Thursday, 19 April 2012
REVIEW: JACK WHITE-BLUNDERBUSS
Jack White may be this generations definitive and greatest rock star. The pioneer really did music a favour for the rock ages when he and she (she being Meg) formed the legendary White Stripes and gave the new millennium the good ole days of rock and rolled too success. It may not seem like long since they first came onto our scenes dressed in red and white but since then they've changed music for the better. From taking modern rocks sound back to the golden age of the 60's and keeping everything original by recording without the use of computers, the White's 'Seven Nation Army' of talent took modern rock away from the corny and gave it a cooler sound. Classy and hallmark to the past, the Stripes pushed the envelope, opened doors and kept a foot in for like minded bands like The Strokes and The Hives.
If that wasn't enough of a musical revolution. From 'Fell In Love With A Girl' to 'Icky Thump' the group kept the classic records playing. The house that Jack built had plenty of rooms for more acts too and the singers side projects where more than just extra curricula activities. The Raconteurs showed with just two albums that they were a serious band themselves and the dark, Kills led The Dead Weather, where just too cool. From the leather jackets to the dark shines of their tone and style they where more than just slick. Jack even found time to record a bold, brilliant Bond theme with soul superstar Alicia Keys and form his own record label (Third Man Records) signing seriously sensational acts like Seasick Steve.
Its on this record label that white releases his first solo album 'Blunderbuss' one of the most anticipated releases of 2012 and the first album since The White Stripes split early last year. It's a musical tragedy that the band are no more, but even without his Jill, Jack is more than all right. There's no blunders here. The dark toned, but laid back first single 'Love Interruption' and the sublime second 'Sixteen Saltiness' showed us this and the rest of the album carries on in the same strength with no hindrance.
This albums even darker then the promotional press photos for it of Jack standing in a bathroom with a cut throat razor, but still its delightful and a slice above the crop of rock competition that still can't mess with the best. Even after a band break-up and another divorce, Jack is the one climbing the musical hill, whilst everyone else sounds like damaged goods or broken records.
The sound of music begins with the complete 'Missing Pieces' the singles and the lyrical growth and expanse of 'Freedom at 21'. When the album reaches its self-titled 'Blunderbuss' track the tone, energy and quality of the album steps up to an even greater notch and it doesn't skip a beat or track until the last second has counted down on the last track. 'Hypocritical Kiss' is classic White, from the drums to the perfect piano licks. This song was produced to last like Rolling Stone lips t-shirts.
'Weep Themselves To Sleep' and 'I Guess I Should Go to Sleep' lulls us further towards Jack, as the former bandsman shows his great rock legacy won't rest just like R.E.M. 'I'm Shakin'' brings the beat up a little, while the bluesy 'Trash Tongue Talker' shakes things up further. 'Hip (Eponymous) Poor Boy' is classic, 'On and On and On' epic and 'Take Me with You When You Go' the perfect closer to the right opening to the new doors of this solo singers second career. At the start of this album you may think its not the same without Meg, but after the middle portion of this set makes this album truly great by the finale you'll come to see here and here on out it all begins and ends with Jack. TIM DAVID HARVEY.