’t either. In the end, he becomes more infatuated, distracted from the “waiting eyes” watching their every move. And what’s a great rock band without a great, famous muse? Like other songs from this era and through AM , the track is rumored to be about Turner’s romance with British model and TV personality Alexa Chung, who was, at the time, on the fast-track to becoming an It Girl in the U.S. after taking over the U.K. The pair would become Mick and Bianca Jagger of the Tumblr age. — B.S.

‘R U Mine?’

The first sign AM was going to be one of Arctic Monkeys best albums came well over a year before the album was even announced. Released in 2012, “R U Mine?” was straightforward, upbeat rock ‘n’ roll, kicking off with thunderous drums and unmistakable guitar riffs. The lyrics told a story of angsty infatuation with an elusive love interest, while Turner weaved in several pop culture easter eggs just for the hell of it. (“I threw in a Thunderbirds reference too. Just because,” he told NME . “Those references are just me being a smart ass.”) The song, simply put, is the definition of the word “banger,” becoming an instant hit that you can’t — and don’t want — to keep out of your head. “R U Mine?” showcases the band at the top of the game — and they clearly knew it, too. — J.G.

‘Leave Before the Lights Come On’

This B-side didn’t make the cut of Whatever People Say I Am, That’s What I’m Not . As Turner tells it, the track was the last song he wrote while recording the album, and he felt it was a bit redundant. It’s still one of their better ones — a sharp examination of the mixed emotions people experience (confusion, regret, resentment) after a drunken one-night stand. “Leave Before the Lights Come On” has a propulsive energy to it, thanks to its rhythmic guitars, and is inextricably linked to the music video accompanying it, featuring Edgar Wright troupe members Paddy Considine and Kate Ashfield. Be sure to watch to the very end. — M.S.

‘Don’t Sit Down ‘Cause I’ve Moved Your Chair’

To paraphrase the towering music critic Homer Simpson, a great chorus doesn’t have to “ mean anything — like, ‘Rama lama ding dong’ or ‘Give peace a chance.’” “Don’t Sit Down ‘Cause I’ve Moved Your Chair” is a fine entry in rock’s cannon of utter nonsense. Its psych-tinged guitars and doom-laden low end create an ominous air, but the lyrics fully embrace the absurd. As Turner told NME , the song came from a goofy thought experiment after producer James Ford suggested the warning, “Don’t sit down ‘cause I’ve moved your chair” could be the title to “a ‘60s garage Nuggets tune.’” The band ran with it, concocting an array of imaginative scenarios that were equal parts ridiculous and dangerous — “Do the Macarena in the devil’s lair,” “Go into business with a grizzly bear,” “Bite the lightning and tell me how it tastes.” To paraphrase another towering music critic, Will Ferrell , “No one knows what it means, but it’s provocative — it gets the people going!” — J.B.

‘One Point Perspective’

In art or film, one point perspective draws your attention to a single spot as a world unfurls around it. The plinking piano seems to be the focal point here, as Arctic Monkeys fuse rock ‘n’ roll with more classic forms of pop, jazz, and soul. There are echoes of this visual idea in the lyrics, too — the narrator’s life in deep stasis, a fixed routine where dreams remain half-realized and the most passion you can muster is when discussing something you’ve watched. And just when you think you’re on the verge of something profound, well, “Bear with me, man, I lost my train of thought.” — J.B.

‘Love Is a Laserquest’

Alex Turner can make even the most devastating break-up songs seem tender, sweet, and even a bit silly. In this ballad off Suck It And See , he tries to get over a former lover (presumably Alexa Chung) with existential questions that compare love to a game of laser tag. Goofy as that sounds, Turner’s lyrical capabilities are on full display with clever couplets like, “you’re still breaking hearts/With the efficiency that only youth can harness.” Each syllable drips with heartbreak, enunciated in Turner’s signature low register, paired with fuzzy production that feels old-timey and warm. — M.G.

‘Knee Socks’

On an album full of impossibly sexy tunes, “Knee Socks” steals the show on AM . An intoxicating guitar riff and slinky drum beat accent Turner’s lusty reflections on the cure to his January blues, who’s walking around her house “wearin’ my sky blue Lacoste/and your knee socks.” The song is a perfect slice of rock ’n’ roll flirtation, but the addicting bridge takes it over the edge in the Arctic Monkeys canon. Turner and producer Josh Homme harmonize fantasies of winning over the knee socks-wearing paramour, complete with a delightfully roundabout reference metaphor involving the use of the Ronettes’ “Be My Baby” at the start of Martin Scorcese’s Mean Streets . — B.S.

‘Body Paint’

There’s something, dare we say, Beatles-esque about “Body Paint.” The shaggy structure, the baroque pop of the strings, even the bright, buzzy guitar tones that feel straight out of “The White Album” or Abbey Road . Of course, Beatles comparisons are always deeply unfair to everyone involved, especially great British bands — even if those bands have, technically, charted a course from uncut rock and roll to expansive, adventurous pop-rock. So let’s just love “Body Paint” for what it is — another high watermark for a band that’s always evolving, while still refusing to be whatever people say it is. — J.B.

‘When the Sun Goes Down’

Alex Turner is also possessed of a keen, observational eye, able to string together yarns about the hardships of working-class life in his native Sheffield. Here, he paints a vivid picture of a forlorn female sex worker contending with wicked pimps and johns — but it’s the tonal and signature shift midway through that dazzles you, strident bass included, reifying her paranoia and vulnerability. Originally titled “Scummy,” the writing is so evocative you feel as though you’re on that cold, dark street, watching this poor woman go through hell. — M.S.

‘Piledriver Waltz’

For an ostensibly sad song, the chorus of “Piledriver Waltz” is one prolonged joke. First, there’s the tempo shift, from rock song to literal waltz, followed by the pamphlets and literature for losers, and of course, the yuk-it-up coup de grâce: “Your waitress was miserable and so was your food/If you’re gonna try and walk on water/Make sure you wear your comfortable shoes.” Around all it, there’s agony and woe, reminders of what was lost. But as a great woman kinda sorta put it , heartbreak can feel funny in a place like this. — J.B.

‘I Wanna Be Yours’

What happens when you set a drum machine and a languid riff to a Dr. John Cooper Clarke poem? Well, if Arctic Monkeys are doing it, you get a sultry, rock-tinged confession like “I Wanna Be Yours.” The slow jam-inspired beats swirling with Turner’s layered vocals make Clarke’s clever, anti-consumerist metaphors (“Wanna be your vacuum cleaner/breathing in your dust”) feel like a sexy proclamation from a lovesick narrator. It shouldn’t work, but it strangely does. “I thought those sweet, sexy melodies with a Johnny Clarke poem would be an awesome juxtaposition. An unlikely one,” Turner said of the track . — M.G.

‘Pretty Visitors’

“Pretty Visitors” is an early highlight in Arctic Monkeys intriguing, often fruitful, sometimes divisive partnership with Josh Homme. With its eerie organ intro, booming choir-like vocals, and absolute monster riffage, it’s an ideal blend of the band’s early frenetic energy and Homme’s penchant for all things heavy and proggy. The song also features some of Turner’s wildest, strangest lyrics, delivered at breakneck speed, before landing at a chorus that seems to stare deep into the gnashing maw of fame and performance: “All the pretty visitors came and waved their arms/And cast the shadow of a snake pit on the wall.” — J.B.

“Fake Tales of San Francisco”

It’s Northern English tradition to take the piss out of sceney poseurs who do whatever the fuck the NME tells them, and in this amusingly scornful tune, Turner aims his pen at the Sheffield music scene — specifically, the hordes of uninspired bands in trilby hats and airtight jeans who were convinced they were the second coming of The Strokes or similar. This may be Turner’s most venomous song, and it’s a doozy: “And yeah, I’d love to tell you all my problem/You’re not from New York City, you’re from Rotherham/So get off the bandwagon, and put down the handbook.” Get ‘em . — M.S.  

‘Four Out of Five’

Arctic Monkeys announced their astounding about-face on 2018’s Tranquility Base Hotel and Casino with this high-concept lounge-lizard dream sequence set on the moon. Turner trots out his best Bowie impression as he invites listeners to visit his lunar resort, crooning sales pitches and jokes about gentrification over spacey chords. “Science fiction creates these other worlds to comment about this world,” Turner told RS , “and that idea in itself was interesting to me.” It was an inspired choice for a lead single, making the five-year gap that followed AM feel more like a century, and boldly marking a new era for the band. The title is a sly shot at record critics, and how “the people that are in charge of giving the scores, they never give a perfect 100,” as Turner explained in another interview . All we can say there, Alex, is that we’re honestly kinda over star ratings these days, too. — S.V.L.

‘Why’d You Only Call Me When You’re High?’

“We like to go out to the desert to ‘brown the garlic,’” Turner told Rolling Stone , after the band recorded some of AM at Rancho De La Luna in Joshua Tree, California. “If you want to be black-and-white about it, that means we went there to write.” This is especially evident on “Why’d You Only Call Me When You’re High?” the most psychedelic the Monkeys would ever get (for further evidence, catch the dripping Dalí clock in the video). The AM highlight is pure lounge pop, all about those late-night texts you send on a bender, with a chorus so catchy it even captured the attention of Miley Cyrus (spoiler alert: her cover is excellent). Speaking to us in 2013 , Turner shared the recipe for the groove-laden gem: “We took a Dr. Dre beat from like 2001 , gave it like an Ike Turner Beatles bowl cut, and then set it off galloping along on a Stratocaster into a liquid live show.” We’ve been high ever since. — A.M.

‘There’d Better Be a Mirrorball’

On “Mirrorball,” the lead single and opening track on The Car , Turner had one goal: set the vibe. “Before the words even come in, that instrumental piece [establishes] the feel of the record,” he told The Guardian . And by “feel,” he means acute disco depression featuring strings and an AM -era melody suitable for late-night yearning. It’s a dazzling snippet of a Seventies film, where Turner is his very own Thin White Duke, a cabaret singer who delivers lines like “How’s that insatiable appetite?” On “Mirrorball,” we’re always hungry for more. — A.M.

‘Fluorescent Adolescent’

In a rare moment of writing with someone outside his band, Turner joined forces with then-girlfriend Johanna Bennett on this playful, irresistibly catchy hit. The couple had written the song while on holiday together, doing a bit of wordplay in lieu of watching TV in their hotel. The result is a story of a woman who is getting older and increasingly more bored with her sex life. She looks back fondly on her days as a rascal and the “electric” boys of her past. “It’s great to think that it came from something we did for fun on holiday,” Bennett told The Guardian in 2007. It became a Top 10 hit in multiple countries, including the UK. “It’ll always be a good memory for Alex and I.” — B.S.

‘The Ultracheese’

Most writers do their best to avoid sentimentality, but “The Ultracheese” is a total embrace. The title reveals all, even before the piano starts its familiar romantic roll and the bass puckers up between the schmaltzy swinging drums. But for the lonely crooner at the heart of Tranquility Base Hotel and Casino , such earnest, mawkish, self-absorbed longing and reminiscence is all that’s left. And shallow characters like that can provide deep wells to plumb. Arctic Monkeys do it sublimely with a swooning ballad sprinkled with sly musical tricks, and a soliloquy that’s still tender, funny, and just the right amount of pathetic. — J.B.

‘Arabella’

In this Seventies-inspired dreamscape, we “take a dip into [Turner’s] daydreams” of his vixen lover, Arabella. With a guitar hook that heavily recalls Black Sabbath’s “War Pigs” (so much so, Arctic Monkeys started inserting the actual “War Pigs” riff into live performances), the track is as sonically sexy as Turner’s lyrics about a bombshell with “lips like the galaxy’s edge” that “take a sip of [his] soul.” Every glistening piece of “Arabella” that makes it magical explodes when the song reaches its masterful bridge: Turner’s frantic vocals, a tantalizing guitar line, and then a solo that slices through the song, driving at full-speed. — M.G.

‘I Bet You Look Good On the Dancefloor’

​​Arctic Monkeys blasted out of the gate in the fall of 2005 with their debut single: A fusillade of smart-assed teenage wit and overdriven riffs that set the stage for one of 21st-century rock’s few truly major success stories. All the elements of their legend were in place already, from the irresistible forward rush of the music to the audacious puns in Turner’s lyrics. (How many other songwriters would think of rhyming “Montagues and Capulets” with “banging tunes and DJ sets”?) It was an instant classic — and Turner began talking it down immediately. “It’s a bit shit,” he told one interviewer as the U.K. music-press hype ahead of Whatever People Say built to a fever pitch. “The words are rubbish. I scraped the bottom of the barrel.” Spoken with the arrogance of an artist who knows they have even better things in store. But by 2011, he’d come around on “Dancefloor”: “It’s more fun than ever to play it,” he said . “I probably fell out with it for a moment, somewhere along the way. But now when it comes around in the set, it’s just fun.” — S.V.L.

‘That’s Where You’re Wrong’

“That’s Where You’re Wrong” catches you with its simplicity — the buzzing bass, shimmering guitar, the tambourine shake that grows louder as the song progresses. Turner’s lyrics are evocative (“A pussyfooting setting sun,” “The sky is a scissor”), but the emotions feel oblique as uncertainty undercuts love. As bright as the song feels, something looms. And as Turner astutely reminds us, something always does: “You’re not the only one/That time has got it in for, honey/That’s where you’re wrong.” — J.B.

‘From the Ritz to the Rubble’

When Alex Turner and the Arctics first exploded into the public consciousness, he was branded the millennial Morrissey for his cheeky, picturesque lyrics depicting the agita and absurdity of young adulthood in Northern England, navigating punchy pubs and crowded clubs. No song captured this sense of youthful alienation more than “From the Ritz to the Rubble.” In it, Turner and his crew are turned away by a bouncer and spiral, the song crescendoing further and further into a cacophony of angular guitars and aggro percussion. When you’re twenty, every slight feels monumental. — M.S.

‘Star Treatment’

Few have captured the essence of a quarter life crisis better than Turner does with the indelible opening line: “I just wanted to be one of the Strokes/Now look at the mess you made me make.” But despite this bit of confessional autobiography, there’s no navel-gazing on “Star Treatment” — there’s barely any looking back in anger. “Star Treatment” is a total reinvention as Turner blurs his story with that of a washed up astro lounge lizard, simultaneously taking Arctic Monkeys from the world of uncut rock and roll to some stranger, surreal pop-rock realm. But even with such a massive musical vibe shift, Turner pointed out to Pitchfork just how quintessential that opening line is: “The style of me writing has developed considerably since the first record, but the bluntness of that line — and perhaps some other lyrics on this album — reminds me of the way I wrote in the beginning.” — J.B.

‘505’

“505” is one of the most interesting tracks in Arctic Monkeys’ catalog. Built around an organ line pulled from Ennio Morricone’s The Good, the Bad, and the Ugly score, it marked a sonic departure from the otherwise punkish Favourite Worst Nightmare . “505” laid the groundwork for future experimentation, with a pensive eeriness that matches Turner’s anticipation as he navigates his way back to a girlfriend’s apartment. Even the subject of the song differed from the band’s usual topics; as Turner told NME it was “the first proper love song [they’ve] done.” The change was a welcome one, and the 2007 track has proven its staying power with two viral revivals since its release. During the mid-2010s Tumblr era, posts containing the dark lyric, “I’d probably still adore you /With your hands around my neck,” were plentiful on the site. In 2022, “505” got a streaming bump after circulating on TikTok — this time for the jolting bridge in which Alex screams, “I crumble completely when you cry.” — M.G.

‘Do I Wanna Know?’

Even casual Arctic Monkeys fans remember the first time they heard the riff to “Do I Wanna Know?” A decade later, the moment is still cemented in our brains — and not just because the song taught American teens what a “settee” was. Up until that point, in the summer of 2013, our only taste of AM was the frenetic energy on “R U Mine?” No one was expecting Turner to pivot to a molasses-level tempo and casually deliver a seductive masterpiece about the possibilities of unrequited love. “I suppose I do want to think of ‘Do I Want to Know?’ as ‘Are You Lonesome Tonight?’ with a jet-pack on,” he told us in 2013. The song has 1.5 billion views on YouTube, and we’ll watch it again and again, if not to imagine what it would have sounded like if Haim had sung those falsetto backing vocals. “We had to finish our record,” Este Haim told NME, of Days Are Gone . “That would have been our biggest dream come true: to sing on an Arctic Monkeys record. It was one of the most painful calls to say no. Maybe the worst day of my life.” — A.M.

‘A Certain Romance’

Everything great about Arctic Monkeys can be traced back to “A Certain Romance.” Turner seemed to admit as much in a 2022 interview with NME , saying the song “showed that we did actually have these ambitions beyond what we once thought we were capable of.” Whatever People Say I Am, That’s What I’m Not , as the title suggests, is an album overflowing with assured assertions of self — especially the grandiose kind people make as they exit adolescence and try to grasp onto adulthood. What makes “A Certain Romance” special is the way it captures that grasping. What starts as a critique of people who are ostensibly less sophisticated, stylish, or romantic, soon becomes an astute deconstruction of the snark, cynicism, and us-vs-them posturing endemic to youth. It’s a rather tender, empathetic note to land on, and Arctic Monkeys emphasize it not with words, but two dueling livewire guitars twisting around each other in a perfect tangle of uncertainty and exultation. — J.B.

‘Cornerstone’

Leave it to Alex Turner to have the only song on Humbug written in a major key also be the album’s most incisive and heartbreaking. The track’s narrative sees Turner looking for an old lover at her old haunts, and in the faces of new lovers. Over three verses, these romantic distractions turn down the singer and his odd request to call them by his ex’s name. Then in the perfect songwriting twist, he finds someone who’ll oblige in the final verse — his ex’s sister. Turner has often spoken about how proud he is of “Cornerstone,” which was inspired by Patsy Cline. “I was listening to a lot of country music when I wrote it, and it had that formula where the verses always end the same way,” he told Vulture in 2018. “Not to sound like a wanker, but with that song, I had an idea and it wrote itself. I’m not sure how I ended up with the girl’s sister in the last verse, though. When I was in school, I think I probably fancied my girlfriend’s sister or something.” “Cornerstone” is as much a favorite of Turner’s as it is of Arctic Monkeys fans; the track has become a staple on their setlist in the 14 years since its release. — B.S.

‘No. 1 Party Anthem’

This isn’t just for the bit. If you want to pinpoint the “where are you going, where have you been” fulcrum for Arctic Monkeys, it’s hard to do better than “No. 1 Party Anthem.” It’s the piano ballad outlier on 2013’s AM , otherwise one of the best rock guitar albums of the last 20-odd years, and it points to the far out spaces the band would explore on their next two records. Yet it’s also vintage Arctic Monkeys, one of the best late-night tales Turner has ever told (and he’s told tons). “To me, that song is about a kind of midnight where you feel like you’re in this parallel universe,” he put it to Rolling Stone in 2013.

On “No. 1 Party Anthem,” Turner is no longer navigating the dingy debauchery of Sheffield nightclubs; he’s on the prowl at some high-end spot, lonely and rakish. But while the setting is different, the stakes remain the same. There’s yearning and self-consciousness, intoxicated posturing and sober disillusionment, lingering adolescent anxiety and a particular proclivity for poor decisions: “It’s not like I’m falling in love, I just want you/To do me no good/And you look like you could.”

The one thing that can cut through all that noise, or at least help someone make sense of it? Music. An obvious answer, and also a kind of cheesy, slightly embarrassing one. Turner gets that, deeply and sincerely. Which is why “No. 1 Party Anthem” culminates around a rousing call — at once a genuine plea and a drunken request shouted at an uninterested DJ — for some nameless, ideal song. Because the song always has the answer. No matter what it is, even if it changes from one night to the next. That’s why it’s the best one ever. —J.B.

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The meanings behind 18 of Arctic Monkeys' biggest songs

Alex Turner's eloquent lyrics can often take some unpicking

With seven studio albums under their belt, it's no secret that Arctic Monkeys have produced some iconic tracks since their debut album ‘Whatever People Say I Am, That's What I'm Not’ in 2006.

Frontman Alex Turner, along with lead guitarist Jamie Cook, bassist Nick O’Malley and drummer Matt Helders have caught the attention of fans all over the world with their guitar-heavy, shapeshifting sound .

From legendary songs such as 'I Bet You Look Good on the Dancefloor' to more recent bops like 'Body Paint', the Sheffield-born band have made history over the years with their unique music - especially with the arrival of their seventh album 'The Car' .

We take a look through the band's back catalogue to bring you the meanings behind some of their biggest hits...

Arctic Monkey's song meanings and lyrics interpretation

'i bet you look good on the dancefloor'.

Is there a better song to kick things off than the legendary 'I Bet You Look Good on the Dancefloor'? Released through Domino Recording Company in October 2005, the track was the band's first single from their debut studio album 'Whatever People Say I Am, That's What I'm Not', which was released back in January 2006. The song debuted at the Number 1 spot in the UK Singles Chart and has since proved to be one of their most popular bops of all time. Frontman Alex Turner may now have a volatile relationship with the song, but 'I Bet You Look Good on the Dancefloor' remains a staple dancefloor filler. The band recorded the song three times to get it right, eventually settling on a version played at breakneck speed which became the song we know and love today. There isn't too much nuance in the meaning behind this song. A pair of fit young partygoers are 'making the eyes' at each other across the room, and although the singer doesn't 'know if you're looking for romance' , he later proclaims that 'there ain't no love, no Montagues or Capulets / Just banging tunes and DJ sets and / Dirty dance floors and dreams of naughtiness' . So there you have it. Watch the video on YouTube.

'When the Sun Goes Down'

Released in 2006 as the second single from their debut album 'Whatever People Say I Am, That's What I'm Not', 'When the Sun Goes Down' became an instant classic, with the iconic hit flying straight to the Number 1 spot on the UK Singles chart. The song is about prostitution in Sheffield. While the first three verses are slow and almost romantic in style, the song very suddenly turns to the chaotic rock that the Monkeys are still strongly associated with today, despite branching out into different genres over the years. The lyrics to the first verse are: 'So who's that girl there? / I wonder what went wrong / So that she had to roam the streets / She don't do major credit cards / I doubt she does receipts / It's all not quite legitimate'. Turner's clever lyricism references The Police's Roxanne, also famously about prostitution, in the line: 'And he told Roxanne to put on her red light' . The song even spawned a short film entitled Scummy Man, starring Stephen Graham and Lauren Socha who were also in the song's music video. Monkeys drummer Matt Helders is the only member of the band to appear. Watch the video on YouTube.

'Mardy Bum'

The Monkeys' first album almost serves as a time capsule to life in Sheffield in the early Noughties; a love letter proving that whether they like it or not, the band were hopelessly devoted to the South Yorkshire city. Where '...Sun Goes Down' follows their realisation of the goings-on after dark, 'Mardy Bum' documents a couple falling out over something trivial that gets blown out of proportion... Otherwise known as a situation that couples all over the world face every day - just with a few Yorkshire sayings thrown in for good measure… It's all 'reyt', though, even if you do have a 'face on'. The first verse lyrics are: 'Well, now then, mardy bum / I've seen your frown and it's like looking down the barrel of a gun / And it goes off and out come all these words / Oh, there's a very pleasant side to you, a side I much prefer'. The track was certified 3x Platinum by the British Phonographic Industry (BPI) in May 2024, translating to roughly 1.8 million sales in the UK alone - pretty impressive. Watch the video on YouTube.

'Brianstorm'

Released as the first single from Arctic Monkeys' 2007 follow-up album, 'Favourite Worst Nightmare', fans were thrilled to hear that they'd continued on their crusade for furiously fast riffs and drum beats yet somehow stepped things up a gear in 'Brianstorm', which peaked at Number 2 in the UK chart and appeared in an episode of Gavin and Stacey. Alex explained the identity of 'Brian' in an interview with NME - the band met him backstage after a gig in Japan: "When he left the room, we were a bit in awe of his presence. So we did a brainstorm for what he was like, drew a little picture and wrote things about him." Guitarist Jamie Cook added: "He was right smooth, very LA. He just appeared with like a business card and like a round neck T-shirt and a tie loosely around it, I'd never seen that before. It felt like he was trying to get inside your mind. We were checking out his attire; it inspired us." Indeed, this is reflected in lyrics throughout the song, especially later on: 'Calm, collected and commanding (Top marks for not trying) / You leave the other stories standing with your renditions and jokes / Bet there's hundreds of blokes that have wept 'cause you've stolen their thunder' . Watch the video on YouTube.

'Fluorescent Adolescent'

Released as the second single off the record, this upbeat, quirky song was written by Alex with the help of then-girlfriend Johanna Bennett - who went on to marry Kings of Leon's Matthew Followill. Peaking at Number 5 on the UK chart, it's now been certified 4x Platinum in the UK. Johanna told The Guardian in 2007 of being involved in the process: "We were on holiday and had cut ourselves off from everything. We were in a really quiet hotel and didn't watch TV or listen to that much music. So as not to drive each other mad, we started messing around with these words like a game, singing them to each other." Johanna, who is credited as a songwriter on the track, added: "It's great to think that it came from something we did for fun on holiday. It'll always be a good memory for Alex and I. He doesn't usually write lyrics with other people, though I think he enjoyed it." The song itself is about a mature woman looking back on her youth and being wistful for her former sex life, as heard in the opening lyrics: 'You used to get it in your fishnets / Now you only get it in your night dress' , as well as later on: 'The best you ever had is just a memory' . The music video, directed by The IT Crowd's Richard Ayoade, saw the group reunite once again with Stephen Graham, who stars as the leader of a group of clowns who are embroiled in a fight with a group of people… Well, not dressed as clowns. Turns out, the two leaders were childhood friends, but things have turned bitter and the clown ends up bumping off his former pal in a fiery fiasco. Watch the video on YouTube.

'Teddy Picker'

'Teddy Picker' was the third single off 'Favourite Worst Nightmare', just about breaking into the Top 20 on the UK chart, but it topped the UK Indie Chart no bother and has since been certified Gold in the UK. The music video was directed by Roman Coppola and sees the Monkeys recording the track at RAK Studios in London. According to many fans online, the song - whose title refers to the infamous claw machine arcade games - shows the band being disillusioned with fame. They know how hard it is to make it big and the game is rigged - just like how toys are only won very occasionally. When you finally get the "prize", it might not be everything you'd hoped it would be. This can be heard in the lyrics: 'Saw it and she grabbed it, and it wasn't what it seemed / The kids all dream of making it, whatever that means / Another variation on a theme / A tangle on the television and the magazine' . Watch the video on YouTube.

'505'

Lauded by many as the greatest Arctic Monkeys song of all time, 'Favourite Worst Nightmare' closer '505' may not have been released as a single but its popularity among fans has never wavered - proven by the recent resurgence thanks to TikTok, which Alex Turner told NME he was "genuinely moved" by. The haunting introduction containing an organ sample from Ennio Morricone's soundtrack for spaghetti western The Good, The Bad And The Ugly at the final stand-off scene. Alex partially credits the success of the song to it being a setlist closer in the late Noughties, saying: "Without having '505' at the end of our shows for a few years around 2008, I'm not sure it would have found the new life it has now." The song is widely accepted to be about someone wanting to return to a relationship that had previously failed, possibly more out of nostalgia than anything else. They appear to accept that while it wasn't a perfect relationship by any stretch, it was familiar and that's potentially what the character is craving at that time - despite knowing it isn't fruitful long-term. This can be heard in the lyrics: 'When you look at me like that, my darlin', what did you expect? / I'd probably still adore you with your hands around my neck' , and: 'But I crumble completely when you cry / It seems like once again you've had to greet me with goodbye' . Although the significance of the number 505 isn't known for sure, it's largely acknowledged to be the room number of a hotel, presumably that the character shared with his former flame. Some have even ventured that the song could be about the aforementioned Johanna Bennett, with whom Alex wrote 'Fluorescent Adolescent'... In a hotel room... We'll leave it there. Listen to the song on YouTube.

'Crying Lightning'

Released as the first single off their third album 'Humbug' on which they worked with Josh Homme from Queens of the Stone Age, 'Crying Lightning' was also one of the first songs that the group wrote for the record. Speaking to Zane Lowe in 2009, Alex said: "This was deemed the best signifier of the record. It was a favourite during recording. It's strange as far as a pop song goes." Although the band haven't said a great deal about the song, fans have interpreted the song to be about a manipulative relationship, with the phrase "crying lightning" to mean crocodile tears - or someone who uses crying as a technique to force guilt and get away with bad behaviour. It also sounds as though the person looks down on others in the lyrics: 'The next time that I caught my own reflection / It was on it's way to meet you / Thinking of excuses to postpone / You never looked like yourself from the side / But your profile could not hide / The fact you knew I was approaching your throne' . Once again teaming up with Richard Ayoade, who directed their 'Fluorescent Adolescent' video as well as the At the Apollo DVD, the music video for 'Crying Lightning' features the group on a small boat on rough seas, later coming up against giant holograms of themselves emerging from the water. Watch the video on YouTube.

'Cornerstone'

Second 'Humbug' single 'Cornerstone' is something of an antidote to the rest of the Josh Homme-influenced album. It's light and breezy, with production by James Ford of Simian Mobile Disco who has also worked with the likes of Foals, Florence and the Machine and Klaxons, amongst many others. 'Cornerstone' sees the singer longing wistfully after a former flame, seeing her likeness in many women that he comes across in various pubs - thought to be in his hometown of Sheffield. Although they don't seem to match many well-known establishments in the city, Turner could have been trying to keep things vague, only using half the names… We'll never know for sure. The longing can be heard throughout the whole song, for example in the first verse: 'I thought I saw you in the Battleship / But it was only a look alike … She was close / Close enough to be your ghost / But my chances turned to toast / When I asked her if I could call her your name' . Alex has voiced a few thoughts over the years on the track, telling Uncut he "wrote Cornerstone one morning, quite quickly," musing that "at other points in the day you're a bit more defensive". Listening to country music at the time, he spoke to New York magazine about how the "formula" of the genre sees the verses ending in "the same way". He added: "I started with the line 'I smelt your scent on the seat belt.' In reality, I was sitting in the back of a taxi and I got this scent in my nostrils of whomever I was longing for. "Not to sound like a w-----, but with that song, I had an idea and it wrote itself. I'm not sure how I ended up with the girl's sister in the last verse, though. When I was in school, I think I probably fancied my girlfriend's sister or something." So there you have it. The minimalist video was once again directed by Richard Ayoade and sees lead singer Alex with a pair of headphones on, lip-syncing his heart out on a mobile microphone in a completely white room. Watch the video on YouTube.

'Don't Sit Down 'Cause I've Moved Your Chair'

The Monkeys introduced their fourth record 'Suck It And See' to their fans with 'Don't Sit Down 'Cause I've Moved Your Chair' as the first single. With its spaghetti Western-inspired guitar riff intro, the title was apparently thought up in a recording session when Alex was working on the soundtrack to 2010 film Submarine, and nearly caused a colleague to rather embarrassingly injure themselves. "That's something someone said," he explained of the title to NME in 2011, adding: "In fact, I said it to somebody whose chair I moved and I didn't want them to hurt themselves. James Ford said, 'Oh, that sounds like it could be like a '60s garage 'Nuggets' tune and be called that'. "So then we thought, 'Well, OK if that's what you can't do, then what sort of ridiculous things can you do that are probably more dangerous than if you just sat down?" And that sinister feeling of threat can certainly be heard in the song. Watch the video on YouTube.

'R U Mine?'

Back in 2012, the twice-Platinum 'R U Mine?' kicked off a stream of iconic releases from Arctic Monkeys' fifth studio album, 'AM', as well as being the first song written for the record - on which they once again teamed up with Queens of The Stone Age's Josh Homme, although not as heavily as on their previous collaboration, 'Humbug'. Speaking on the track's meaning, Alex Turner has claimed that the band were discussing uncertainties in past relationships, telling NME in 2012 that he'd drawn inspiration from the likes of Drake and Lil Wayne: "We've been listening to a lot of their stuff recently. I like that thing they do where they talk about something backwards, so they talk about it but then say what it actually is on the next line. "It's hard to explain but I guess it's a little nod to that idea. So I say, 'I'm a puppet on a string', just before mentioning Tracy Island. That's what it's about – uncertainty." The group also cited R & B singer Ashanti as inspiration for the track - telling Esquire in 2014: "We like the scales and the melodies on some of those records. The way the backing vocals might come right to the front and disappear again... There was a crossroads at one point where it was, like, 'Are we going to go for this thing or not?' And thankfully we decided to take the red pill" (a reference to the Matrix films). Watch the video on YouTube.

'Do I Wanna Know?'

Released in June 2013, Arctic Monkeys' second 'AM' single 'Do I Wanna Know?' provided us with one of the most iconic intro riffs of all time, unsurprisingly landing the boys a nomination for Best Rock Performance at the 2015 Grammy Awards. Fans of the four-piece have long debated the meaning of the song online, but the general consensus is that a relationship is falling apart, with the singer feeling as though they're losing control - something reflected in the David Wilson-directed graphic design video which gets steadily more chaotic. This can certainly be heard in the lyrics: 'But I don't know if you feel the same as I do / But we could be together if you wanted to' . Speaking again about R & B influences on 'AM', Alex told Q Magazine: "We had this idea for a record where you take the compositional perspective of an R & B producer and apply that to a four piece rock 'n' roll band. Manipulating our instruments to make building blocks for the song in a way I'd imagine Timberland or someone constructs music. That's one way of looking at it." Drummer Matt Helders added that the song went through different iterations before it became the version we know today, revealing that the band had gone to Joshua Tree for a fortnight to write: "'Do I Wanna Know?' is probably the only song that survived from that session, although not in the form it is now. It was really bassy and it didn't have that big chorus – it was basically just the drum loop. But it was the one that set the path for the rest of the album if you like. It was the one where, after we recorded it, we knew we were really on to something." Co-producer James Ford also spoke on the record, revealing that this song was the moment it all "came together". He said: "I just remember thinking, 'This sums up what we're trying to do.' It felt kind of heavy - and heavy in mood as well. It had a weight to it that I really like. I remember when that came together being really excited, and seeing the picture crystallise in front of me a little bit of where we going. It was one of the first ones we got done, and it was that thing of it coming together – I could see the end call from that point onwards." Interestingly, sister-trio Haim were asked to sing backing vocals on the track, which we can now hear as Turner and Helders' falsetto. Este Haim told NME that they were asked to, but didn't have enough time to learn the harmonies. She said: "That would have been our biggest dream come true – to sing on an Arctic Monkeys record. It was one of the most painful calls to say no. Maybe the worst day of my life." Watch the video on YouTube.

'Why'd You Only Call Me When You're High?'

The catchy 2013 hit 'Why'd You Only Call Me When You're High?' also features on fifth record 'AM'. The title is fairly self-explanatory regarding the song's meaning - the singer is on a night out and looking for someone to spend the night with, calling a potential lover who isn't interested. Simple as. The whole song is brimming over with lust, from the clockwork drum patterns to the sexy guitar riffs. Could there also be a double meaning to the album's title 'AM'? This can particularly be heard in the chorus lyrics: 'Now it's three in the mornin' and I'm tryin' to change your mind / Left you multiple missed calls and to my message, you reply / "Why'd you only call me when you're high?" / "Hi, why'd you only call me when you're high?"' . It's also reflected in the music video, directed by Nabil Elderkin and starring the band along with Lamie Stewart as Stephanie, the girl Turner is pursuing. It was filmed at the Howl at the Moon pub in London and, interestingly, the first minute and a half of the video features 'Do I Wanna Know?' as the soundtrack, at which point Turner gets dizzy and hallucinates that the wall clock has melted in a nod to Dali's famous painting, The Persistence of Memory. Watch the video on YouTube.

'Arabella'

Another popular track from their fifth album 'AM', the hypnotic beat and catchy lyrics have aided the song in becoming a staple in the Arctic Monkeys' discography. With a riff allegedly inspired by Black Sabbath's 'War Pigs', it comes as no surprise that the risqué music video has reached almost 90 million views on their YouTube. From the lyrics, we can see that the singer is infatuated with his lover Arabella, putting her on an almost out-of-this-world pedestal with the references to 'interstellar' shoes, that she's 'made of outer space', that her 'lips are like the galaxy's edge' and that 'her kiss the colour of a constellation falling into place'. Delving further into the "space" theme, it turns out that Alex had taken inspiration from TV's resident space expert, Dr. Brian Cox, telling NME: "The words are a bit Brian Cox, a bit Wonders of the Universe. They're my favourite words on there." Watch the video on YouTube - be warned, it's an explicit one!

'Snap Out Of It'

Another track from the world-renowned 'AM', 'Snap Out Of It' was released as the sixth single from the album in 2014 with the bouncy track reaching Number 6 on the UK Indie Chart. Apparently, the boys teamed up with Elvis Costello's drummer, Pete Thomas, on the record after Matt Helders drunkenly broke his hand during a recording session. Although he didn't perform on 'Snap Out Of It' in the end, Turner has credited him with championing this song with his "enthusiasm" which was "important for the journey". From the lyrics, it sounds as though the protagonist is concerned he's about to miss the boat with someone he's interested in as they're in love with someone else: 'I heard that you fell in love or near enough / I gotta tell you the truth' . In the chorus, he says he wants to 'grab both your shoulders and shake' and tell her to 'snap out of it', later singing: 'I get the feelin' I left it too late' , showing that he's interested but didn't make a move. The second half of the chorus is: 'If that watch don't continue to swing / Or the fat lady fancies havin' a sing / I'll be here waitin' ever so patiently / For you to snap out of it' . Of course, the "fat lady singing" is a well-known phrase meaning that no-one knows how a situation will end until it does eventually end - so he's saying "it ain't over til it's over" with the person he's interested in, and still feels that he has a chance. Watch the video on YouTube.

'I Wanna Be Yours'

Although renowned for their poetic lyrics, the Monkeys decided to look elsewhere for lyrical inspiration on this 'AM' album track. It's no surprise that he turned to John Cooper Clarke, a longtime inspiration of Turner's, and specifically his 1982 poem of the same name. Turner said in 2013: "I was your typical teenager, trying to be cool and not interested and the teacher proceeded to read I Wanna Be Yours, doing an impression of Johnny. It made my ears prick up in the classroom because it was nothing like anything I'd heard especially like on this syllabus. Had I not seen him do his thing, I wouldn't have started writing like that." John himself has explained the meaning behind his words in the past, describing it as "a classic style of love poem, in which the writer expresses his desire to be useful to the object of his desire." He told NME what he thought of the band using it: "I think it's great the band have used it, because I think it was always kind of a song. It's a poem that owes a great deal to popular music. He's a great lyricist and, well, he's a proper singer. He is emotive. He's got a great deal of feeling in his voice, and he makes that northern accent sound very sexy." He added his thoughts of Turner's slight tweaks to the lyrics: "I would have expected that. I think that's great, that's what people do with songs. There's a tradition with this. Especially a number like that, because it cries out for updating because it uses brand names. One would expect it to be kind of updated, in much the same way that Sinatra might use different comparisons for a song like 'You're The Top' by Cole Porter." Listen on YouTube here.

'Four Out of Five'

Released as the lead single from the divisive sixth album, 'Tranquility Base Hotel & Casino', 2018 track 'Four Out of Five' didn't actually come out until after the album's launch. While most singles precede an album release to serve as a taster for the full work, the Monkeys were keen for fans to see the record as a whole and listen to it as such. Speaking to Zane Lowe when the album was released, Alex revealed that 'Four Out of Five' was an ironic joke about critics who "never give a perfect 100" no matter how good it is - and that's heard in the chorus lyrics: 'Four stars out of five / And that's unheard of' . As with 'Arabella', there are plenty of outer space references here - plus, you know, the fact that the album's title is a nod to the Apollo 11 moon landing. In a 2018 interview with Vulture , Turner said he'd actually reined in a lot of the space stuff, explaining how the "lunar surface" is a nickname for a room in his house - and that once he'd thought of that, he'd "just kept going" with it. "Four stars out of five is a bit of a pun, with the stars. I may have gotten a bit carried away there," adding that the original lyrics to the opening verse were: 'Karaoke and raspberry beret, in imaginative ways, and I get signed right then and there by a hotshot executive / I wasn't expecting it that easy' . Huh. Watch the video on YouTube.

'Body Paint'

Appearing on their most recent album 'The Car' , Arctic Monkeys released 'Body Paint' in September 2022 as the second single after 'There'd Better Be a Mirrorball'. With over 5 million views in its first three months on YouTube, it's safe to say that 'Body Paint' piqued the interest of fans. Turner has described 'Body Paint' as the band's "costume change", telling Variety in October 2022: "It almost feels like there's three separate acts... You've got the front third, and there's a moment in the middle where the band totally disappear, and they come back on the last bit in a different outfit to the one they were wearing for the first two verses." In the lyrics, it sounds as though the protagonist is almost gearing up to confront their partner over infidelity. The first lines are: 'For a master of deception and subterfuge / You've made yourself quite the bed to lie in' , later singing: 'My teeth are beating and my knees are weak' , as if they're nervous. Interestingly, the lyrics are at odds with the relaxed tone of the music. Reading lyrics like: 'I'm watching your every move / I feel the tears are coming on' , it sounds as though momentum is gathering and tension is building - but this doesn't reflect the chilled out nature of the song. And, of course, the "body paint" itself could be the singer's partner "covering up" their lies - or even wearing a mask and becoming a different person. Watch the video on YouTube.

Like that? Try this: A complete guide to Arctic Monkeys' seven studio albums:

'whatever people say i am, that's what i'm not', 2006.

An instant classic upon its release in the opening overs of 2006, Arctic Monkeys' 'Whatever People Say I Am, That's What I'm Not' was already familiar to the hundreds of thousands of fans who not only propelled it to the top of the UK album charts, but also made it the fasting-selling debut album in UK chart history. The Sheffield quartet – singer/guitarist Alex Turner, guitarist Jamie Cook, drummer Matt Helders and bassist Andy Nicholson (later replaced by Nick O'Malley) – had already amassed a legion of fans before any official recordings were released thanks to their canny harnessing of the possibilities and opportunities afforded by the next generation of internet and digital platforms. So it was that their demos were distributed via free CDS at gigs, with fans then sharing the tracks.

Musically, 'Whatever People Say I Am, That's What I'm Not' takes The Strokes' debut album 'Is This Is It?' as its template while delivering on the broken promises of The Libertines and making a few nods in the direction of Franz Ferdinand's angular grooves. Crucially, the landscape painted by Alex Turner's sharp observations isn't some mythical romanticising of a national ideal, but a witty and incisive portrait of the nightlife of the towns and cities up and down the country – and, more specifically, Sheffield. Consider the evidence: Number 1 single, 'I Bet You Look Good On The Dancefloor', 'You Probably Couldn't See for the Lights But You Were Staring Straight At Me' and 'Dancing Shoes' examine the politics and navigation of clubbing. 'From The Ritz To The Rubble' is seen from the bouncer's point of view as elsewhere 'When The Sun Goes Down' – their second single and chart topper - takes its inspiration from the after-hours workings of a red light area.

Almost two decades down the line and 'Whatever People Say I Am, That's What I'm Not' still holds up. A snapshot of a particular time and place, it reveals how much and how just how little has changed in the intervening years. Other album tracks include: 'The View from the Afternoon', 'Fake Tales of San Francisco', 'Still Take You Home', 'Riot Van, 'Red Light Indicates Doors Are Secured', 'Mardy Bum', 'Perhaps Vampires Is a Bit Strong But...' and 'A Certain Romance'.

'Favourite Worst Nightmare', 2007

Given the Hosannas showered upon Arctic Monkeys by the press in the wake of their debut album, 'Whatever People Say I Am, That's What I'm Not', and a sideboard groaning under the weight of awards – Q's Best Album and Album Of The Year from Time and Ireland's Hot Press among many others, as well as that prize-winning cheque from the Barclaycard Mercury Prize – it would've been perhaps forgivable if Arctic Monkeys had buckled under the pressure.

Released just over year after its predecessor, 'Favourite Worst Nightmare' is the sound of band truly developing its own sound and identity. This isn't an album that's been agonised over or thought about too deeply; as evidenced by the singles 'Brianstorm', 'Flourescent Adolescent' and 'Teddy Picker', a year of solid gigging and youthful energy sharpened the band's reserve, playing and, in the case of Alex Turner's songwriting, widen the lyrical concerns that come with seeing a world beyond their hometown.

Arctic Monkeys could have succumbed to hubris, complacency or the burden of success. Instead, album tracks such as 'Do Me A Favour' and closer '505' reveal a depth in maturity and emotional resonance that proved that the quartet were here for the long run. Other album tracks include: 'D Is for Dangerous', 'Balaclava', 'Only Ones Who Know', 'This House Is a Circus', 'If You Were There, Beware', 'The Bad Thing' and 'Old Yellow Bricks'.

'Humbug', 2009

The news that Arctic Monkeys, a band that at this point was still very much defined by its Sheffield roots, would be working with Queens Of The Stone Age mastermind Josh Homme was met with more than just a few raised eyebrows. Surely this combination of angular, indie rock and one of the key architects of stoner rock was to clash too harshly? Whatever fears were aired, they were soon allayed with the evidence presented within the grooves of 'Humbug'. Less an encounter in one party trying to dominate the other, this was a meeting of minds, talents and ideas that took Arctic Monkeys out of their domestic comfort zone and into New York, Los Angeles at the Mojave Desert.

For his part, Homme didn't impose himself on Arctic Monkeys. Instead, the two parties found common ground as they brought out the best in each other. 'Humbug' is recognisably Arctic Monkeys, but the sound here is more muscular thanks to sympathetic production that enhances rather than overwhelms with addition of extra instrumentation. The bass that ushers in lead single 'Crying Lightning' is a statement of intent that heralds Arctic Monkeys' new found strength, while 'My Propeller' smooths down the rough edges while widening the panorama. It may not have received the plaudits of its predecessors, but hindsight reveals 'Humbug' to be a vital stepping-stone in the recorded trajectory of Arctic Monkeys. Other album tracks include: 'Dangerous Animals', 'Secret Door', 'Potion Approaching', 'Fire and the Thud', 'Cornerstone', 'Dance Little Liar', 'Pretty Visitors' and 'The Jeweller's Hands'.

'Suck It And See', 2011

The title of Arctic Monkeys' fourth album is something of a misnomer. Perhaps stung by a reception for 'Humbug' that didn't quite match the enthusiasm that greeted their first two albums, 'Suck It And See' found Arctic Monkeys adopting the back-to-basics approach of their debut, 'Whatever People Say I Am, That's What I'm Not'. With the material written in rehearsed well in advance of their return to the studio, many of the album's 12 songs were recorded live in the studio with the minimum of overdubs. And while it's evident that the band has matured, 'Suck It And See' is possessed of that nervous energy that characterised their earlier material. It's there on the title track and the single 'Black Treacle'.

But there are also lessons learned from their time with Josh Homme. Lead single 'Don't Sit Down 'Cause I've Moved Your Chair' is a gloriously swaggering beast with a lip curl that's part confidence, part insouciance, while 'Brick By Brick' shows just how far they'd travelled since their classic debut. Other album tracks include: 'She's Thunderstorms', 'The Hellcat Spangled Shalalala', 'Library Pictures', 'All My Own Stunts', 'Reckless Serenade', 'Piledriver Waltz', 'Love Is a Laserquest' and 'That's Where You're Wrong'.

'AM', 2013

If 'Whatever People Say I Am, That's What I'm Not' was the sound of teenagers observing tentative nights out in the city, then 'AM' is made up of the nocturnal adventures of men in their late 20s. And they sound utterly brilliant for it. Indeed, 'AM' is a consolidation of all that has gone before it and delivered with all the confidence of a band hitting its stride at the point when most groups flounder, wither and die. Blending the razor-sharp indie smarts of their youth with the heady and heavy rock that had been introduced under Josh Homme's tutorage, Arctic Monkeys also introduce the hitherto untapped influences of hip-hop and R'n'B.

There's a salacious grind at the heart of 'Do I Wanna Know?' and that naughtiness works its way into 'Arabella'. Elsewhere, those late nights are evoked on 'Why'd You Only Call Me When You're High?'. Josh Homme, no slouch himself when it comes to hedonistic pursuits, said of 'AM': "It's a really cool, sexy after-midnight record." He's not wrong, but he might also have added that Arctic Monkeys had also just delivered another classic to their cannon. Other album tracks include: 'R U Mine?', 'One for the Road', 'I Want It All', 'No.1 Party Anthem', 'Mad Sounds', 'Fireside', 'Snap Out of It', 'Knee Socks' and 'I Wanna Be Yours'.

'Tranquility Base Hotel + Casino', 2018

The five-year gap between the release of albums may have suggested a band resting on its laurels or simply running out of ideas, but the reality was far different. 'Tranquility Base Hotel + Casino' finds Arctic Monkeys doing what so many bands refuse to countenance – taking a chance. Indeed, the band's sixth studio album is such a radical departure from the hook-laden rock music that made their name that fans are still divided over the record's merits. Yet for all that, it still became their sixth consecutive No. 1 album in the UK whilst becoming the country's fastest-selling album in a quarter of a century, in part thanks to the legions of fans who pre-ordered the record. And then there were the nominations for the 2018 Mercury Prize and the Grammy for Best Alternative Music Album.

And with good reason. The album may lack the immediacy of its predecessors, but the charms of the title track and 'Four Out Of Five' reveal the songs to be sophisticated pop pearls that continue to sparkle and beguile. Indeed, repeat listens peel away layer after layer until you're left with a gem that'll last a lifetime. Other album tracks include: 'Star Treatment', 'One Point Perspective', 'American Sports', 'Golden Trunks', 'The World's First Ever Monster Truck Front Flip', 'Science Fiction', 'She Looks Like Fun', 'Batphone' and 'The Ultracheese'.

'The Car', 2022

Before Arctic Monkeys' seventh album 'The Car' was released in October 2022, we had an inkling of what to expect as drummer Matt Helders revealed it would "never" sound like 'R U Mine?' Duly, 'The Car' is Arctic Monkeys' second consecutive lo-fi indie musical tour-de-force that features music Alex Turner wants to make rather than rehashing old ideas or appeasing the casual fans.

Widely lauded by critics, it's a masterly crafted album packed with pertinent and oft hard-hitting lyrics and innovative, beguiling and cinematic sounds. Gems are aplenty from the hypnotic 'There'd Better Be a Mirrorball' to the truly exquisite 'Body Paint.' Full track listing is: 'There'd Better Be A Mirrorball', 'I Ain't Quite Where I Think I Am', 'Sculptures Of Anything Goes', 'Jet Skis On The Moat', 'Body Paint', 'The Car', 'Big Ideas', 'Hello You', 'Mr Schwartz', 'Perfect Sense'.

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15 Best Arctic Monkeys Love Songs

May 31, 2023, 12:20 pm

Well-known for their savvy lyrics, punchy rock sound, and Alex Turner’s distinctive voice, Arctic Monkeys have long held their ground in the world of indie rock. While their energetic anthems and gritty narratives often steal the spotlight, their love songs provide an equally intriguing look at their prowess. Unveiling the layers of love, desire, and heartbreak, these tracks offer a blend of tender romanticism and raw emotion. Here’s a deeper exploration of 15 love songs that highlight the Arctic Monkeys ‘ understanding of the complexities of romance.

Arctic Monkeys Love and Wedding Songs

1- “I Wanna Be Yours” (2013) : Inspired by a poem by John Cooper Clarke, this ‘AM’ track presents an unusual love declaration. The lyrics display a longing to be useful and needed in the object of affection’s life.

2- “Do I Wanna Know?” (2013) : This ‘AM’ hit is a sultry, slow-burning song about the angst and uncertainty of unrequited love.

3- “Suck It and See” (2011) : The title track of their fourth album, this song is a straightforward love song, quite different from the band’s usual cryptic lyrics. It shows a more romantic, softer side of the band.

4- “Cornerstone” (2009) : A touching song from ‘Humbug’ about a man seeing his lost love in other people. The simple, yet profound lyrics make it a fan favorite.

5- “Baby I’m Yours” (2006) : Although a cover of the original by Barbara Lewis, this song has become a beloved addition to the band’s discography. It’s a sweet, straightforward love song featuring Turner’s crooning vocals.

6- “She’s Thunderstorms” (2011) : From the ‘Suck It and See’ album, this song is an ode to a captivating woman who has caught the singer’s attention. The metaphor-laden lyrics and energetic instrumentals make this a memorable track.

7- “Reckless Serenade” (2011) : Another track from ‘Suck It and See’, this song is about being infatuated with someone to the point that everything reminds you of them.

8- “No. 1 Party Anthem” (2013) : A slower ballad from ‘AM’ that paints a detailed picture of a party setting with the singer hoping to connect with a certain woman. Its subdued sound and vivid imagery show the band’s ability to craft thoughtful love songs.

9- “R U Mine?” (2012) : Although it has a more rock-oriented sound, the lyrics of this song focus on a strong desire and longing for someone, questioning the certainty of their love.

10- “Fluorescent Adolescent” (2007) : On the surface, it’s an upbeat song, but the lyrics from ‘Favourite Worst Nightmare’ delve into nostalgia and the desire to rekindle the spark in a relationship that has lost its excitement.

11- “ Love Is a Laserquest” (2011) : Featured on ‘Suck It and See’, this melancholic ballad is imbued with heartache and nostalgia. It’s a beautiful examination of love lost, showcasing Alex Turner’s poignant lyricism.

12- “Do Me a Favour” (2007) : A track from ‘Favourite Worst Nightmare’, it’s an emotional narrative of a breakup. The mix of raw lyrics and the intense crescendo of the instrumentals capture the tumultuous end of a relationship.

13- “Why’d You Only Call Me When You’re High?” (2013) : While not a traditional love song, this track from ‘AM’ delves into the complexities of desire and frustration in a relationship, set to a captivating blend of rock and R&B.

14- “Only Ones Who Know” (2007) : This song from ‘Favourite Worst Nightmare’ stands out for its slower tempo and its contemplative lyrics. It’s a touching exploration of a secret or unfulfilled love.

15- “Fire and the Thud” (2009) : From ‘Humbug’, this track is a subdued, cryptic love song. Its lyrics are open to interpretation, but the overall theme suggests the highs and lows that come with falling in love.

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