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Jack White - Blunderbuss

4/24/2012

1 Comment

 
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NEW MUSIC TUESDAY!!!


Spotify Listen Link: Jack White – Blunderbuss


2013 Grammy Nominations:

  • Album of the Year
  • Best Rock Song for "Freedom at 21"
  • Best Rock Album


Personal note first: Dear Christine, you're welcome.

So, Mr. Jack White, a man of many bands, brings us his solo project, finally. This guy is absolutely incredible, in my eyes. He has managed to do everything and anything he wants in music, never worrying about commercial success. This is more of an underground success story than any I've ever heard.

Of course, we knew him in The White Stripes, probably the most commercially successful of all of his projects. But try listing off every other one of his projects/bands, and you'll see that he probably hasn't seen much sleep since the initial success of "Seven Nation Army." Let's just do the quick list: The White Stripes, The Raconteurs, The Dead Weather, The Upholsterers, Two Star Tabernacle, Goober & The Peas, The Hentchmen... and his solo debut is just happening now (I'm not counting the Loretta Lynn project - even though it may be my favorite - because the bigger credit there is as the producer).

In short, Jack White, you are one of my heroes. If you ever read this: please let me apprentice for you and learn you amazing ways.


Okay, so getting into the album itself, we start off with "Missing Pieces." Awesome guitar lead-in, naturally, followed by Jack's odd but interesting voice and lyrics hitting hard. There's this synth sort-of sound throughout as well, just adding to the hard-to-place sound of it all. Mr. White takes over on his guitar around the two minute mark, for just a small solo, and it's crisp. The whole thing is much more polished than expected - a sort of different production style than expected. But it's good stuff, and gets your blood flowing and ready for the album.

"Sixteen Saltines" comes on with a much harder sound - thank God my roommates aren't trying to sleep. If you were trying to sit and relax during this one, you were awoken pretty damn abruptly. Oddly, it remains clean. There's no attempt for a dirty garage sound here - this is a seasoned professional. There's timing and a precise method to every movement made. Hot damn.


Maybe  spoke too soon on the polished sound - the bass drum is just a little off sounding at the start of "Freedom At 21." But I may just be trying to find flaws here that don't totally exist. The guitar line here is magnificent (I don't remember the last time I used that word). He's barely singing - it's just closer to rapping than carrying a melody. I like the topic of the girl who can do whatever the hell she wants. And the beat, overall, is more than enough to get your hips moving.

If you're looking for a more classic White sound, you're probably going to be happy with "Love Interruptions." I think the similarities lie most in the vocals - the girl addition alone helps prod it in that direction. Love the lyrics here: "I won't let love disrupt, corrupt, or interrupt me." I mean damn, that's something, right? That's something that's enough to make you sit up and pay attention. 

Title track time! I'm always interested in these tracks if for nothing more than to see how they represent the album. "Blunderbuss" has this incredibly different sound to it, utilizing Willy-Wonka-like working and riddles to my ears. There's also this unique style with strings, and a piano that's just pretty as it plays through. It's really an interesting mid-way track, appropriately tucked in as something to tickle the ears at this point in the album.

"Hypocritical Kiss" is, I believe, my favorite track thus far. I'm not catching every lyric, but there's something in them that hits hard and well. The piano has something to do with this, I'm sure, as it just uses the entire upper register to do something outstanding. The effect/layer on the vocals in enchanting, really just portraying beautiful melodies and keeps me wanting more.

For a guy that's so known for his guitar work, the piano on this album is clear and dominating and, well, wonderful. "Weep Themselves to Sleep" sees it working up and down, bringing in this classical element to an otherwise not altogether happy song. I mean, the use of instrumentation in this one is something else. I'm not in love with the vocals/lyrics throughout, but that backing track alone sounds like something incredible.

Ah now, I remember "I'm Shakin'." It's a kickin' dance song that I'm dying to hear live. The beat alone has got to get you up and moving. There's some backup singers adding a little doo-wop to the whole thing. But mostly, I can't get over that beat! It's just so damn good, and so in tune with what music once was, with this modern twist. Whew... just love it!

"Trash Tongue Talker" is a little more raw in the sound, mostly through the vocal track. There's just more of an echo than the other songs. About a minute in is where you need to listen though - the instrumental break is something else entirely. It's like an old jazz bar has been transported to today's studio, with just enough rock riff to make it all different. It happens again around 2:20.

The sway of "Hip (Eponymous) Poor Boy" is what sucks me in. It's a jazz/blues/easy feeling, almost reminiscent of the Beatles, and maybe even giving a hint of Hanson's latest album (no, I'm not calling them an influence, just using my frame of reference). It's just got a great feel overall, again using every inch of the song specifically timed out to create the sound to just get up and boogy along to.

It's about this time of night that I could totally be singing this song, "I Guess I Should Go To Sleep." I don't totally know if this song was meant for anything more than to be a little funny, and maybe a slight blues song. It's a decent, old-sounding song - and I mean really old. It strikes me as something out of the 1920s, even down to the player piano sound coming from the notes.

"On And On And On" starts with this ominous string sound, and nothing totally takes us out of the trace nature of this track. I mean, there's a little piano, but nothing that packs a punch in the song. It's one of the most solemn tracks of the album so far. It's almost relaxing, but the drum beat keeps you from falling to deep asleep. Not the best follow up to that last one, now that i am actually laying in bed.

In what I cannot help but deem an appropriately titled ending song, we get "Take Me With You When You Go." In this, I'm pretty sure we hear just about every genre of rock you can imagine, and it all somehow works. There's some grunge sounds, some jazz, some progressive... just some of everything. It's not jaunting as we move from place to place either. The only thing making me not a total fan are the notes hit by some of the voices throughout. Otherwise, great ending.


Added to My Playlist:
  • "Missing Pieces"
  • "Freedom At 21"
  • "Love Interruption"
  • "Hypocritical Kiss"
  • "I'm Shakin'"
  • "Trash Tongue Talker"
  • "Hip (Eponymous) Poor Boy"
Ahhhh, this was awesome. It was probably my favorite work of his I've listened to you yet and, if you read my introduction, you know he's done a hell of a lot of work. This album is full of different kinds of music, completely polished and interesting to the ears throughout the entire experience. What a good album, and I mean that as a whole and entire grouping of work.
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Jeff Beck - Rock 'N' Roll Party Honoring Les Paul

3/23/2012

2 Comments

 
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In June of 2010, Jeff Beck took to The Iridium, a jazz club right here in New York City, to record this tribute album to one of the greats, Les Paul. That day would have been Les' 95th birthday, and this was the club he played at nearly ever week until he died. There's some guests that appear, and even some singing over the original pre-recordings, just to give homage to his wife's recording style on top of it all.

The concert was recorded both for this and for a separate DVD. I've got it going on Spotify if you want to listen along!


The first three tracks all feature Darrel Hingham. "Double Talking Baby" is the first song, and it's definitely a perfect rock'n'roll sound to kick off the evening. The vocals are Elvis-esq with the soul we know his for, while the guitar is classic to the sound, with just this slight echo to drive it home.

From here, "Crusin'" takes us on the road with a steady beat being kept by the entire band at once. Everyone's in sync until the guitar solo (which I'm guessing we're going to hear in just about every track - given that it's supposed to be the star here). It gets a little rougher sounding with "The Train It Kept A Rollin'" just in sound. I think there's just more of an intensity to this one, so I definitely don't mean it in a bad way. The sound's just got more of a roughness to it.

The next nine tracks feature a singer name Imelda May. Jason Rebello also comes on for this one, "Cry My A River" which you'll remember pretty much as soon as the voice starts going. It's an old slow classic, where the notes drag in this incredibly beautiful way, full of hurt, yet strength. She kicks it up, but remains in a classic sound with "How High The Moon." Start dancing with me as we check it out on video. "Somewhere there's mu-uu-uu-sic..."
I can't figure out if the mic effects on her voice are awesome or driving me crazy, but they carry into "Sitting On Top of The World." We're back to the guitar being the primary thing to hear here, as the voices seem to merely be there to provide some filler for the part there is no epic playing going on. The same sort of happens for "Bye Bye Blues," but with, obviously, a more blues feel to everyone instead. Yet, even with that, there's no slowing down the pace anytime soon. This group's on the run like a train.

"The World Is Waiting For The Sunrise" slows down, but barely. It's still chugging on. It's not until "Vaya Con Dios" that we get another breath for a moment. While the fast-playing guitar is entertaining and impressive, I think hearing its ability to slow for just a second and sing a lovely song like this can be just as impressive.
All right, so, finally we come to a point where I have to say the original recording was probably much better than this performance. There's too much effect used on "Mocking Bird Hill." It's a come meant to sound like it's from the time it's from, and not beyond it. There's too much metallic throughout this one, through instruments as well as vocals.
We slow back down (mid-show smooth jazz here people) with "I'm A Fool To Care." Again, this is one that we've heard before, and it's done fantastically here. It's a sad song for the ages, but one you can't help but give over to every time you need it. "Tiger Rag" pick the pace back up, using the vocals simply as supportive backing, without words for the longest time. Then, when they pick back up, they're just moving the story along, not telling it. The instruments are taking charge of that. "Here kitty kitty..."
Jason Rebello is back for the next two songs, and this time he's brought Trombone Shorty! "Peter Gunn" is there first song with Mr. Beck. And we've gone from that classics sound back into a definite rock tune. This is so close to Mission Impossible, I'm in awe. I'm embarrassed to say I can't place this exact song off the top of my head, but it's a jammed out spy number. 

But we're not done with them yet. In a way to cooly introduce the band and their primary objective, we get Darrell Hingham back on board for "Rocking Is Our Business." Good to know why we're here 14 tracks in!
We go down to just Jeff and his bass back for the next two tracks, starting with "Apache," a highly familiar western theme. You've heard this before in the old westerns, along with the spoofs in the newer ones. It's just a great instrumental track, and brings on another good one, "Sleep Walk." This is the song I always get mixed up with for "Blue Moon" for some reason. Both of these are excellent in their original form, though the reverb used throughout this, creating a strong echo on the guitar, gets to be a bit much in a live setting. Odd when you realize you would have preferred a studio version.

Jason Rebello is back, and this time he's brought Gary U.S. Bonds for the party. Seriously, that's the only way I can describe "New Orleans." It's a big party, and Gary has taken on the role of host. His voice carries throughout, introducing the hard playing members of the band, and getting that audience on their feet and singing along!

"Walking In The Sand" doesn't have a singer credited, but I'm taking bets that Imelda is back for this soul-packed angry song about a boy who left after all the lies. Whew, you'd be fanning yourself after this one, where everyone is truly bringing it full-force and letting go. So, so well done. She slows it down for "Please Mr. Jailor," but I have to say, I am so happy to see her awesome voice coming through. The song is kind of eh, but when they get her up there without all the backup and echos, this girl's voice shines just as much as that guitar playing of Mr. Beck does.

For the final number, we get Brian Setzer on board! Woo for connecting albums. Anywhos, this one is "Twenty Flight Rock." Brian's clearly excited to be there. He's back to singing on this one - yayyyyy. We close as we starts - good ol' rock 'n' roll!
Added to My Playlist:
  • "Crusin'"
  • "Cry Me A River"
  • "How High The Moon"
  • "I'm A Fool To Care"
  • "Walking In The Sand"

Whew, that was fun. I loved the whole thing, and I'm sure it's 100% better in person. I mean, this was clearly a great concert for the people that got to sit and enjoy it. What's more, this was clearly a great tribute to a man who did so much with the guitar. So, kudos to Jeff Beck, in the end, for a fantastically done show in honor of the one and only great - Les Paul!
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