The White Stripes - Get Behind Me Satan
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Free Music Notes for Get Behind Me Satan
Free Music Review: Showing Their True Colors?
Hit: 5 Stars
At first, the Vines and the Strokes were on top of the 'It' Band jam-pack pile, the Hives and The White Stripes lagging behind. But, after 2001, the 'It' Band craze died down, and MTV returned its radar to Nu-Metal and Pop Punk, a la Simple Plan and Sum 41 (ugh...).
Maybe it was the fact that the bands weren't able to dazzle with the follow-ups to their breakthrough albums. Maybe it was the fact that people realized that they were more about an image and a style, as opposed to the substance that it inevitably all comes down to (which doesn't explain the success of Simple Plan... ugh).
Maybe it was merely the fact that the critics got tired of pushing these trendy bands. Whatever the case, most of the bands have returned to the underground.
The White Stripes, however, are a different story. Jack and Meg White have released not one, but two albums following their breakthrough work. The first of which, "Elephant," may just be one of the greatest rock albums ever crafted, mixing blues, punk, and intelligent songcraft, not just writing love songs, but going into details.
The Stripes' second album in the spotlight, "Get Behind Me, Satan," is, as has been stated previously, a shift in styles. What were wailing blues guitars have been largely replaced by quirky, almost Western-sounding piano riffs, accompanied by marimbas, of all things. The thrilling, Black Keys-esque Blues/Punk fusion is all but gone. It might be a bit too large a departure for some.
Personally, I liken it to the shift in styles that the Beatles did when crafting "Rubber Soul."
The result isn't a let-down, in any way. It may even be a progression. For when the two put themselves out of their element, they compensate by elevating the songwriting - "Forever for Her" may be Jack's finest song.
The Stripes seem to draw from different inspirations here, like folk and country (the great acoustic number, "As Ugly As I Seem," and "Little Ghost," the latter of which really sounds like more of a parody than an actual homage).
Another strange new inspiration was disco; see the lead single "Blue Orchid", "My Doorbell," and "The Denial Twist." While the songs are a bit odd, at first, they do showcase Meg White's abilities; her percussion has really improved over the last album.
There really are no bad songs on here, though there are moments on here where the quirkiness of the new musical style takes the album's direction to a place that you don't really expect (or want) a rock album to go. Example: "White Moon", which sounds like something from a soundtrack for a Western. It wouldn't surprise me if Jack wrote it while on the set of Cold Mountain.
It may be a bit strange that Jack changed his musical direction just as he seemed to have mastered the guitar (listen to Ball & Biscuit, from Elephant, if you doubt as much). But some pieces of the 'Old Stripes' can be found here. "Instinct Blues" and "Red Rain" both could be on an earlier album, and "Take, Take, Take" has the same chord structure of "Dead Leaves On The Dirty Ground" and "There's No Home For You Here," the only difference being with pianos replacing guitars. It's still a good song, though, even if it does feel a little 'been there, done that.'
Also, as a side note, don't let the mediocrity of Meg's voice bother you too much when listening to "Passive Manipulation." The song itself has a very anthemic feel - it could be a classic.
The album does have a sound that is definitely not punk, hardly the blues, and too 'Stripey' to be folk or country. But, of course, when Zeppelin was through with 3 and 4, no one was calling them a Blues band, either. They were calling them Zeppelin! So, while the change might be startling for some of us, it might just be the thing that makes the Stripes the band of their generation (a title that Simple Plan definitely won't be getting... ugh).
So, while we don't get it now, we probably will when other indie bands are throwing down their guitars and picking up marimbas and pianos.
Free Music Review: A Review of Get Behind Me Satan
Hit: 5 Stars
I've never had much interest in any of the material put out by the White Stripes, but Elephant got me hypnotized. Getting this CD involved no hesitation whatsoever.
This album is recorded and produced in February 2005; with Jack White fresh of the trail of winning a Grammy for producing Loretta Lynn's Van Lear Rose (and what a great country album that is). Now, it is easy to have strong feelings for a White Stripes record. You clearly have to be very passionate about the stuff White Stripes releases - either you hate them with a vengeance or you admire their courage and creativitiy. Mind you, it is not easy to like a White Stripes CD. I would liken this to those arthouse movies you so often find on an Academy Award nomination list. So far, I have refrained from calling any of the stuff found on this CD "music", because I think this term fails at describing what you should expect to find on this CD.
Get Behind Me Satan (and perhaps all other White Stripes CDs) is strange, so very strange. You will never be sure of what you're listening to, and never really find out if you actually like what you are exposing your ears to. Personally, I think the "music" (if I may say so) is extremely left-field and downright bizarre. My parents were furious at their remake of Burt Bacharach's I Just Don't Know What To Do With Myself; while I found that to be one of my favourite tracks of Elephant. At this juncture, let me distinguish Elephant from Get Behind Me Satan. This CD displays more melodious compositions, less distortion and more logical and consistent song arrangements. Of course, this does not in any way bar all likelihood for Meg to smash and crash on the drums in her unpredictable and sometimes downright hilarious 'moodswings'. Listen to Track #2 "The Nurse" and you'll get what I mean.
"Blue Orchid" is the perfect rock song this year. It has menacing guitar riffs, thumping organic drum beats, complete with a 'chopper propeller' sound effect for the beginning. You could never get sick of this song (or could you?) There is no one standout track other than this, but all the tracks are so unique and catchy in ways that make this album a real gem. This is the particular special characteristic of a CD by White Stripes. There is no sure-hit single; why, there is just no need for there to be one. The album itself is a statement. "Little Ghost" might remind country fans of something similar they've heard before on Loretta Lynn's CD. "The Denial Twist" has Jack White partially rapping to a funky, groovy beat by Meg. This song is great - it's head nodding, feet stomping and fists punchingly awesome. I may be slightly off-track here for feeling that "Instinct Blues" sounds a little like Ray Charles doing a rock number. Jack White plays the piano and sings along in a great piece "I'm Lonely", and reminds me of some country-western bar off the set of `Cold Mountain' the movie. You would never have thought that this comes from a rock CD. The pounding of "Red Rain" is severe and may be the reason many like the White Stripes. For me, I like the softer side the White Stripes is capable of, which, incidentally, makes me appreciate the sudden loudness certain songs hammer into me.
The packaging for this CD looks excellent too. The White Strips sure has established themselves as the band with the red, white and black colour scheme. Very interesting indeed. The White Stripes are eccentric, bold and absolutely unique. Their music may border between genius and crap - whichever way you look at it. I prefer the view that here is talent doing what only the White Stripes can do.
Get this CD, you'll find yourself in for a bit of an exhilarating journey. This CD packs the punch; but has great music to go with. I can't comment further on the songs, they require so much to be said, yet one needs not say anything (or can say nothing for that matter) to fully comprehend what's on this CD. So yeah - Get Behind the White Stripes for this one.
More Grammys.
Free Music Review: A brilliant display of artistic growth
Hit: 5 Stars
This album will make or break a "true" White Stripes fan. The change is HUGE, and I'm certainly not complaining. I'm happy that The White Stripes have the balls to constantly experiment and bring something new to the table, time and time again. Most notably, casual fans are going to miss Jack's wailing guitar solos and time signatures. His artistic vision is channeled through piano, marimba, tambourine, and acoustic guitar (although their is some electric guitar lurking around in the mix). While other bands try to replicate the magic of their freshman debut, The White Stripes are busy honing their skill, creating music that has soul, feeling, and ideas (all executed within a 2 week recording session). This subsequently feels like a retreat to their "little room" from the staggering success of "Elephant". They've locked the door and threw away the key to make whatever they see fit, which merits even more respect. Screw the bigwigs, the "true" fans want to hear a intimate recording by these two creative forces, which is exactly what they brought us.
The first cut "Blue Orchid" is a thrilling metal number, reminiscent of past material, but still different. By the end of that song, they slip back into their little room to stun listeners throughout the rest of the record. "The Nurse" is very experimental. Meg's drums sound like a series of explosions over Jack's piano and marimba, along with his soft lyrical delivery. But I have to say, it's "My Doorbell" that sinks it's hook into you. It's a little reminiscent of the "Hotel Yorba" days, with Jack's quick, happy go lucky lyrics. It's actually very catchy, and stands in stark contrast to the previous cuts. Up next is "Forever for Her (Is Over for Me)" where Jack sings ever so passionately. It's one of the most well written songs on the album. But then comes my personal favorite, "Little Ghost". Jack and Meg belt out this soulful number with a brilliant country bluegrass swagger that is simply irresistible. "The Denial Twist" is fantastically driven by piano and tambourine. The presence of Rita Hayworth also plays a significant role on songs such as "White Moon" and the dazzling "Take, Take, Take". The rockers closest to the material on "Elephant", "Instinct Blues" and "Red Rain" should please all White Stripes fans. Meg does a fantastic job with her vocals on "Passive Manipulation" were she boasts the very effective lyric - "Women, listen to your mothers / Don't just succumb to the wishes of your brothers / Take a step back, take a look at one another / You need to know the difference between a father and a lover". "As Ugly as I Seem" is a very simple acoustic guitar flavored tune. I can't think of a better song they could have used to close out the album, than "I'm Lonely (But I Ain't That Lonely Yet)". Jack's lush voice and beautiful piano work will leave your head swaying just like Meg's head would be at a live show.
Needless to say, I am quite impressed with this album. But I'm sure some of you will be sorely disappointed with their new direction. Personally, I would be in heaven if all of my favorite bands made albums the way The Stripes do. I would rather hear something completely original, than to hear "Elephant" part 2. If I want to hear riveting guitar solos, I'll listen to "Elephant". If I want to listen to Jack's blues-rock perfection, I will listen to "De Stijl" (It's nice to have choices). But in no way does "Get Behind Me Satan" pale in comparison to it's predecessors. Their discography is on it's way to being just as staggering as Beck's. They're all brilliant works of originality. And although it may push away some casual fans, The Stripes are at their best when they push themselves to their limits.
Free Music Review: A classic, no matter where it falls
Hit: 5 Stars
If there's one thing that's clear to the readers of these reviews it should be to approach this album with an open mind. Remember, it was the bucking of commercial music's trends that inspired fans of the Stripes to listen to them in the first place. "Get Behind Me Satan" is many things, but a return to previously covered ground is not one of them. Those who enjoyed the mellower material on previous releases (Hotel Yorba, I Want To Be The Boy To Warm Your Mother's Heart, Keep Her In Your Pocket, etc.) should find this album the most pleasing initially, but all fans will find that it grows on them very quickly. The White Stripes are not a band content to simply regurgitate previous successful formulas under a new album cover, throw out a single or two, and let the rest of the disc stagnate in filler. Let's appreciate this album for what it is, something that might be the most unique and challenging record released in a very long time.
"Get Behind Me Satan" refuses to be classified. This is what I mean by saying that it is such a challenging recording. I think many of the negative reviews come from the fact that some don't feel comfortable listening to a song that goes against the mold that has, correctly or mistakenly, been assigned to the White Stripes (or any band they enjoy). Everything in today's music scene is slapped with a label and marketed to a specific group of buyers, and that really can't be done with an album that covers classic rock/disco/metal (Blue Orchid), bluegrass (Little Ghost), blues (Instinct Blues), Elton John style piano jams (Doorbell), acoustic ballads (As Ugly As I Seem), and the many other styles of music that are covered in the album's 13 tracks. Which isn't to say that this doesn't sound like a White Stripes album. Meg's familiar drumming and Jack's vocals and skillful production make it unmistakably another stellar White Stripes release.
I'll admit that on my first listen through this album I had my share of the what-the-hell-is-this moments that many probably did on their first trek through it. But I can honestly say that on every subsequent listening I have enjoyed this album more. There is simply too much going on to take it all in on one listening. The what-the-hell look of the confusion that crossed my face when I first heard a song like "Take, take, take" has rapidly been replaced with a smile that I can't fight back every time I hear it. Each song on this album is a unique experience and leaves the listener wondering what's coming next. Instead of the album dragging in monotony toward the end as it does on many albums by lesser artists, this release demands to be played again from the beginning. By the end the listener is left wondering how the Stripes could tackle so many different sounds so successfully. That is the sign of true talent.
There is a certain amount of arrogance inherent in this record. It comes from Jack taking on every conceivable style of music, twisting it to his own uses, and coming out with something completely unique that must be heard to be believed. "Elephant" was without a doubt an instant classic rock album, and "Get Behind Me Satan" is clearly another classic, I'm just not sure what to call it. It was obvious before that the White Stripes were the best rock band recording. With "Get Behind Me Satan" they take things a step further and prove that they are among the best musicians recording today period.
Free Music Review: White Stripes Do Religion
Hit: 5 Stars
Wow.....Jack and Meg do religion. From the Michelangelic God and Adam's fingers to the black Madonna iterations, this is deep stuff. As soon as you delve into the tracks you realize they really are going to different places this time. White Mississippi gospel, bluegrass, solo voices, whispering faint lyrics, ghosts and saints....plenty of the White Stripes mystic to keep you speculating about what really is going on here. Pretty much whatever you want to make of it becomes real. And that's what they've always been about.
To start to understand, you need to hear the rare Christmas vinyl they released in 02 with Candy Cane Children and the Story of the Magi/Silent Night or the Mojo Magazine Red Death track or the 20/20 interview Jack did with Loretta Lynn. It's all about the unexpected....and don't ever expect to know exactly who Meg is either. This is more fun than I've seen any band have ever.
Jack White now breathes the rare air of living legend as he continues to develop at light speed. This is nothing less than the leading edge of the 3rd age of rock and roll as Jack continues to lead the way for what will we will look back on as the great ones of the era....Kings Of Leon, Razorlight, and those that follow.
So, how about the music? This is the Get Behind Me Satan album standard American version. There are 2 bonus tracks that are not on this album
.....Who's A Big Baby?
.....Though I Hear You Calling, I Will Not Answer
You can pick up the bonus tracks by getting the Japanese version of the album or (more cheaply) by picking up the Blue Orchid American version CD single, which has both of them.
Who's A Big Baby? is one of Meg's experimental pieces that rabid Stripes fans enjoy.
Though I Hear You Calling, I Will Not Answer is a great addition to the current releases. Jack uses his voice faintly for a really nice effect. It is similar to the feel of the Get Behind Me Satan tracks in that there is a huge range of effects from raging wild guitar through the echoes of Jack's Cold Mountain soundtrack bluegrass experience to the white Mississippi gospel sounds in Little Ghost.
Now for the tracks on this CD. To me the best is Jack and piano in White Moon and I'm Lonely. The screaming Detroit roots are still here though. Just try Forever For Her, Denial Twist, Instinct Blues, Red Rain, Take Take Take. Meg does her bit with Passive Manipulation, which may be better than X-Rated.....you decide.
Here the rest of the current releases:
Get Behind Me Satan - Japanese Import (2005 Jun 9)
includes 2 bonus tracks that were released on the American version of the Blue Orchid CD Single:
.....Who's A Big Baby?
.....Though I Hear You Calling, I Will Not Answer
.....
and....FYI here are the single releases that go with the album:
Blue Orchid US CD Single (2005 May 31)
.....Blue Orchid
.....Who's A Big Baby
.....Though I Hear You Calling I Will Not Answer
.....You've Got Her In Your Pocket (Live in Belfast)
Blue Orchid UK Import CD Single (2005 Jun 19)
.....Blue Orchid
.....Though I Hear You Calling I Will Not Answer
Blue Orchid Swedish Import CD Single (2005 Jun 19)
.....Blue Orchid
.....Who's A Big Baby
.....You've Got Her In Your Pocket (Live in Belfast)