Earlier this week, I was up late with insomnia and turned on the TV. I settled on the Disney Channel, being that it has some really good animated series on really late at night (pretty much the only thing of any worth to me on the Disney Channel anymore). So anyway, in between the animated series of The Little Mermaid (hey, shut up. It was a good animated series, mmmkay?) and Lilo and Stitch (don’t judge me!), this music video by Disney’s latest commercial minion — I mean, superstar — Selena Gomez, comes on. The first thing I notice about the video is that gee, for a music video meant to target audiences between the ages of 8 and 14, Selena’s outfit/moves/lyrics sure are a bit mature (I mean, come on? Does a role model for prepubescent girls really need to sport a spaghetti-strapped minidress, tons of makeup, and a designer hairdo and sing about romantic relationships in order to reach her fans? I’m sorry if I sound like a nit-picky old lady here, but really)…and then about halfway through the video, it occurs to me that the stuff going on in the background looks awfully familiar…I mean, what with the endless red, white, and black triangles perpetually moving towards the screen. At this point, I think to myself, “Man, I liked this video so much better when it was called ‘Seven Nation Army’…” Now, I’m not saying that Miss Gomez nor Boss Disney are intentionally ripping off the video for one of the previous decade’s defining songs or anything, but there is a more-than-passing resemblance between the two videos, dotcha think?
Music Video on Disney Channel Rips Off White Stripes; Commits Various Other Atrocities January 5, 2010
Jack White: The Discography (So Far) July 12, 2009
There are several reasons right now for me to post a (sorta) complete retrospective of Jack White’s albums (definition of “complete” depends on whether or not you count movie soundtracks he’s contributed to, guest appearances he may have made on other artists’ albums, or bands he was in prior to The White Stripes. If you count any of those, this list is far from complete. Sorry. I kind of jumped on the Jack White bandwagon late and was not able to delve that deeply into his work. So sue me). One reason is that Jack White’s birthday was a couple of days ago (Thursday, to be exact). Happy 34th, Jack. Another reason is that his latest band, The Dead Weather, are coming out with their debut album, Horehound, later this month(and when I say “later this month,” I mean really really really soon. Like in 2 or 3 days soon). It’s about time, too. I’ve been waiting for this thing since early March (actually, since around the same time this blog was started). So in preparation for Horehound, and in honor of the birthday boy, I now present to you a detailed discography — in chronological order, mind you — of all the albums Jack’s released with The White Stripes and The Raconteurs.
The White Stripes — The White Stripes (1999)
Way back in 1999, long before The White Stripes hit the mainstream, and shortly before lead singer/guitarist Jack White and drummer Meg White filed for the most amicable of divorces (though to this day they still claim to be siblings. I’m sure they know they’re not fooling anyone anymore, but to be fair, maybe the whole reason why they got divorced was because their bond was too fraternal to last as a marriage. So, for all intents and purposes, they have a brother-sister relationship), The White Stripes released their self-titled debut album. Released when Mr. and Ms. White were still living in their hometown of Detroit, The White Stripes features a raw, savage sound best described as “punk blues” (it makes a lot more sense when you actually hear it), combining the structure and rhythm of blues music with the fast tempo and high volume of punk rock, while also embracing the minimalism that both genres share. Minimalism is a key ingredient to The White Stripes’ credo, contributing to everything from the band’s primitive recording techniques to its very strict dress code (as The White Stripes, Jack and Meg are only ever seen wearing red, white, black, or any combination of those three colors), and though they’ve never abandoned their minimalist approach to music, on no album did they adhere to it more than on their very first album.
Recommended Tracks: “Sugar Never Tasted So Good”; “Cannon”; “Broken Bricks”; “Screwdriver”; “I Fought Pirhanas”.
The White Stripes — De Stijl (2000)
The White Stripes’ sophomore album — named after an early-20th-century Dutch art movement (translation: “the style”) that valued minimalism and geometric shapes — was released one year after the band’s debut album. De Stijl saw the band dabbling in a more diverse range of genres, from the mid-1960s-pop-rock-sounding “You’re Pretty Good Looking (For a Girl)” to the bouncy piano tune “Apple Blossom”, to the country-tinged cover of bluesman Blind Willie McTell’s “Your Southern Can is Mine”. Still, the punk blues sound that was so pervasive on The White Stripes still radiates heavily on De Stijl, most notably on songs like “Hello Operator”, “Let’s Build a Home”, and the band’s cover of Son House’s “Death Letter”.
Recommended Tracks: “You’re Pretty Good Looking (For a Girl)”; “Hello Operator”; “Death Letter”; “Truth Doesn’t Make a Noise”; “A Boy’s Best Friend”; “Let’s Build a Home”.
The White Stripes — White Blood Cells (2001)
This is the album that launched the Stripes into the stratosphere of stardom, and all it took was one minute and 55 seconds of energetic retro-rock and the lego-filled video that went withit. I’m talking about The White Stripes’ very first hit single — “Fell in Love With a Girl”. A mere four years after Jack and Meg formed their candy-colored musical duo, they’d made the big time. Soon to follow would be MTV apperances, speculations revolving around the nature of the pair’s relationship (one minute the public buys the idea that they’re brother and sister — I mean, heck, they look like they could be siblings! — and the next minute their divorce papers are circulating around the internet…someone has some ‘splaining to do), and the inclusion of “We’re Going to Be Friends” (in my humble opinion, the greatest song ever released by The White Stripes, and quite possibly the greatest song Jack White has ever written. So far, that is) in the opening credits of the love-it-or-hate-it (I happened to love it. Though I didn’t love those of my peers who quoted it ad nauseam. Way to ruin a good film, guys) teen cult film Napoleon Dynamite. The band’s sound was remarkably different on White Blood Cells than on their previous two albums, relying less on the punk blues sound and more heavily on straight-up garage rock. However, in spite of the slight change in style, White Blood Cells is no less ecclectic a collection than De Stijl, gathering influence from country (“Hotel Yorba”), 1970s hard rock (“Dead Leaves and the Dirty Ground”), 1970s soft rock (“The Same Boy You’ve Always Known”), folk (“We’re Going to be Friends”), scat (“Little Room”), mid-1960s proto-punk (“Fell in Love With a Girl”) and Citizen Kane (“The Union Forever”).
Recommended Tracks: “Dead Leaves and the Dirty Ground”; “Fell in Love With a Girl”; “The Union Forever”; “The Same Boy You’ve Always Known”; “We’re Going to Be Friends”; “I Can’t Wait”; “I Can Learn”.
The White Stripes — Elephant (2003)
If White Blood Cells was the springboard from which The White Stripes leapt into stardom, Elephant was the huge splash they made when they landed in it. Elephant features the riff-driven “Seven Nation Army”, which remains the Stripes’ biggest hit to this day. And that’s just the beginning of the impact Elephant made on the band’s career. Elephant won the Stripes their first two Grammy awards in 2004 (Best Alternative Album; Best Rock Song for “Seven Nation Army”). Also on Elephant is “The Hardest Button to Button”, the video for which was parodied a couple years later on an episode The Simpsons in which The White Stripes themselves made a brief cameo. Once Elephant was let loose, the Stripes were practically unstoppable. Pretty soon they had a week-long gig on Late Night with Conan O’Brien, and Jack White started doing crazy celebrity things like appearing as a minor character in a war epic, dating an actress or two, getting into a tussle with a former protegee, making occasional onstage appearances at Bob Dylan concerts, and collecting taxidermy (oh, wait — he was already doing that). But anyway, back to what’s really important about Elephant: the music. The White Stripes’ fourthalbum saw them returning to their blues-rock roots with songs like “Black Math”, “In the Cold, Cold Night” (featuring Meg White’s first ever lead vocal), and the unbearably sexy “Ball and Biscuit”. Yet the Stripes also continued to experiment with a variety of different styles. “Seven Nation Army”, though undoubtedly a rock song, has a beat that can be easily danced to (Mom, if you’re reading this, please spare me the Dick Clark reference), while “There’s No Home for You Here” features multi-tracked vocal harmonies that sound like a weird hybrid of The Beatles and Queen.
Recommended Tracks: “Seven Nation Army”; “Black Math”; “I Just Don’t Know What to Do With Myself”; “In the Cold, Cold Night”; “You’ve Got Her in Your Pocket”; “Ball and Biscuit”; “The Hardest Button to Button”.
The White Stripes — Get Behind Me Satan (2005)
Sometime around 2005, Jack White evidently felt the need to unleash his inner Leon Russell. Thus, he grew some facial hair, developed a strong attachment to wide-brimmed hats, and released the piano-heavy Get Behind Me Satan. In spite of the album’s title and cover art, Jack White’s quasi-gothic appearance at the time, and the dark quality of the album’s first single, “Blue Orchid”, as well as the eerie video that went with it, Get Behind Me Satan contains some of the lightest, most pop-oriented material The White Stripes have yet produced. Though, in my opinion, Get Behind Me Satan is altogether a relatively weak album (especially when it had the misfortune of following Elephant), it does contain some of Jack White’s most beautiful, introspective songs, with “Ugly as I Seem” and “I’m Lonely (But I Ain’t That Lonely Yet)”.
Recommended Tracks: “My Doorbell”; “Forever for Her (Is Over for Me)”; “Little Ghost”; “The Denial Twist”; “As Ugly as I Seem”; “I’m Lonely (But I Ain’t That Lonely Yet”.
The Raconteurs — Broken Boy Soldiers (2006)
In 2006, the music world was introduced to Jack White’s new band, The Raconteurs. Joining forces with solo artist Brendan Benson and The Greenhornes’ Little Jack “LJ” Lawrence and Patrick Keeler, Jack and his new bandmates preferred not to call their supergroupa “side project”, but instead a “new band made up of old friends.” Their retro-style brand of modern hard rock proved that The Raconteurs had potential for staying power and appealing to a wide audience. Having three additional band members rather than just one also helped take some of the pressure off of Jack’s performance, as he got to share vocal and guitar duty with Benson. The Raconteurs also gave Jack some room to play withsounds completely separate from The White Stripes’ material. It is quite easy to distinguish a Raconteurs song from a White Stripes song, and there are many Raconteurs fans who prefer them to The White Stripes. That fact alone is enough evidence to suggest that The Raconteurs were more than just a side project. As for me, I enjoy bothbands about equally (though I lean a little more towards The White Stripes, if only because they have more material out). Listen to both if you want to decide for yourself.
Recommended Tracks: “Hands”; “Broken Boy Soldier”; “Together”; “Yellow Sun”; “Blue Veins”.
The White Stripes — Icky Thump (2007)
To the relief of all the White Stripes fans who thought Jack had abandoned his soul sister so he could continue playing with the boys, Jack and Meg returned again with Icky Thump. And for all we know, Mr. White may have needed that year off with another band to refuel his peppermint-flavored creative juices for The White Stripes. Because Icky Thump is a darn fine album, and showcases a diversity of musical styles that spans further than the Stripes had ever dared to reach before. Jack celebrates his Scottish heritage with the bagpipe-driven “Prickly Thorn, But Sweetly Worn” and “St. Andrew”. And though The White Stripes have performed many covers before on previous albums, few — if any — are as unusual as their latin-flavored cover of Patti Page’s 1952 hit “Conquest”. Yet, with the Stripes’ ever-increasing exploration of different styles on Icky Thump, there’s still plenty of room for the classic garage rock/punk blues sound that The White Stripes started out with, which can be heard on such songs as “Bone Broke”, “Little Cream Soda”, “Rag and Bone”, and “Catch Hell Blues”.
Recommended Tracks: “You Don’t Know What Love Is (You Just Do as You’re Told)”; “300 M.P.H. Outpour Blues”; “Little Cream Soda”; “Rag and Bone”; “A Martyr for My Love for You”; “Catch Hell Blues”.
The Raconteurs — Consolers of the Lonely (2008)
In 2008, The Raconteurs set out to prove that they weren’t just a one-album wonder. And what a way to prove it. This is the very album that made me a Jack White fan, and so will always hold a special place in my heart. I was convinced that good rock and roll had gone down the tubes (and I don’t mean the London subway system — though I do remember seeing huge ads for Consolers on subway walls when I was in London last summer) until that fateful day in late January when I went out on a limb and decided to check these guys out (well, that and I needed a recent album to review for my reviewing and publishing class. The same class responsible for me starting this blog, now that I think about it). But enough about me. This album is a prime example of how modern rock can still…well, rock. The trick is to pay homage to older music, without adhering too firmly to any one genre. Take, for example, “These Stones Will Shout”, which begins with a Cat Stevens/Donovan type of gentle folk, and gradually builds up to a powerful Zeppelinesque hard rock sound. And that just barely scratches the surface of how awesome and diverse this album is. Within the fourteen songs featured on Consolers, one can hear the essence of such genres as folk, blues, country, punk, bluegrass, 1970s metal, southern rock, hard rock, soft rock, and spaghetti-western-soundtrack-type-music (see “The Switch and the Spur”). So please excuse my gushing; after all, this was the first album — the first anything, really — that I ever wrote a review for. And before I go about paraphrasing the entire review I wrote for class, let me just finish by saying this: Consolers of the Lonely was robbed of a Grammy. Coldplay can stick their Rock Album of the Year award…uh…somewhere where it will be very painful to stick a small metallic gramophone. Like…up their nose or something. And that’s the end of my uncharacteristically biased rant. My apologies to Coldplay and anyone who may be a huge Coldplay fan.
Recommended Tracks: “Salute Your Solution”; “Old Enough”; ‘The Switch and the Spur”; “Hold Up”; “Top Yourself”; “These Stones Will Shout”; “Carolina Drama”.
Jack White’s at it Again March 14, 2009
Recently (just over a month ago, in fact), my faith in modern rock music was restored by Jack White, the lead singer and guitarist of two fantastic
bands, The Raconteurs and The White Stripes. This all started when I decided to listen to The Raconteurs’ latest album, “Consolers of the Lonely”, so I could write a review for my reviewing and publishing class. To make a long story short, I really, really liked the album. So much, in fact, that in the weeks that followed I was compelled to delve (with the help of YouTube) into the back catalogues of both The Raconteurs and White’s other (and more famous) band, The White Stripes. I’ve been hooked on both bands ever since. So of course I had to wonder, what could possibly better than Jack White, this awesome musician, being in two awesome bands? Two days ago, that question was answered. Jack White is now in three awesome bands.
White’s latest project is The Dead Weather, a band that, like The Raconteurs, might be called a “supergroup” — all the members have musical careers existing outside of the band. The line-up consists of Alison Mosshart from The Kills (who, like The White Stripes, are a male-female indie rock duo, but have a grittier, dirtier sound) on lead vocals, Jack Lawrence (a.k.a “Little Jack”, a.k.a. “LJ”) from The Greenhornes, Blanche, and The Raconteurs on bass, Dean Fertita from Queens of the Stone Age (who’s also been an auxiliary member of The Raconteurs, providing some extra instrumentation onstage and on some of their album tracks) on guitar, and Jack White on drums and vocals. Yes, that’s right: Jack White, an artist renowned for his guitar-playing (#17 in “Rolling Stone” magazine’s “100 Greatest Guitarists of All Time” list. Which is pretty impressive, although I don’t know if I agree with the decision to rank White above George Harrison, but that might be due to my own personal bias), is playing the drums this time around. Which is yet another reason for me to be excited about this band: I’m curious to hear White taking on an instrument he doesn’t typically play (although I’ve read that he started playing the drums even before he learned how to play the guitar). And don’t even get me started on how excited I was to hear that White’s fellow-Raconteur-named-Jack, Little Jack Lawrence, was going to be in this new band. Lawrence is my other favorite
member of The Raconteurs, mostly because he manages to make geekiness look just so darn cool.
Unfortunately, we have to wait until June for an album from these guys, but they have just released a single called “Hang You From the Heavens” which at the moment can only be purchased on i-tunes, along with a “B-side” (do people still call it that, now that most singles are released on media other than vinyl, therefore not having a second side, if any side at all?), a cover of Gary Numan’s “Are Friends Electric?” But if you’re an i-pod-resistant neophobe like me, fear not. Both of their songs can be heard on their website (http://thedeadweather.com/), which is where I went to listen. The website also has a really fun black-and-white video that plays on a continuous loop and serves sort of as a “music video” for both songs (or just goes on silently when neither song is playing).
“Hang You From the Heavens” starts with a loud, pulsing drumbeat that demands the listener’s attention, soon joined by a guitar so loud, so low, so distorted that it makes The Kinks’ “You Really Got Me” sound like a bubblegum song. Mosshart’s voice comes in sounding defiant, agressive, uncompromising, not willing to take anyone’s crap. I’ve listened to the song now a couple of times, and I’m still not sure whether it’s her voice by itself or if she and White are singing in a very close harmony, because if I didn’t know that Mosshart sang the lead vocals, I would have assumed it was White singing. The vocals on this song sound almost exactly like White’s own singing voice, only maybe a little higher. So either Mosshart’s voice can sound an awful lot like White’s at times, or their voices are blended together so well that it sounds like one voice. Either way, it’s a good vocal. The lyrics convey a frustrating combination of intense love and intense hate, with lines like “I wanna grab you by the hair,/ And hang you up from the heavens.” The song is altogether loud and agressive, but at a slow and lazy tempo atypical of the average angry hard rock song. In my opinion, it’s a very promising first single. As for “Are Friends Electric?”, I can’t really say how faithful it is to the original Gary Numan song, since I’ve never heard the original, but it is a very cool-sounding song with a retro-futuristic vibe to it.