Best Coast’s sophomore effort after the summery treat that was Crazy for You is noticeably less memorable. For one thing, the vocals have lost their dreamy and reverb-soaked charm, and it’s much harder to ignore the admittedly uncreative lyrics in each song. This direct lyrical style fit in the lo-fi, jangly surfing mood of the first album, but it seems out of place and boring in what can be described as an overproduced album. The duo has headed for a much poppier sound, and it’s not a change for the better. The charm of the punkish production and the exciting drive is gone, and the multiple harmonized vocal tracks remind me of Taylor Swift.
Overall, if you are looking for a simple pop album to listen to, and you happen to like T-Swift (I don’t particularly care for her, but I don’t hate her either), give this album a listen. However, if you loved Crazy For You and expect more of the same summery greatness, you will undoubtedly be unpleasantly surprised.
Jack White has always been a personal inspiration of mine, so this post may seem a little biased. Regardless, it has become a consensus that his ability to adapt the blues into a modern rock setting and make it sound refreshing is unparralelled. This being his first solo endeavor without the backing of Meg White, the Dead Weather, or the Raconteurs, I was curious as to how well he could recreate a genre he had so often breathed life into. I was not disappointed.
Right off the bat, the album opens with a bluesy organ groove in “Missing Pieces”, delivering something that feels like Jack White, and yet seems to delve further into the blues that inspired him. This is not the bass-empty, unstrained jams of the White Stripes, nor the mean, dirty, dark, whiskey-drenched blues The Dead Weather wreaks of. No, this is a cleaner, more refined blues (is that an oxymoron?), while still delivering that rock sound that can be found in anything Mr. White writes; this indicative rock sound is evident in “Missing Saltines”. While still ‘kicking out the jams’, Jack seems to take a softer tone towards the middle of the album by bringing in an masterful acoustic duet in “Love Interruption” and a string soaked ballad in the title track. He also seems to have take more of a fancy to the piano; It can be be heard in prominence in several tracks, especially “Weeping Themselves to Sleep”.
Despite all the inovations and creativity Jack White breathes into the blues, he never quite strays from everything that makes the genre. Very basic chord structures, a certain attitude, and raunchy lyrics permeate the album, and remind us that Jack is still still exactly what he was inspired by, and what he has always aspired to be: a blues musician.
All and all, Blunderbuss is a truly unique experience to anything else Jack White has every created, and you should go listen to it. Right. Now.