If you’re riding with Jack White, you’d best buckle up. He’s going to take more sharp turns in one album than most artists dare in a career.
Post Tagged with: "Jack White"
Nick DeRiso’s Mid-Year Best of 2014 (Rock, Roots and Prog): John Oates, Jack White, David Crosby, Joe Henry, GOASTT, California Breed
A career-defining three-EP set, a stirring comeback, another thrilling head scratcher.
S. Victor Aaron’s Mid-Year Best of 2014 (Non-Jazz): Jack White, Me’Shell Ndegéocello, Drive-By Truckers, Lucinda Williams
Here are the seven best albums outside of realm of jazz so far in 2014. So says me.
White’s “old, yet new” vibe again has him brilliantly mixing seemingly unrelated styles.
Another twist from an artist who gets a thrill out of kicking down genre walls.
Somewhere tucked away under all of that hipster modernity is a stone-cold blues lover.
“My friend Jack has this box,” Young says as A Letter Home begins, in an opening message to his mother — but, by then, it’s already clear that A Letter Home is an album like no other, recorded in a situation so old fashioned as to seem otherworldly.
With the second, and title track, from forthcoming Lazaretto album, Jack White makes a bold move away from the amped-up blues of the initial “High Ball Stepper.”
A gloriously off-kilter instrumental blues from Jack White, “High Ball Stepper” advances the rootsy weirdness that made 2012’s Blunderbuss such a fizzy wonder. It will catch a groove, then devolve into a wide-open space of ruminative piano, then evolve again into a blister of smeared guitar sound. Is there such a thing as prog blues?
While there is an argument to be had about Baz Luhrmann’s temerity in remaking “The Great Gatsby,” you’ll get no such reservations when it comes to Jack White’s scorching version of this U2 deep cut from the forthcoming soundtrack.