Jack White – Boarding House Reach (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 44:07 minutes | 966 MB | Genre: Rock
Studio Masters, Official Digital Download | Booklet, Front Cover | © XL Recordings
Metacritic Music Reviews, Blunderbuss by Jack White, With the end of The White Stripes, Jack White releases his debut solo album about love and relationships gone wrong. Posted in Alternative, Banda, Blues Rock, Jack White, Rock de Garagem Jack White – Discografia Author: dener Published Date: Janeiro 10, 2019 Leave a Comment on Jack White – Discografia. Get this from a library! Jack White - After creating music as a member of the White Stripes, the Raconteurs, and the Dead Weather, Jack White makes his debut as a solo artist with Blunderbuss. The album includes the single Love. JACK WHITE Sixteen Saltines Hypocritical Kiss Blunderbuss XL 2012, EEUU ACCEPT Against the world Twist of fate Stalingrad: Brothers in Death Nuclear Blast 2012, Alemania THE LYRES Don't Give It Up Now Help You Ann On Fyre Matador 1984, EEUU DR.FEELGOOD Nadine Speeding Thru Europe: Live in Concert Grand (import) 2003, UK DR.FEELGOOD Baby.
BOARDING HOUSE REACH is the new solo album from Jack White, and is a testament to the breadth of the artist’s creative power and his bold artistic ambition. This new material finds Jack White expanding his musical palate with perhaps his most ambitious work thus far, a collection of songs that are simultaneously timeless and modern. Written and conceived while holed up in a spartan apartment with literally no outside world distractions, White exclusively used the same kind of gear he had when he was 15 years old (a quarter-inch four-track tape recorder, a simple mixer, and the most basic of instrumentation). The album explores a remarkable range of sonic terrain – crunching rock ‘n’ roll, electro and hard funk, proto punk, hip hop, gospel blues, and even country – all remapped and born anew to fit White’s matchless vision and sense of restless experimentation.
Jack White Blunderbuss Lyrics
BOARDING HOUSE REACH was produced by Jack White III and recorded at Third Man Studio in Nashville, TN, Sear Sound in New York, NY, and Capitol Studios in Los Angeles, CA. The album was mixed by Bill Skibbe, Joshua V. Smith, and White at Third Man Studio in Nashville, TN. The album features White on vocals, acoustic and electric guitars and drums, organ, and synthesizers. He’s backed by a remarkable new lineup of musicians that includes: drummer Louis Cato (Beyoncé, Q-Tip, John Legend, Mariah Carey), bassists Charlotte Kemp Muhl (The Ghost of a Saber Tooth Tiger) and NeonPhoenix (Kanye West, Lil Wayne, Jay-Z), synthesizer players DJ Harrison and Anthony “Brew” Brewster (Fishbone, The Untouchables), keyboardists Neal Evans (Soulive, Talib Kweli, John Scofield) and Quincy McCrary (Unknown Mortal Orchestra, Pitbull), percussionists Bobby Allende (David Byrne, Marc Anthony) and Justin Porée (Ozomatli), and backing vocalists Esther Rose and Ann & Regina McCrary of Nashville’s beloved gospel trio, The McCrary Sisters, as well as longtime collaborators like drummers Daru Jones (Nas, Talib Kweli) and Carla Azar (Autolux, Depeche Mode, Doyle Bramhall II). Singer-songwriter C.W. Stoneking also appears, contributing a stirring spoken word performance to the album’s “Abulia and Akrasia.”
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Jack White is a 12-time GRAMMY® Award-winner and 35-time nominee. His most recent full-length release, 2016’s JACK WHITE ACOUSTIC RECORDINGS: 1998-2016 (Third Man Records/Columbia), collected 26 acoustic-based songs from throughout White’s wide-ranging musical career, spanning album tracks, B-sides, remixes, alternate versions, and previously unreleased material from The White Stripes, The Raconteurs, and White’s groundbreaking solo career. The collection debuted at #1 on Billboard’s “Vinyl Albums” chart upon its September 2016 release – a position also achieved by 2012’s RIAA gold certified solo debut, BLUNDERBUSS, and 2014’s chart-topping LAZARETTO, both of which debuted at #1 on the Billboard Top 200 as well.
Tracklist:
01 Connected by Love
02 Why Walk a Dog?
03 Corporation
04 Abulia and Akrasia
05 Hypermisophoniac
06 Ice Station Zebra
07 Over and Over and Over
08 Everything You’ve Ever Learned
09 Respect Commander
10 Ezmerelda Steals the Show
11 Get in the Mind Shaft
12 What’s Done Is Done
13 Humoresque
Download:
mqs.link_JackWhiteBardingHuseReach20182496.part1.rar
mqs.link_JackWhiteBardingHuseReach20182496.part2.rar
Jack White Blunderbuss Album
Jack White's first solo album Blunderbuss systematically presents his personal influences and thematic observations, which - perhaps most importantly - allows us to contextualize his back catalogue.
At first I thought Jack White was wearing a women's bonnet in the monochromatic, film-like cover image of his debut solo album, Blunderbuss. Then I realized it's a vulture: yep, Jack White is wearing a bird on his head. On the eighth page of the liner notes he also wears a peacock - a white one - as a hat. What do the ornithological representations mean, on an album named after a gun? I really don't know. But, considering Blunderbuss lays bare the thematic and stylistic considerations that have shaped a two-decade career, he's welcome to his bird-as-hat mystique.
Speaking of birds, as in women (and hopefully not as in vultures): White is obsessed with them, particularly the kind who either never wanted him or don't anymore. From the naïve ('Why Can't You be Nicer to Me', De Stijl), to the obvious ('Fell in Love with a Girl', White Blood Cells), to the sadistic ('Treat Me Like Your Mother', Horehound by The Dead Weather), he unravels his complex relationships with them via lyrics and Blunderbuss only cements this, with particular reference paid to ex-wife (and back-up vocalist on the album) Karen Elson.
On 'Hypocritical Kiss' we're introduced to the end of a relationship (his divorce from Karen Elson?) from his perspective as an underdog, through this: “I know that you're mad at me / But if you're thinking like that you'll see you're mad at you too.” A dogmatic working class-ness comes into play in the next line (“You don't know how to read the look on my face / When I say 'Yeah I've read that book, too”); the irony of such clever rhetoric dismissing intellectualism isn't lost. These dual observations - the blue collar beginnings (and his mythologizing of them) of White's career and his encounters with the fairer sex - extend across Blunderbuss. From anti-anthem 'Weep Themselves to Sleep' (“Men who love the girl / Who try to hold their hands behind them”) to the nihilistic single 'Love Interruption', White's upholstering days in Detroit - rolled shirt sleeves, never getting the girl and all - are prominent. That the title track is about a couple, and that Blunderbuss describes an 18th century gun is probably telling too, no?
Speaking of people White can't have: Rita Hayworth, she's dead. Like 'White Moon' on Get Behind Me Satan, his cover of Little Willie John's 'I'm Shakin' is his latest ode to the 20th Century film star. He's also dressing his all-female band in Hayworth-like white fifties dresses for live performances of 'Love Interruption', which - moreover - makes him look like a monotonic predator surrounded by ephemeral spirits: probably the point. If Rita Hayworth is a talisman for the 'Have Nots', she's also representative of White's love of fifties rock 'n roll. With nods to Bo Didley (“I'm Bo Didley”), Peggy Lee's 'You Give Me Fever' and choral back-up vocals, 'I'm Shakin' is an unapologetically throwback cover choice.
Blunderbuss packages White's observations up simply, arguably because his deft wordsmithery - including his ability to fit an unfathomable amount of relevant words into one sentence - is his songs' most attractive feature. But Blunderbuss - as the bird-on-head suggests - is sonically random. 'Take Me With You When You Go' (with ex Karen Elson as back-up vocalist) starts as a school yard piano ditty only to devolve into a garag-ey assault, while 'Hip (Eponymous) Poor Boy' is positively theatrical.
Jack White offers his tastes and preferences up on a plate with Blunderbuss and when you're done with his obsessive, eclectic tendencies you realize that perhaps a bird-on-the-head isn't at all strange, and if Jack White didn't wear said bird he wouldn't be Jack White.