Jack White – Blunderbuss
This is unmistakably a Jack White album. The thin voice. The cold production. This is unmistakably a Jack White album. The angry riffs. The aggrieved, cutting, remorseless riffs. This time, there’s plenty of reason to be angry. The lyrics capture the break up with Karen Elson or perhaps Meg White. Allegedly. “I hear a whistle, that’s how I know she’s home. Lipstick, eyelash, broke mirror, broken home”. Ouch. “She don’t care what kind of wounds she’s inflicted on me. She don’t care what color bruises that she’s leavin’ on me. She’s got freedom in the 21st century”. Oucher still. Well, the Karen Elson album that you produced was full of murder ballads. Allegedly. So, Mr White, what did you expect? ‘Sixteen Saltines’ is the classic Jack White song. All bluster. But while there’s plenty of drums and guitars, there’s more to the music than just that. ‘Love Interruption’ reads brutally, but sounds composed. Keyboards. Acoustic guitar. Backing vocals. ‘Blunderbuss’ suggests it should be the noisiest, fearsomest track on the album. But with its backing of pedal steel guitar and double bass, it just lies on its back and waves its legs in the air. And that’s what works. Thirteen angry guitar-driven songs might have been very cathartic for Mr White, but it would soon have outstayed its welcome. Like someone you let sleep on your couch because they’re having a tough time, but who you soon want to kick out because they sure do moan a lot. You wouldn’t wish on anyone the obvious pain and torment that provides the background to these songs. But they sure make for a great album. Allegedly.