Icky Thump (Standard Version)

The White Stripes | Format: MP3 Download

Product Details

• Original Release Date: June 19, 2007
• Release Date: June 19, 2007
• Label: Warner Bros.
• Copyright: 2007 The White Stripes/Third Man Records, LLC, under exclusive license to Warner Bros. Records Inc., A Warner Music Group Company.
• Total Length: 48:09
• Genres:
• ASIN: B0011Z51T8
• Average Customer Review: 4.0 out of 5 stars  See all reviews (191 customer reviews)
• Amazon Best Sellers Rank: #5,322 Paid in MP3 Albums (See Top 100 Paid in MP3 Albums)

Customer Reviews

Most Helpful Customer Reviews

51 of 60 people found the following review helpful:

4.0 out of 5 stars White playfulness rules again, June 23, 2007

By 

Mr. Richard K. Weems "emperor_weems" (Fair Lawn, NJ USA) - See all my reviews
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This review is from: Icky Thump (Audio CD)

It's hard not to think that Jack White has developed something of an ego--after all, when music critics call you a genius for anything as small as slapping an organ around a bit, it must be hard not to get a little bit of a God complex.

But if he has, he has not let it diffuse the element of play and seeming improvisation that brings the White Stripes sound together. The White Stripes is where Jack White is at the height of his powers. His brief excursion into The Raconteurs with Broken Boy Soldiers felt too constricted and lacking energy, and in other projects he didn't sound as though he was having all that much fun. Many regard Get Behind Me Satan as dark White Stripes, but I don't go along with that diagnosis--there are way too many fluctuations about that disc even that keeps me from thinking that Jack and Meg were getting too dour during that recording session.

With rock 'n' roll creature Meg White, the music becomes music again, playing with all types of sounds and styles and maybe even poking a little fun at musical schools that we may take a little too seriously. This IS rock, after all, and if we can end "I'm Slowly Turning Into You" with a repetitive La chorus, what the hell? Why not? "Rag and Bone" is an exquisite track with its shout-outs as though one is listening in on take 1, and the plain out noise assault of the the title track lets you know that you're not in for the the old heavy-yet-light-since-there-are-only-two-of-them bluesiness of The White Stripes, but a pair who have spread their sound out wider and into something of a full arc. The snideness of "You Just Don't Know What Love Is (You Just Do As You're Told)," and the garage-can twanginess into submarine assault with "Catch Hell Blues"--every song works at being its own tone poem, sounding at times like a radio dial flipping about to give one snatches of different styles and stations (that is, in the days when you could tell one radio station from another).

But, just in case you thought that the Stripes might have left behind their heavy blues influence, they give you that purity of back-porch blues with "Effect and Cause." I love this playfulness about them, their willingness to explore anything (even if it's something they've explored before) if the song leads them to it.

This album isn't the profound and unannounced classic that De Stijl is, but it's solid White Stripes stuff--which is to say that it's diverse, imaginative, entertaining on both sides of the speaker, and a foot-stomping good time.

Rock on.

12 of 13 people found the following review helpful:

5.0 out of 5 stars Great Release, July 4, 2007

By 

D. Smolarek (Chicago, IL USA) - See all my reviews
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This review is from: Icky Thump (Audio CD)

For a band that exists based on constrictions, the White Stripes increase their versatility with each album. Yes, there are blues stompers and rockers, but Icky Thump has bagpipes, mariachi trumpets, and an ethereal spoken word number by Meg.
For those looking for traditional White Stripes blues rock, you have Catch Hell Blues, I'm Slowly Turning Into You, and the stand outs Bone Broke and 300 MPH Outpour Blues.
And then there's the title track, which, while rocking, ventures into oddball territory with one of the first synthesizers ever made, with a deep Moog-ish sound, and some politically-minded but slightly inscrutable lyrics.
The bagpipe "suite" Prickly Thorn But Sweetly Worn/St. Andrew is, according to Jack White, a nod to both Stripes' Scottish heritage, the first which would have been in good company on the Cold Mountain soundtrack, the second a noisy ditty featuring Meg's spoken word, which fortunately improves with multiple listens.
The other standout tracks are Conquest, a Patty Page cover which mixes trumpets with Jack's pounding guitar riffs, Effect and Cause, the fun Loretta Lynnish closer, and Rag and Bone, a blues track that sums up the ideology behind the Stripes and this album in particular- Jack and Meg go searching for other people's junk to "give it a home" and "make something out of it."

For her part, Meg's drumming has never sounded better.
And Jack, in this humble reviewer's opinion, is THE songwriter of our generation. Even some of the lesser tracks are better than almost anything else out these days.

With each listen I'm finding something new to love about Icky Thump, and more to love from my (obviously) favorite band.

42 of 53 people found the following review helpful:

5.0 out of 5 stars Icky Thump, Who'd-a Thunk?, July 24, 2007

By 

Suzanne (Oklahoma City, OK United States) - See all my reviews

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This review is from: Icky Thump (Audio CD)

For the longest time the White Stripes were my guilty pleasure. Saying their name around musicians is like uttering the name Charles Darwin among Christians or George Bush among Democrats. However, the Whites seem oblivious to outside praise and criticism. They are an anomaly: A two piece band who reduces genres to their bare essentials to see how many ways they can twist, hammer, and shape it into something viable. They do this without an ounce of flash or technical abilities. Jack's near juvenile guitar playing, and Meg's "trained monkey on drums" abilities are among the worst in all of music. The Stripes are essentially an exercise in maximization through minimalization. The variations and nuances they're able to saturate this simplicity with is extraordinary. The results are endlessly surprising and rewarding.

They also seem to alternate - album wise - between interpretations on traditional forms (rock, pop, folk) and experimentation: Although these two sides - the traditional and experimental - are almost always integrated, the focus usually remains on one. De Stijl was their most traditional blues/pop album, with Elephant being a logical progression on that concept that expanded the overall palette. White Blood Cells is perhaps their quirkiest, as it leaped into vast new territories and styles, with Get Behind Me Satan being a focused, refined, near perfection of that stylish mishmash. Now to Icky Thump: At once a return to tradition and complete perfection of it. The spiritual precursor to Icky is Elephant - not the experimental Get Behind Me Satan. The first three songs epitomize this concept:

The title track is monumental, crushing rock. Featuring a towering riff from Jack White, A pulsing "thud" beat from Meg. Along with a vocal delivery that teeters on the edge of manic breakdown and complete control, spitting venom the entire time. "You Don't Know What Love Is" is a foray back to De Stijl and pop in its purest form with no excess. It's also perhaps (and I say this tentatively) the best pop song Jack has written. From electric and eclectic to calm with aplomb (bad wordplay, I know) we get to "300 M.P.H. Torrential Outpour Blues" (I have to gasp just saying it!). This song evokes Bob Dylan like nothing else I've heard from the White Stripes or anyone. The reiterated acoustic lick is absorbing in its meditative restraint. The electric breaks only provide a contrast rather than a driving force to the track.

Then we head into the experimental grasp of Jack again. "Conquest" is pounding and incessant, with its horn flourishes evoking a definite Mexicano vibe. From Mexico to Ireland (or Scotland) we get "Prickly Thorn, But Sweetly Worn". An acoustic, Irish (Scottish?) clog dance that's as charming as anything Jack has done. "St. Andrew" provides a kind of epilogue to "Prickly Thorn' with its accelerating rhythm being lead by a lively bagpipe and miniscule female vocals. "Little Cream Soda" continues the 'Little' tradition, returning to the metal tones of "Dead Leaves and the Dirty Ground" with a distortion drenched riff from Jack that's as good as any he's produced. "Catch Hell Blues" features a tumultuous slide riff that's vaguely reminiscent of "Little Bird" from De Stijl, but more hellish and electric. Jack also hasn't lost his sense of humor. Both "Rag & Bone" and "Effect & Cause" are as whimsical as anything he's done. The former being a rhythmic, comical take on requesting people's unwanteds and the latter being a country-esque romp on refusing to accept the consequences of one's actions.

What catapults this album above the previous Stripes' efforts is Jack's transcendent leap in his lyrical and vocal stylings. I normally don't care for lyrics, but Jack White forces you to pay attention to his due to the inventiveness at which he writes and the originality in which he delivers. The title track being a prime example: At first it sounds akin to a rapper's delivery as Jack rhythmically blurts out variations on "ump", while expanding on this concept throughout. Jack wrenches, bends, twists and distorts syllables; emphasizing serpentine rhythmic drive over melody. This is similar to The Beatles' most experimental vocal work, and Dylan's flow of delivery. Jack's variety of emotive abilities are among the best in all of modern music. If the idea of song is the fusion of music and words - where one acts to enhance the other - then The Stripes may personify that idea better than any other these days.

This album only 'fails' - a better term would be "fail to surpass previous efforts" - when Jack doesn't push himself. Reverting back to comfortable territory. "Bone Broke" is an attempt to return to their punkish, garage days - but it is no Fell In Love With a Girl. Both "I'm Slowly Turning Into You" and "A Martyr for My Love for You" are decent, but lacking in the freshness the rest of the album permeates. However, their inclusion is welcome as they're too good to be considered filler.

If any Stripes albums could truly be called serious, then Icky Thump is the furthest away from that definition. Rather, this is Jack and Meg at their most playful and fun. Confident in what they can do, they produce songs that effortlessly fit within their respective abilities. As always, variety is key. Acoustic, electric, and ultimately eclectic, Icky Thump isn't a radical departure for the Whites, but just an assured, adept execution of their wealth of styles and ideas. It's the nuances that reward repeated listens. This isn't musically dense material, but it's subtle music all the same. Perhaps the only other fault is that in the Stripes' refusal to strive for eminence they may also never reach the heights of albums like Highway 61, Sgt. Pepper, or Born to Run (insert your applicable favorites). If Icky Thump is their peak (and it may be), then I only wonder where they go from here.

The White Stripes have transformed me from a hesitant supporter into an avid one. If Get Behind Me Satan was my acquiescence, then Icky Thump was my revelation. No longer do I consider them my great "guilty pleasure". I could solely appreciate the fearlessness at which they tackle everything. Most bands walk on eggshells afraid of failing, but The Stripes seem apathetic to the notion that they could - with any misstep - ruin their popularity. Instead, they seem rather insouciant about the entire thing - likely wondering how a quirky garage band ended up being hailed as the 'saviors' of pop music. They seem to belong to a bygone era. One in which bands pushed themselves into uncharted waters - daring themselves to improve - growing and evolving in the studio instead of behind closed doors. Perhaps, most importantly, they seem to produce everything with a real sense of passion and honesty, completely lacking any of the contrivances and pretenses in modern pop and rock music.

In the end, I can only echo what Steve Vai (I believe it was) said about them: "Out of tune. Out of time. Beautiful."