|
| ||||||||||||||||||||||||
Listen to Samples and Buy MP3s
Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or
view the MP3 Album.
Special Offers and Product Promotions
- Buy a CD or a vinyl record, get a $1 Amazon MP3 Credit. Limit one promotional credit per customer. Here's how (restrictions apply)
- Includes FREE MP3 version of this album Here's how (restrictions apply)
Frequently Bought Together
Product Details
Would you like to update product info or give feedback on images? |
Editorial Reviews
Produced by Jack White and recorded at his own Third Man Studio in Nashville, Blunderbuss has been described by White as "an album I couldn't have released until now. I've put off making records under my own name for a long time but these songs feel like they could only be presented under my name. These songs were written from scratch, had nothing to do with anyone or anything else but my own expression, my own colors on my own canvas."
Customer Reviews
Most Helpful Customer Reviews
73 of 77 people found the following review helpful
Format:Audio CD
For reasons that are now unclear to me, I wasn't really excited about this record coming out. I was an idiot. This maybe the most compelling album Jack White has made since... well, that depends on what your favorite White Stripes album is. (For me, it's Elephant). What we have here, then, is a collection of infectious songs that sound like they were recorded by people who were still very excited about playing them. I happened to be driving with the windows down when the opening numbers Missing Pieces and Sixteen Saltines were playing, and, boy, did that WORK. I nearly like every song on this, but the first 9 or ten songs are particularly good with special nods to Weep Themselves to Sleep and Trash Tongue Talker. There is looseness and energy about the performances that I think is rarely heard on modern records. This is certainly the closest thing to a genuine rock album--at least the way I understand the phrase-- that I've heard this year and maybe in quite some time.
Lyrically, Jack is obviously working through some things in his life and, since I'm not a detective nor a tabloid reader, I do not feel the need to know all the details, so suffice it to say that the lyrics have a certain feistiness and honestly about them this time--perhaps more so than usual on Jack's records.
The biggest surprise for me? The overall sound of this CD: it's warm, not overtly compressed with lots of space. (Other artists should take note.) I wouldn't be surprised if the whole thing was recorded on a 2-inch tape. And that is never a bad thing, as far as I'm concerned... Enjoy.
Lyrically, Jack is obviously working through some things in his life and, since I'm not a detective nor a tabloid reader, I do not feel the need to know all the details, so suffice it to say that the lyrics have a certain feistiness and honestly about them this time--perhaps more so than usual on Jack's records.
The biggest surprise for me? The overall sound of this CD: it's warm, not overtly compressed with lots of space. (Other artists should take note.) I wouldn't be surprised if the whole thing was recorded on a 2-inch tape. And that is never a bad thing, as far as I'm concerned... Enjoy.
26 of 28 people found the following review helpful
Format:Audio CD
I've always admired Jack White's band work in small doses, so I was curious how his solo project would differ. Wow, color me impressed. All of these songs are thoroughly engaging, thanks not only to solid songwriting and passionate performances, but also spectacular arrangements. I love the variety of instrumentation here -- it's a wonderful rootsy blend of rock, blues, country, bluegrass, honky tonk, folk and old time music hall. What's really outstanding is the piano playing, and I'm not sure who is responsible since the videos I've seen show at least three different players, including Jack. I haven't heard dynamic rock piano like this since Rick Wakeman played on David Bowie's Hunky Dory or Mike Garson played on Bowie's Aladdin Sane. Really spectacular, and none of the reviews I've read in the press seem to notice it. Astonishing. Anyway, I understand Jack has more tunes half finished from this session, and I hope he doesn't wait long to finish them.
43 of 49 people found the following review helpful
Format:Audio CD
Does Jack White ever record a bad album? That is a rhetorical question of course (the answer is no). White is one of the most talented songwriters, producers and musicians of our time. His first solo album Blunderbuss (no cheap shots at his macro role with The White Stripe of course) is highly representative of his consummate gifts. White's solo work is not so different a style than say his work with The White Stripes, though the instrumentation is certainly fuller - he allows for plenty of help on Third Man released effort (Sony).
The album opens with the brilliant "Missing Pieces," in which minimalistic Rhodes lines, covered by White himself, set the tone. A drum groove eventually enters, reminiscing back to 1960's rock and roll. On "Missing Pieces," White allows for plenty of instrumental moments to show off his talents, including both a Rhodes and electric guitar solo. White doesn't miss a beat on the great followup to "Missing Pieces" in "Sixteen Saltines," which possesses some solid riffs and an addictive grooved buttressed by the drums. The songwriting is noteworthy including notable lines such as "I eat sixteen saltine crackers , then I lick my fingers..." as well as the quasi-unifying hook "who's jealous, who's jealous, who's jealous. Who's jealous of who?"
The interesting groove, intact with tambourine of "Freedom at 21" continues the captivation established by White's cerebral mind. White aims for a quasi-sung/rap performance, in the idiom of indie-/alternative rock of course. Jack White's attitude here is surprising yet refreshing as he again exhibits top-notch songwriting: "Two black gadgets in her hand/that's all she thinks about/no responsibility, no guilt or morals/cloud her judgement, smile on her face/ she does what she damn well please..." "Love Interruption" may be even more creative, if for nothing else than the use of clarinet and bass clarinet, performed by Emily Bowland. Bowland's role as clarinetist replaces the rule of an electric piano or guitar that might traditionally possess the role. Background vocalist Ruby Amanfu assists White on this brief, well written cut, in which he supplies acoustic guitar accompaniment sans drums or bass. I mean who uses clarinet and bass clarinet in rock and roll these days?
"Blunderbuss" is a solid title track, establishing a timbre with pedal steel (Fats Kaplin) as well as acoustic piano, acoustic guitar, and upright bass. An interesting feature is how the acoustic piano and upright bass play in tandem with one another; great orchestration. "Hypocritical Kiss" is even better, one-upping a very well executed title cut. "Hypocritical Kiss" features excellent piano playing by Brooke Waggoner, who has considerable skills. The harmonic progression is sound while unsurprisingly White's production is perfect. The songwriting of this valedictory cut yields another scathing, aggressive turn from White: "...And who the hell's impressed by you? I want names of the people that we know that are falling for this..." Jack White's feeling it on this outing.
"Weep Themselves To Sleep" ends up being the longest cut of the album, but still the duration is under four and a half minutes. "I'm Shakin'," composed by Randolph Toombs proves to be a more thrilling cut, cultivating a blues-rock sound intact with guitar effects. The groove contrasts the slower, more dramatic nature of "Weep Themselves to Sleep." Further adding to the greatness is the trio of background vocalists: Ruby Amanfu, Karen Elson, and Laura Matula. "Trash Tongue Talker" keeps up the momentum with White handling acoustic piano duties on this cut. The musicianship unquestionable here, another high watermark of this album.
"Hip (Eponymous) Poor Boy" is clever with a six-feel and the use of interruptions to the standard groove if not a first-tier cut. "I Guess I Should Go To Sleep" is in one metrically, contrasting previous cuts. White again delivers solid songwriting as well as shows off some gifted pianistic skill. Again flaunting his pianistic skills, White plays through a Leslie Speaker on "On and On and On" to give the cut a more unique timbre. Closing cut "Take Me With You When You Go" ends the album as exceptionally and strong as it began, with White delivering another capable vocal performance as well as solid guitar chops on his solo. A change of pace is a contrast just after the 2:00 mark.
Overall, Blunderbuss makes few missteps if any. The cuts tend to be short, well executed, and memorable. White's musicianship and mark shines through all the thirteen tracks. Even where vocally he may not be the best singer, his style and approach are perfect for this type of album. Don't be surprised if Blunderbuss is a Grammy darling come 2013.
The album opens with the brilliant "Missing Pieces," in which minimalistic Rhodes lines, covered by White himself, set the tone. A drum groove eventually enters, reminiscing back to 1960's rock and roll. On "Missing Pieces," White allows for plenty of instrumental moments to show off his talents, including both a Rhodes and electric guitar solo. White doesn't miss a beat on the great followup to "Missing Pieces" in "Sixteen Saltines," which possesses some solid riffs and an addictive grooved buttressed by the drums. The songwriting is noteworthy including notable lines such as "I eat sixteen saltine crackers , then I lick my fingers..." as well as the quasi-unifying hook "who's jealous, who's jealous, who's jealous. Who's jealous of who?"
The interesting groove, intact with tambourine of "Freedom at 21" continues the captivation established by White's cerebral mind. White aims for a quasi-sung/rap performance, in the idiom of indie-/alternative rock of course. Jack White's attitude here is surprising yet refreshing as he again exhibits top-notch songwriting: "Two black gadgets in her hand/that's all she thinks about/no responsibility, no guilt or morals/cloud her judgement, smile on her face/ she does what she damn well please..." "Love Interruption" may be even more creative, if for nothing else than the use of clarinet and bass clarinet, performed by Emily Bowland. Bowland's role as clarinetist replaces the rule of an electric piano or guitar that might traditionally possess the role. Background vocalist Ruby Amanfu assists White on this brief, well written cut, in which he supplies acoustic guitar accompaniment sans drums or bass. I mean who uses clarinet and bass clarinet in rock and roll these days?
"Blunderbuss" is a solid title track, establishing a timbre with pedal steel (Fats Kaplin) as well as acoustic piano, acoustic guitar, and upright bass. An interesting feature is how the acoustic piano and upright bass play in tandem with one another; great orchestration. "Hypocritical Kiss" is even better, one-upping a very well executed title cut. "Hypocritical Kiss" features excellent piano playing by Brooke Waggoner, who has considerable skills. The harmonic progression is sound while unsurprisingly White's production is perfect. The songwriting of this valedictory cut yields another scathing, aggressive turn from White: "...And who the hell's impressed by you? I want names of the people that we know that are falling for this..." Jack White's feeling it on this outing.
"Weep Themselves To Sleep" ends up being the longest cut of the album, but still the duration is under four and a half minutes. "I'm Shakin'," composed by Randolph Toombs proves to be a more thrilling cut, cultivating a blues-rock sound intact with guitar effects. The groove contrasts the slower, more dramatic nature of "Weep Themselves to Sleep." Further adding to the greatness is the trio of background vocalists: Ruby Amanfu, Karen Elson, and Laura Matula. "Trash Tongue Talker" keeps up the momentum with White handling acoustic piano duties on this cut. The musicianship unquestionable here, another high watermark of this album.
"Hip (Eponymous) Poor Boy" is clever with a six-feel and the use of interruptions to the standard groove if not a first-tier cut. "I Guess I Should Go To Sleep" is in one metrically, contrasting previous cuts. White again delivers solid songwriting as well as shows off some gifted pianistic skill. Again flaunting his pianistic skills, White plays through a Leslie Speaker on "On and On and On" to give the cut a more unique timbre. Closing cut "Take Me With You When You Go" ends the album as exceptionally and strong as it began, with White delivering another capable vocal performance as well as solid guitar chops on his solo. A change of pace is a contrast just after the 2:00 mark.
Overall, Blunderbuss makes few missteps if any. The cuts tend to be short, well executed, and memorable. White's musicianship and mark shines through all the thirteen tracks. Even where vocally he may not be the best singer, his style and approach are perfect for this type of album. Don't be surprised if Blunderbuss is a Grammy darling come 2013.
Most Recent Customer Reviews
5.0 out of 5 stars
nothing he can't do
If you like any White Stripes, or Raconteurs, this will not disappoint. Obviously Jack White and his influence, but who cares who else he is bossing around in a band, still great... Read more
Published 6 days ago by Jeffrey T. Biros
4.0 out of 5 stars
Good album
Enjoyed most of the songs on the album. I like the way Jack White stays true to his sound but still sounds different than most out there
Published 9 days ago by Edward F. Mohan
5.0 out of 5 stars
Best Album Thus far by Jack White
Lots of piano in the tracks which I was surprised but blends so well with Jack White's insanely good guitar playing. One of my favorites albums this year. Possibly of all time.
Published 10 days ago by Matt
5.0 out of 5 stars
Great music
I am very happy with my purchase which was on a whim, now I can't stop listening to the CD!
Published 13 days ago by Adrienne G.
5.0 out of 5 stars
Amazing Album.
Great Album. Real Music, Real Artist. Fantastic. Definitely Real music by a real musician. Recommended for any body who enjoys real music.
Published 13 days ago by Jacob Griffith
5.0 out of 5 stars
Jack White doing what Jack White does
If you enjoy his previous work, this is like that...only better. A little more bluesy, a little more soulful. Buy it.
Published 14 days ago by Javier Banuelos
5.0 out of 5 stars
How could you not like Jack White
Its a diverse album with lots of Jack White and back up singers harmony...pretty wild, but of course I like Jack Whites guitar playing and vocals.
Published 14 days ago by Sharklco
4.0 out of 5 stars
Blunderbuss
This is the first time I have purchased this artist after hearing his band play on Steven Colbert. I like the music and like his style. Read more
Published 15 days ago by Marylouise Flynn
5.0 out of 5 stars
Jack White is a true and brilliant artist, one of the most significant...
Thank you for this excellent album, Jack. You are an eloquent poet and a phenomenal musician. This debut solo album rocks! Love it!!! Read more
Published 21 days ago by M
3.0 out of 5 stars
BlunderBUST
This is MY opinion, so please be respectful of it. =]
I didn't really have any expectation for this album before I heard it. Read more
I didn't really have any expectation for this album before I heard it. Read more
Published 21 days ago by Kevin
Listmania!
|
|
