Jack WhiteSure, he's been an entirely visible or deliberately invisible soul to a range of bands. As producer, he always adds something visceral, personal. He can spot talent, or oversee the resurrection of artists most had written off. But what does Jack White III offer on the first album with just his name on the marquee?
At times, it's an everything-including-the-kitchen-sink trawl through the history of blues, rock, soul, and occasionally country. At others, it's a surprisingly reflective look into himself – or at least the impression of it. But always, he puts just enough in every song – whether that's just scream, cat-scratch guitar, and rattle of drums; or a more involved melange of keyboards, strings and doo-wop vocals – it's always so identifiably him, perfectly constructed, even in the ragged edges and scars left showing.
Matters of the heart and hips remain the central currency. Go from the Love Interruption's twisted passions, with Ruby Amanfu's echoing challenges giving the female input he maybe needs, straight into the Nashville waltz of the title track, or the Gram Parsons country mood and music of I Guess I Should Go To Sleep.
Then he's a blues shouter. I'm Shakin' is a stuttering '50s R'n'B belter, with Motown/Spector girl-group back-ups. Elsewhere it swings, or even has a nod at '70s rock. You can play the 'spot the reference' game throughout, or just get lost in White's blood-rush guitar playing, and declamatory singing. Whatever, Jack White remains a fan – a passionate and knowing one – and that's how he makes his records. An often messy – and often terrific – collection.
