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Elsewhere, the listener is treated to structures so wildly episodic that the closing Take Me with You sounds like three different songs – including a 70s stadium-rock anthem and a piece of library music – lashed together, the donning of funny accents ("I'm noivuss," he sings on a cover of Little Willie John's I'm Shakin') and several bursts of falsetto vocals so ridiculous that the Darkness's Justin Hawkins might advise him to tone it down a bit. Leaving aside the lyrics, the most striking thing is the way White uses his melodic skills to mask some off-the-wall musical ideas, next to which the fidgety prog-rock riffs that open the album and the irresistible vaudevillian arrangement of Hip (Eponymous) Poor Boy are relatively straightforward. In fact, presenting something deeply weird as entirely straightforward may be the whole point of Blunderbuss.
#Jack white tongue trash talker series#
Either Elson is a superhumanly tolerant musical collaborator in the vein of Rita Marley, who on Exodus lent her talents to a series of songs about how amazing her husband Bob's mistress was, or White is back to his old "this-is-my-big-sister" trick of playing with public perceptions of his personal life in a weird and unsettling way. The woman you might suppose to be at the root of all this, his ex-wife Karen Elson, turns up all over the album singing backing vocals. Not since techno auteur Mike " μ-Ziq" Paradinas released an album called Duntisbourne Abbots Soulmate Devastation Technique has a record appeared to signpost its roots so clearly in a failed marriage. Even the internet troll depicted over a clattering drum pattern in Freedom at 21 is a glamorous femme fatale, which has to be one of the more extreme recent examples of artistic licence, at least until such time as someone who looks like Rita Hayworth in Gilda gets hauled before a magistrates court for tweeting abuse to a Premier League footballer.
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And who can blame him? If the songs that aren't about relationships collapsing or Jack White swearing himself off women are to be believed, the fairer sex are basically responsible for every evil in the world, up to and including causing lifeboats to deflate with their high-heeled shoes. If the songs aren't about relationships collapsing, they're about Jack White swearing himself off women. "I know you're mad at me, but if you're thinking like that, I think you'll see you're mad at you, too," he offers, presumably before exiting the room to avoid the heavy items being thrown by someone who's had enough of this passive-aggressive bullshit to last a lifetime. "I got some words for your ass, you better find someone up the street." And they are occasionally depicted via lyrics that suggest Jack White might be the most infuriating person imaginable to get into a domestic with. "They'll take pieces of you and walk away." They are sometimes depicted via lyrics that are completely hysterical in every sense of the phrase: "Your momma was a bastard, had your bastard face all over the scene," howls Trash Tongue Talker. These are sometimes depicted via lyrics that are clever and moving: "When someone tells you they can't live without you, they ain't lying," sings White on Missing Pieces. Inside, there are songs about collapsing relationships.
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On the cover, the recently divorced White broods with a vulture on his shoulder. He once claimed "I've got three fathers: my biological dad, God and Bob Dylan," and here, it seems, is his Blood on the Tracks. A t first, Jack White's first solo album seems to be a straightforward affair.