The first single from their last album: Icky Thump. Upon first listen it seems nonsensical. An apparently random series of mashes on the synth Jack pulled out of his ass, under lyrics that have been taken from a hat. Surely the only interesting thing is the trademark White TM riff. But no. Soon you begin to appreciate the bit where it sounds like you spilled something on your keyboard, and that bit where Jack smacks his forehead on the synth. It's a glorious conglomeration of the White Stripes that is progressive for them. Yet it is punctuated by that dirty, rusty riff that forms the core of the song, as well as the in your face lyrics. The change of pace into the, chorus, lets say, gives Meg a moment to posture, and crash into a wrath of cymbal-snare hell. Everything appears to be in its right place in this song. It's a rap. Lending from Beck and The Goodies, Jack goes on to exclaim about anti-immigration views that "you can't be a pimp and a prostitute too!" This cements itself in my top 5.
4. Seven Nation Army - Elephant
The riff of the century! The song that immortalised the White Stripes. From the football stadiums to the Egyptian revolution this simple, mind-bogglingly brilliant riff has reached every part of society. Up there with the legendary Another One Bites The Dust and Whole Lotta Love, but Seven Nation Army seems to go further. Maybe it't because of the digital age, but everyone knows the riff - whether they've heard the song or not! It's a truly remarkable thing. And the glorious irony of the subject matter - Jack telling people not to gossip (perhaps about his and his sister's divorce certificate) becomes their most famous song. It builds and it releases. It gives a fantastic little solo. What more could you ask for?
3. Catch Hell Blues - Icky Thump
Whenever the slide comes out, I know I'll love it when it's coming from Jack White. What greater brilliance is there than throwing your hand along a fretboard and hearing a beautiful smooth transition of tones. Catch Hell Blues though is in a league of its own. We start with White musing to himself, (probably about Jimmy Page or something) as if he's being caught off guard. Then we start to get into the song. He plays it muted at first, and leaves a tremble in his voice, drawing us to his guitar being released, and suddenly the song is full. Meg opens up her hand and crashes down before pulling all back. Short, stacked chops of the guitar play, building upwards. Then the whammy gets stamped, and Jack calls for us to catch him. Nothing short of excellence. This is one of the most brilliant songs to sing a long to aswell, belting out the 'oooh' is one of the most satisfying things you can do.
2. Ball and Biscuit - Elephant
Surely there's enough twelve bar blues in the world? Well then that means Ball and Biscuit is a song of defiance. What a fantastic song too. It starts with a simple little riff, it ends with that same riff too, as if nothing had happened in between. Jack's charming voice tells us to have a ball and a biscuit with him. Drugs, sex, whatever that may be, he says it in such a way that we just can't resist. We join him into a brilliant solo, lined with whammys and ear-bleeding notes, yet it's all within his fingertips. His solos in Ball and Biscuit are a controlled frenzy. They second half of the last solo just takes me to another planet. It's a surprise every time I hear it, how perfect it is. He knows exactly what sound he's going to make before he makes it, he knows exactly what we want to hear before we hear it. It's a modern marvel that keeps on giving. Just don't try singing along.
1. Death Letter - De Stijl
I did say I love a bit of slide guitar. To me, this is the ultimate White Stripes song. The center-piece of De Stijl: Death Letter. Firstly, what a badass name. I mean holy shit first time I heard it I thought it's gonna be mental. But it was far less metal than I expected. Instead it was a moment of clarity. The slide flows so effortlessy in the song, in perfect complement to each word Jack says. And the sentiment of it! It's a wonderful tragic message that will resonate with me forever. "The gal you love is dead" and "Hugging the pillow where she used to lay" are lines delivered in such a brilliant way by Jack that I forget it's a cover sometimes. The solos are like greyhounds chasing a rabbit. But they catch the rabbit, tear it to pieces and find there's nothing left, ending in Jack's melancholic puddle of self-pity. And it sounds fucking brilliant.
Well, it's been fun guys. I'll probably do some more of these, maybe The Raconteurs as well as other, non Jack White associated acts. For now though, thanks for reading.
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