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| GimmeExile |
Four nights at the Greek in L.A.!
Fri 07/29/05 San Diego, CA San Diego Street Scene
Sat 08/06/05 George, WA The Gorge
Sun 08/07/05 Vancouver, BC Orpheum Theatre
Mon 08/08/05 Vancouver, BC Orpheum Theatre
Wed 08/10/05 Portland, OR Keller Auditorium
Fri 08/12/05 Berkeley, CA Greek Theatre
Mon 08/15/05 Los Angeles, CA Greek Theatre
Tue 08/16/05 Los Angeles, CA Greek Theatre
Wed 08/17/05 Los Angeles, CA Greek Theatre
Thu 08/18/05 Los Angeles, CA Greek Theatre
Fri 08/19/05 Phoenix, AZ Dodge Theatre
Mon 08/22/05 Morrison, CO Red Rocks Amphitheatre
Tue 08/23/05 Kansas City, MO Starlight Theatre
Wed 08/24/05 Saint Louis, MO Fox Theatre
Fri 08/26/05 Minneapolis, MN Orpheum Theatre
Sat 08/27/05 Minneapolis, MN Orpheum Theatre
Mon 08/29/05 Chicago, IL Auditorium Theatre
Tue 08/30/05 Chicago, IL Auditorium Theatre
Wed 08/31/05 Chicago, IL Auditorium Theatre
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| mac_daddy |
when do tix go on sale, and how much will they be..? |
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| GimmeExile |
The dates were just announced. I'll post info on ticket prices and onsale dates when I hear.
Those four nights at the Greek come right after the Black Crowes' 5-night stand at the Fillmore. I wish I could spend the month of August in California. Well, I'd fly to Boston for opening night at Fenway, of course! |
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| Phog |
Sweet, I'll be going to KC for sure. |
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| parmeda |
Where's Martha?
Deja`vu darling? The Auditorium!!
...come a week early before the Stones and we're there, girl! |
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| beer |
check out the video for Blue Orchid here:
http://www.whitestripes.net/downloads.php
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| beer |
http://www.rollingstone.com/reviews/album/_/id/7370216/whitestripes?pageid=rs.Home&pageregion=triple1
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Bad news for satan: Jack White's mama said knock you out. Get Behind Me Satan is a Biblical reference, plus a possible invitation to back-door action with the Prince of Darkness. But the music is so wild, it could make you weep over how pitilessly the Stripes keep crushing the other bands out there. Having clocked all rivals, the Stripes have to settle for topping their 2003 masterpiece, Elephant, the way Elephant topped White Blood Cells. If you happen to be a rock band, and you don't happen to be either of the White Stripes, it so sucks to be you right now.
The Stripes twist a variety of American music styles to their own emotional purpose, figuring out new ways to howl about their romantic torments. For Jack, this means seething, stripped-down ballads full of piano and marimba. For Meg White, it mostly means beating the crap out of her cymbals. They stretch out in heavy guitar stomps ("Instinct Blues," "Red Rain"), bluegrass ("Little Ghost") and falsetto disco that resembles Foreigner ("Blue Orchid"). "Forever for Her (Is Over for Me)" builds a fabulously seductive groove out of the simplest elements -- acoustic guitar, marimba, an egg-shaker -- as Jack begs, "Let's do it/Let's just get on a plane and do it."
Is he singing to Meg? To Renee Zellweger? You might not want to find out, given the demented "As Ugly as I Seem," where Jack broods over Buffalo Springfield-style folkie guitar and a melodic nod to Bob Dylan's "I Believe in You." Meg sings the brief yet chilling ditty "Passive Manipulation." For the grand finale, "I'm Lonely (But I Ain't That Lonely Yet)," Jack sits down at the piano, heists one of the oldest country melodies in the book, wails about missing his mama and mulls over his romantic options: "She's homely and she's cranky and her hair's in a net/I'm lonely, but I ain't that lonely yet."
Jack sings about 1940s film goddess Rita Hayworth in two of his sultriest songs, "Take, Take, Take" and "White Moon." She makes a perfect love idol for him, since he's an avowed fan of Orson Welles, who was married to Hayworth long enough to direct her in the 1947 film-noir nightmare The Lady From Shanghai, one of the creepiest movies about marriage ever made. Get Behind Me Satan could be a rock & roll remake, starring Jack and Meg as the doomed lovers. Satan, you got served.
ROB SHEFFIELD
(Posted Jun 16, 2005)
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| Factory Girl |
DC dates are badly needed. Thanks, GimmeExile. |
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| Martha |
quote:
parmeda wrote:
Where's Martha?
Deja`vu darling? The Auditorium!!
...come a week early before the Stones and we're there, girl!
This sounds like an excellent plan! Pam....You are the best rock and roll tour manager I've ever had!
Did Jack get married? |
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| Happy Motherfucker!! |
Has anyone heard how the follow up to Van Lear Rose is coming along, or if they've even started it yet? |
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| Martha |
quote:
mac_daddy wrote:
when do tix go on sale, and how much will they be..?
Don't know when they'll go on sale, but the one show posted at Txbastard has just one price listed: $40. :-) |
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| Gazza |
quote:
Martha wrote:
Did Jack get married?
yes. He did - in Brazil yesterday. Meg was maid of honour, Theres a report of it on the news section of their offical website www.whitestripes.com
It says it was the first marriage for both bride and groom (??) |
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| GimmeExile |
beer, thanks for the links to the review and downloads! 4 1/2 stars in RS mag...can't wait to hear the new album.
FG, I hope DC gets multiple shows at a small venue...Did you go to Smith Center show in November 2003?
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| Dan |
Gawd I hate the Greek. But then maybe their 15 mins is almost up and I can get in for cheap. Got into both Pixies shows for free last night. |
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| GimmeExile |
quote:
Dan wrote:
Gawd I hate the Greek. But then maybe their 15 mins is almost up and I can get in for cheap. Got into both Pixies shows for free last night.
Wow, you're the first person I've ever heard who doesn't like the Greek!
Trust me, the White Stripes are the real deal. This ain't no 15 minutes...more like 15 years and counting!
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How did you get into the Pixies for free last night?
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| Dan |
quote:
GimmeExile wrote:
Wow, you're the first person I've ever heard who doesn't like the Greek!
I am talking about the Greek in LA. Its great in Sec A, it sucks balls everywhere else. Nowhere near loud enough
quote:
Trust me, the White Stripes are the real deal. This ain't no 15 minutes...more like 15 years and counting!
Yeah I agree they are the real deal. However, so are lots of other bands who couldn't keep up with the fickle tastes of the public.
quote:
How did you get into the Pixies for free last night?
Scalpers way overbought. They were going for almost nothing on Ebay. I blew the whole concert budget ordering the live CDs for each of the 4 shows. I got there with the intention of spending $5 to get in (like the first Greek show last year) but eventually someone gave me a ticket. Then some other guy offered me a ticket but I already had one. 2nd show, same guy had a Loge ticket but wanted floor so he just gave it to me. Then I used the floor stub from the previous show to get on the floor again.
I think the scalpers stopped buying when the band kept adding shows so I might have to spend $5-10 to get in.
For all the complaining about high ticket prices but for me, concerts are cheaper than ever.
[Edited by Dan] |
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| GimmeExile |
I've only had good seats at the Greek so I didn't know the sound was bad far back.
Nice work on scoring Pixies tickets...and using previous night's floor stub to get back there! Getting into a show for free is such a rush. I always love to hear stories of different techniques.
Re: other L.A. venues
What are your thoughts on the Hollywood Bowl and Palladium? I've never been to either venue, but I've read the Bowl is not a great place to see a rock show. If the Stones play the three rumored L.A. shows, I plan to fly out and attend all of them. |
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| Dan |
quote:
GimmeExile wrote:
Re: other L.A. venues
What are your thoughts on the Hollywood Bowl and Palladium?
The Bowl is absolutely unsuitable for rock concerts. Its an outdoor venue in a residential neighborhood with strict noise restrictions. I have only been to 3 shows and none of them were loud enough. I dont plan on buying Stones tickets and if no other gigs are going on that night (I HATE this 6 months in advance thing) I will hold out for $20-40 and if I dont get in I will sneak around back and listen from there since it wont sound any worse.
The Palladium - used to be my favorite venue but I havent been there in 10 years and have no intention of ever going back again. Basically a round room with lousy sound but used to have great ambience. Not anymore though
Oh, and after seeing 2 great shows for free I am reconsidering trying for $75 last row Stones ticket in an upcoming onsale.
quote:
I've never been to either venue, but I've read the Bowl is not a great place to see a rock show. If the Stones play the three rumored L.A. shows, I plan to fly out and attend all of them.
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| Factory Girl |
Hello GimmeE, yes I did go to the Smith Center in'03.
Smith Center is a dreadful college basketball venue. |
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| mac_daddy |
from this morning's paper (calander cover article)...
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Little White truths
*Inspired and determined, Jack White gets personal, crafting a White Stripes CD so surprising it recalls the Beatles' creative leap on "Rubber Soul." Here's how....
By Robert Hilburn, Times Staff Writer
The White Stripes' Jack White is ready for a break as he slips behind the wheel of his vintage four-seat Thunderbird and switches on the ignition. White has been working feverishly on a new album, and he is just days away from starting a grueling world tour.
The CD, "Get Behind Me Satan," is a a daring creative advance in which he and drummer Meg White have added layers of imagination and depth to what was an already thrilling sound.
ADVERTISEMENT
Despite all the gloom surrounding the record industry about the way bottom-line consciousness at major labels is stifling creativity, White shows how a fiercely independent artist can still make music that is both cutting-edge and commercial. The Stripes' last album, 2003's "Elephant," sold 4 million copies worldwide and won an album of the year nomination in the Grammys.
In "Satan," which will be released Tuesday on Third Man/V2 Records, White sets aside his signature blistering guitar lines on most of the tracks. Marimbas dominate one song, grand piano and/or drums highlight others, and he mixes them in dazzlingly original ways.
The subject matter is more personal anxious, even desperate looks at conflicts between innocence and morality on one side and compromise and betrayal on the other. Even in some of the album's gentlest moments, a guitar suddenly cuts through like a knife through a curtain. "It's probably the most cathartic record I've ever made," White says.
The creative leap in "Satan" is, in its way, reminiscent of the breakthrough the Beatles made in "Rubber Soul," the album that not only introduced more adult themes to the Beatles' compositions (the disarming vulnerability of "In My Life") but also new instrumental textures (mysterious sitar touches in the sophisticated "Norwegian Wood").
For all the assurance of the new album, however, the "Satan" recording sessions left even the normally workaholic White drained.
"It was the first album that was really hard to make," the singer-songwriter says. "It wasn't because we needed inspiration or help creatively. I was writing songs every day, which is unusual for me. I probably have 35 done. The problem was outside things."
The tape machine kept breaking, microphones often went on the blink, water dripped from the ceiling. You can even hear part of Meg's drum kit tumble over at the end of one song. "Torture," White sums it up. "It got to the point where I was almost feeling, 'Let's forget it. I can't take it anymore.' "
Despite the frustrations, the Stripes recorded the album in just over a week in March for under $10,000. (It's not uncommon for major label bands to take months and spend $1 million in the process.)
And White hasn't let up. He's worked nonstop on every detail of the album's launch, including planning a tour that would take the duo to Mexico, Chile, Russia, Poland and Greece before the U.S. leg, which includes Aug. 15-18 dates at the Greek Theatre in Los Angeles.
That's why a ride in the Thunderbird must seem especially inviting on this rainy afternoon. He wants a couple of double cheeseburgers and onion rings from his favorite bar, about 45 minutes away in Dearborn.
Everything about his car, from the upholstery to the tinny radio, is original except for the supercharged engine features that make the car's roar as loud as a jet as White pulls into the street.
By the time he hits the freeway, the noise from under the hood makes the car feel as if it's going 120 miles an hour, though the speedometer reads a prudent 65.
The car skids noticeably when he encounters a sudden traffic tie-up on the wet streets.
"Sorry about that," he says, smiling. "I should have told you, this car's got '90s power and '50s brakes. "
The same could be said about Jack White.
A state of readiness
"I've been working all night on the artwork for the album," White, 29, says by way of greeting as he walks down the stairs of his elegant turn-of-the-last-century home.
On stage, he plays guitar and sings with an immediacy that makes him seem dangerously near imploding. And even at home, his mind seems amped up, as if he's about to excuse himself at any minute and race back to his home studio to put his latest thoughts on tape.
The house documents his endless fascinations. The main floor spills over with a crazy quilt of passions and projects from religious statues (he thought of studying for the priesthood as a teenager) to pinball machines, animal heads on the wall and a drum kit in the hall.
White leads a guest to a back room where the Stripes recorded "Satan." The room is so crowded that White can barely make his way past the guitar cases and microphone cords to show where he did his vocals.
"A formal studio would have killed this record," the 6-foot-2 musician says. "People didn't used to have enough money to do more than one or two takes, so they would put everything into each one.
"That's what created the urgency in so many of those records. It felt like the singer's life was on the line. Now you have millions of dollars of technology to help you in the studio, but it doesn't help at all."
What does help are things like an obsession with a former film star.
White makes his way back to the living room and sits in a chair next to a photo of Rita Hayworth.
"I've been fascinated with her for years," he says. "I used to have a picture of her in my van when I had my upholstery shop. When I was making this record, I had so many images flying through my head, I had to get centered on something. I needed an anchor, and she became it.
"She was a metaphor for everything I could think of. She was a beauty, a love goddess. The red hair, the innocence, the fact she lost all her memory with Alzheimer's. She was a pinup, but I heard she never cared about any of the photos she took."
Hayworth is one of the central characters in "Take, Take, Take," a centerpiece of the new album. It's a playful but telling story set in a seedy bar where a star-struck fan meets the seductive actress. The fan keeps asking more of Hayworth a better look, an autograph, a photo declaring each time, "That's all that I needed."
Nothing, of course, is enough for the fan reflecting both the emptiness of pursuing false values and the way fame can seem like a cage for the one being pursued.
For years, White insisted he was writing about other people. His own life, he said again and again, was too boring.
He can't make that claim now.
There was a childlike innocence to much of the Stripes' music and even their red-and-white peppermint outfits. But the new songs are more complex, more wary, more revealing as White struggles, sometimes with biblical imagery, over classic matters of integrity, honor and temptation. "I don't need any of your pity," he snarls in one tune. "I've got plenty of my own."
Elsewhere in "Satan," White sings, either in a frenzied falsetto or wounded whisper, about spoiled innocence, in the exotic, guitar-driven "Blue Orchid"; the bruising battlefield of romance, in the achingly beautiful "Forever for Her (Is Over for Me)"; and dangerous options, in the bittersweet "I'm Lonely (But I Ain't That Lonely Yet)."
In singing about betrayal and rejection, he's not exempting himself from guilt. There are times in the album when he could be alluding to his own misdeeds as easily as someone else's.
New looks come with this new terrain. On the album cover, he, especially, could be a jaded actor from costume dramas of '40s or '50s movies. Tyrone Power meets Hayworth?
"Everything we do, from Meg's hairdo down to my guitar strap, is just an attempt to get you to listen to the story in the songs, even if it takes a while to understand the story," he says.
"You might listen to 'My Doorbell,' for instance, because it's catchy, then six months later something may happen to you where you feel like the character in the song and relate to it in a different way.
"When I started singing it, the song was kind of lighthearted 'I'm thinking about my doorbell, when you gonna ring it, when you gonna ring it?' but then it became something more. You can tell a lot about people by when they come around and when they don't. Is it out of friendship or do they want something?"
A transfer of tension
White talks about the new album with the intensity of the music itself. You sense that the turmoil and complexities in the songs didn't end when he wrote them down. The tension is in the music because the tension is in him.
As White puts more of himself into his music, though, he's taking himself further from the record marketing machine. He plans to do only three formal interviews to promote the new album.
"I'm not sure the record company is happy about that," he says. "The theory is that if you do 700 interviews rather than 10, you will sell more records, and the more time you spend at radio stations, the more they will play your record. Maybe, but maybe not. Maybe it's best to just use all that time to make better records."
Though the Stripes were on the cover of virtually every rock magazine on the planet after the success of "Elephant" in 2003, White has kept a low profile since. Even while dating Oscar-winning actress Renιe Zellweger, whom he met on the set of "Cold Mountain," he avoided joining the parade of celebrity regulars in People and Us Weekly.
"I hate that celebrity stuff," he says. "It trivializes everything."
Born John Gillis, White is so quiet about his personal life that fans long thought Meg was his sister until reporters in Detroit learned that, although now divorced, the couple had been married for a while in the '90s and he had adopted Meg's last name.
The bond between them is obvious from the way they speak of each other during the interview.
Meg's so shy that it's probably a relief that he does all the talking. She does, however, respond quickly when asked if she remembers the first time she saw White perform in a club.
"The thing that struck me the most was that he was fearless," she says softly, sitting across from him in the living room. "He wasn't trying to be whoever was popular at the time on the radio. He was unique, and that's what he wanted to be. And he's never changed."
Meg is an elementary drummer, but her basic approach adds a warmth that balances nicely the torrential fury that White often injects.
"I hated it when we started getting popular and there was this round of 'Meg sucks' or that she was a 'horrible drummer,' " he says, looking over at her. "Those people couldn't be more ignorant. She brings a childlike quality to the music, an innocence, which is perfect for what we do."
White is so driven that he produced last year's acclaimed Loretta Lynn album and he has been dividing his time lately between the Stripes and another band he has formed with fellow Detroit singer-songwriter Brendan Benson. "Brendan is a lot more song craftsman," he says toward the end of the interview. "I'm more emotional and from the hip. It's an interesting contrast."
Rumors of that other band have led to speculation that "Satan" would be the final White Stripes album, but there is something about the partnership with Meg that White seems to prize too much to let it go.
"I don't know," he says of the future. "On one hand, I'd be shocked if we were still making records in 10 years. In a lot of ways, rock 'n' roll is for the young. There's also so many other things going through my head bluegrass, blues, country. Then again I see the Stones and I am really impressed they are expressing their rock 'n' roll attitudes at their age. That's not easy to do."
Whatever his musical path, White is unlikely to temper his vision, which is rooted in the blues and country musicians who laid the foundation for rock 'n' roll in the '40s and '50s. In recordings by artists as varied as Blind Willie McTell and Hank Williams, White, who was raised in a lower-middle-class area of Detroit, found a raw emotional honesty that was far more vital than the commercial trends of his youth. The music gave him not only a sense of self-identity but also a confidence in his own future. He guards that rawness and purity fiercely.
"Anytime I have any question about what decision to make," he says, "I just ask myself, 'Why am I doing this? Why did I want to start making music?'
"The answer was the music gave me a reason to hold my head high at a time little else did, and that's important. Any time you forget that principle is important in what you do, just turn on MTV and see all the things that can go wrong with a band and its music. Nothing, whether it's more sales or getting your picture in more magazines, is worth more than being able to hold your head high."
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| mac_daddy |
this was the front page pic...
and another...
there was another of jack playing guitar, but it is not online...
oh, and here is the album review (fwiw, audioslave rec'd 3 stars and black eyed peas got only 2.5 this morning)...
White Stripes
"Get Behind Me Satan"
(Third Man/V2)
--- four stars ---
Their fifth album proves they've earned their stripes
* Jack White is no longer focused on paying homage to the past. Now he's boldly immersed in his own journey.
One of the most fascinating things about the Stripes' fifth album is that on first listening it is likely to baffle fans of the Detroit duo as much as it will eventually delight them.
Though Jack White's trademark sound the blistering blues-rock guitar assault of such popular numbers as "Seven Nation Army" shows up in a few places, the heart of "Satan" moves to fresher sonic turf.
One of the album's most startling moments is when it steps from the guitar combustion of the opening "Blue Orchid" (sung in an almost perversely falsetto shriek) to the gentle marimbas of "The Nurse" (sung with much restraint).
The thrilling thing from that moment on is that you never know quite what to expect as each new song arrives. Some tracks start with just Meg White's drumming, others with Jack White's grand piano. There's even a bluegrass hoedown in the middle of everything. And when White's explosive guitar does return (in "Instinct Blues"), it sounds all the more dynamic.
If all this instrumental intrigue keeps the listener guessing on one level, the themes are equally unpredictable. These immensely personal tales of lust and betrayal are as old as Adam and Eve and as fresh as your latest heartache.
In the past, White was a master of updating the primal emotions of the blues and country heroes of his youth. Now he declares his independence. In the this utterly absorbing work, White is no longer focused on paying homage to the past. Now he's boldly immersed in his own journey.
-- Robert Hilburn
link
[Edited by mac_daddy] |
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| Martha |
Criminey, I like Jack even MORE now!
:-)
Thanks for posting this interview mac! |
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| time is on my side |
Get Behind Me Satan
The White Stripes
Artist
The White Stripes
Album
Get Behind Me Satan
Rating ****1/2
Release Date
Jun 7, 2005
Recording Date
Feb 2005
Label
V2
Genre Styles
Rock
Indie Rock
Alternative Pop/ Rock
Blues-Rock
Review by Heather Phares
According to Jack White, Get Behind Me Satan deals with "characters and the ideal of truth," but in truth, the album is just as much about what people expect from the White Stripes and what they themselves want to deliver. Advance publicity for the album stated that it was written on piano, marimba, and acoustic guitar, suggesting that it was going to be a quiet retreat to the band's little room after the big sound, and bigger success, of Elephant. Then "Blue Orchid," Get Behind Me Satan's lead single, arrived. A devilish slice of disco-metal with heavily processed, nearly robotic riffs, the song was thrilling, but also oddly perfunctory; it felt almost like a caricature of their stripped-down but hard-hitting rock. As the opening track for Get Behind Me Satan, "Blue Orchid" is more than a little perverse, as though the White Stripes are giving their audience the required rock single before getting back to that little room, locking the door behind them, and doing whatever the hell they want. Even Jack White's work on the Cold Mountain soundtrack and Loretta Lynn's Van Lear Rose isn't adequate preparation for how far-flung this album is: Get Behind Me Satan is a weird, compelling collection that touches on several albums' worth of sounds, and its first four songs are so different from most of the White Stripes' previous music as well as from each other that, at first, they're downright disorienting. As if the red herring that is "Blue Orchid" isn't enough warning that Get Behind Me Satan is designed to defy expectations, "The Nurse"'s ironically perky marimbas and off-kilter stabs of drums and guitar not to mention lyrics like "the nurse should not be the one who puts salt in your wounds" make its domestic skulduggery one of the most perplexing and eerie songs the White Stripes have ever recorded (although Meg's brief cameo, "Passive Manipulation," which boasts the refrain "you need to know the difference between a father and a lover," rivals it). "My Doorbell," on the other hand, is almost ridiculously immediate and catchy, and with its skipping beat and brightly bashed pianos, surprisingly funky. Meanwhile, "Forever for Her (Is Over for Me)" turns cleverly structured wordplay and those fluttering marimbas into a summery, affecting ballad.
But despite Get Behind Me Satan's hairpin turns, its inspired imagery and complicated feelings about love hold it together. Though "the ideal of truth" sounds cut-and-dried, the album is filled with ambiguities; even its title, which shortens the biblical phrase "get thee behind me Satan," has a murky meaning is it support, or deliverance, from Lucifer that the Stripes are asking for? There are pleading rockers, like the alternately begging and accusatory "Red Rain," and defiant ballads, like "I'm Lonely (But I'm Not That Lonely Yet)," which has a stubborn undercurrent despite its archetypal, tear-in-my-beer country melody. Even Get Behind Me Satan's happiest-sounding song, the joyfully backwoods "Little Ghost," is haunted by loving someone who might not have been there in the first place. The ghostly presence of Rita Hayworth also plays a significant part on the album, on "White Moon" and the excellent "Take, Take, Take," a sharply drawn vignette about greed and celebrity: over the course of the song, the main character goes from just being happy to hanging out with his friends in a seedy bar to demanding a lock of hair from the screen siren. As eclectic as Get Behind Me Satan is, it isn't perfect: the energy dips a little in the middle, and it's notable that "Instinct Blues," one of the more traditionally Stripes-sounding songs, is also one of the least engaging. Though Jack and Meg still find fresh, arty reinterpretations of their classic inspirations, this time the results are exciting in a different way than their usual fare; and while the album was made in just two weeks, it takes awhile to unravel and appreciate. Get Behind Me Satan may confuse and even push away some White Stripes fans, but the more the band pushes itself, the better.
Tracks
Title
Composer
Time
1 Blue Orchid White 2:37
2 The Nurse White 3:47
3 My Doorbell White 4:01
4 Forever for Her (Is Over for Me) White 3:15
5 Little Ghost White 2:18
6 The Denial Twist White 2:35
7 White Moon White 4:01
8 Instinct Blues White 4:16
9 Passive Manipulation White 0:35
10 Take, Take, Take White 4:22
11 As Ugly as I Seem White 4:09
12 Red Rain White 3:52
13 I'm Lonley (But I Ain't That Lonely Yet) White 4:19
indicates Track Pick
Releases
Year
Type
Label
Catalog #
2005 CD V2 27256
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| Sir Stonesalot |
I have Get Behind Me Satan. Had it for about a week now. My uncle gets promo copies of stuff to review for a couple of different magazines. I was really psyched about this album because i think the White Stripes are one of the best things cooking in rock n roll music right now. I love Jack's strange takes on songcraft.
I haven't said anything til now because I wanted to let the album sink in. I see all the critics love it. That would explain why I don't. In fact, this is my least fave of all the Stripes output.
This album goes down a road started on Elephant. Unfortunately for me, it was also the thing that I least liked about Elephant. If Elephant was Jack's guitar album...then Get Behind Me is Jacks PIANO album. The songs are fine. My problem is that I'm a guitar guy, and guitar songs are few and far between on this one. In fact, only 5 of the 13 tracks feature Jack's guitar, including my fave "Blue Orchid". The rest are oddball piano songs. So it seems to me that this album explores in the direction of Elephant's piano songs. Humph, shrug.
I have no doubt that lots of people are gonna dig this record. Like I said, the song are good songs. The problem for me is that the style just isn't my cup of tea. I like big loud distorted guitars shoved in my face. I like rock and roll. There's simply not enough of either for my tastes on Get Behind Me Satan. I don't really know what to label this album as...but rock and roll is not what immediately springs to mind.
Still, you should check it out for yourself. You might like this new direction. I don't. But leave it to Jack to make this album something unexpected. |
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| Dan |
Watching the Rio 03 DVD right now. INteresting and entertaining but still a $10 show TOPS. MIght give the Greek a shot this summer since I think the novelty might have worn off by then. |
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