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April 24, 2012 | Format: MP3

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Digital Booklet: Blunderbuss PDF Of Booklet
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Product Details

  • Original Release Date: April 24, 2012
  • Release Date: April 24, 2012
  • Label: Third Man Records/Columbia
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 41:49
  • Genres:
  • ASIN: B007U8U1V8
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (403 customer reviews)
  • Amazon Best Sellers Rank: #4,915 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

Most Helpful Customer Reviews

109 of 116 people found the following review helpful By Adam Pawlowski on April 26, 2012
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.
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52 of 55 people found the following review helpful By Kristopher Spencer on May 1, 2012
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.
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56 of 62 people found the following review helpful By Michael Brent Faulkner, Jr. VINE VOICE on May 2, 2012
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.
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56 of 67 people found the following review helpful By Rudy Palma on April 24, 2012
Format: Audio CD
If Jack White hasn't created a masterpiece in "Blunderbuss," he's come damn close. Proving he has quite a future post-White Stripes, he has cobbled together a collection of tunes that pulse, soothe and always rock, flying by in a slick, fast-moving fashion. It marks one of those rare occasions where a mental and spiritual exorcism for the artist is also a destined pleasure for those interested in absorbing his art.

Unpretentious, callow, straightforward, laid-back - these are hardly attributes that applied to White previously, and now that he is relying solely on his own instincts and proclivities this is even more pronounced. Oftentimes he veers up and down the emotional scale several times within the same song, taking the listener in unexpected directions that provide a roadmap of both his disillusionments and idiosyncrasies.

To be sure, White is a restless presence on "Blunderbuss" - lamenters of the demise of White Stripes will find a musical life boat within its gripping, extremely impressive 42 minutes. Thematic comparison to Dylan's "Blood on the Tracks" is certainly justified. This is an album of one man's heartbreak and the turmoil, introspection and eventual resurrection which followed.

His elegant, rapturous playing on his Rhodes and his grand, aggressive guitar playing bolster the tunes with a full-bodied precision that is by now expected. The extremely catchy "Freedom at 21," which features a fiery, inspired near-rap, is illustrative of the latter, while the schizophrenic, relatively quiet "Hypocritical Kiss" exemplifies the former.

This is music that not only compels repeated plays but reveals further treasures with them.
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