Jack White has announced a new single, Connected By Love, dropping tomorrow—Jan 10, 2018. The long, long-awaited release comes three-and-a-half years after the release of his second solo album, Lazaretto.
The former White Stripes lead and Third Man Records head honcho dropped a brief, cryptic video on social media, announcing the new release. Check it out here:
CONNECTED BY LOVE. TOMORROW. pic.twitter.com/XZYUzwOkKG
— Third Man Records (@thirdmanrecords) January 9, 2018
New music has been rumoured and hinted at for at least two years, with snippets from interviews hinting at a long-winded process of writing and recording. With the recent spout of US festival announcements that include White as a headliner—Governors Ball, Shaky Knees and Boston Calling among others—new music was inevitable.
Connected by Love will be premiered by Zane Lowe at 12 p.m. ET (that’s 4 a.m. on January 11 for us in Australia). Presumably, it’s the first single from a release first teased in December, when a four-minute video of musical snippets, photographs and cryptic imagery, titled Servings and Portions from my Boarding House Reach, showed up online.
Image: Third Man
Jack White has announced his latest project, and to the surprise of many, it’s not new music, but a children’s book. Titled We’re Going To Be Friends, it’s based on the White Stripes song of the same name, from their 2001 album White Blood Cells.
https://youtu.be/PKfD8d3XJok
The book has been penned by White himself, and will be illustrated by Elinor Blake, also known for animating Ren & Stimpy and Pee Wee’s Playhouse.
The book will reportedly follow the story of Suzy Lee, who the song is about, and a friend. It’s set for release on November 7 via Third Man Books, and will arrive with a download of the book and covers of the actual song, including one by Blake herself (under her musical moniker, April March).
It’s Jack White’s first ever book, but it’s not his maiden foray into products for children; two years ago, his label Third Man released a children’s turntable, illustrated storybook and a specially-curated compilation album, all aimed at introducing music to children.
We’re also still expecting more music (for adults, presumably) from Jack White at some point in the future, who recently hinted at new music on the way during an interview.
The hip-hop world has been steaming this week with the incredibly exciting news that one final A Tribe Called Quest album will be coming out in just two weeks from now. According to a handwritten note distributed by Q-Tip, the album was recorded after the Paris bombings of November 2015, with enough completed before the untimely death of Phife Dawg earlier this year, that the release was ready to be fully realised.
In a fabulous new interview with the New York Times, Q-Tip has now revealed more details about the album, as well as a long discussion about his relationship with Phife Dawg, the creation of the last album, and having had to deal with his passing at just 45 years old.
Set for release next Friday, November 11, the album title is We Got It From Here, Thank You For Your Service, a title which sounds sentimental, and was initially conceived by Phife Dawg. As well as all four members of A Tribe Called Quest featuring on the album – Q-Tip, Phife Dawg, Jarobi White and Ali Shaheed Muhammad, special guests including Jack White, Kendrick Lamar, Stevie Wonder, Busta Rhymes, André 3000 and Sir Elton John will be adding their own flavours to the forthcoming record. This is huge news considering the calibre and respect that these names hold; André 3000 has certainly enjoyed one hell of a resurgence in 2016, while Jack White appeared on Beyoncé’s album earlier this year, and Kendrick Lamar, well, he’s Kendrick Lamar. And he was in Sydney on the night Phife Dawg died, leading the crowd in an emotional chant honouring the late legend.
https://www.youtube.com/watch?v=L1Zqol7ARCk
The album was conceived and created well before Phife had any indication that his days might be numbered. It was their first new record in 18 years and they were incredibly excited about what it might entail.
After playing their first live TV performance in 15 years, the group were inspired to write a new record, and it wasn’t long before they set to it in Q-Tip’s studio. The studio, called “phenomenal” by Busta Rhymes, was reportedly decorated with ” bamboo floors and pink mood lights” to create a “warm aesthetic.” It was also something of a living museum, with equipment collected from across the music globe. The recording board had previously been used by Blondie and The Ramones, a tape reel used by Frank Zappa, and other equipment acquired from the Rolling Stones and Jimi Hendrix.
Interestingly, the group had decided that anyone involved in recording the album were required to actually visit the studio and work together as a group, which doesn’t always happen these days, considering that many artists simply record their music or features and send it away. “Everybody spat their rhymes in front of each other. We were throwing ideas around together,” said Busta Rhymes.
Jack White arrived without any equipment and began to use one of the guitars in the studio. Tip and Jack had met before, and were fans of each others’ work. “We really didn’t know what we were doing, it was just a ‘hurry up and press record’ kind of moment,” said Q-Tip.
Jack White has an ongoing relationship with hip-hop and many rappers, and it seems like it stretches far back to even his childhood. “They were trying to break new ground, and they had a musicologist’s attitude toward what they were doing with their samples,” he said. “I mean, you’ve got Can I Kick It? over a Lou Reed sample from Walk on the Wild Side. That really showed that they were miles and miles deeper than most other people in pop music.”
https://youtu.be/O3pyCGnZzYA
The album’s creation process was as exciting as ever, with a reinvigorated energy permeating through the studio walls and each artist involved. “I seen them laughing and joking and high-fiving, and you can just see that young, invigorated ‘we’re-just-getting-our-first-opportunity-to-do-this’ energy again!
“I hadn’t seen Phife that happy since we were kids.”
Q-Tip was emotional when he discussed finishing the album after Phife’s death. “Sometimes I just have to like take a break and walk away. It gets heavy. It doesn’t necessarily get sad, it just gets heavy. I literally feel the energy from him when I hear his voice.”
“I just want to celebrate him, you know?”
The interview can be read in full here. It also reveals that a completed Phife Dawg solo album should be coming out in 2017.
Image: New York Times / Al Pereira/Michael Ochs Archives, via Getty Images
While Jack White recently appeared on Later … With Jools Holland to perform an acoustic rendition of We’re Going To Be Friend, an extended version of the White Stripes co-founder’s appearance has now emerged.
It turns out that there were another two songs and an interview which didn’t make the final cut of the broadcast. With Led Zeppelin guitarist Jimmy Page also present, White talked with Holland about his new compilation Jack White Acoustic Recordings 1998 – 2016. The frontman reflected on the arduous task of whittling down three hours of material to make the final tracklist. This included removing all of the live and cover tracks, something which will no doubt leave die-hard fans hungering for a future release.
White also reflected on collaborating with Beyonce for her Lemonade LP, referring to the diva as “very beautiful.” He also discussed the efforts of his label Third Man Records to launch a proof turntable into outer space.
https://youtu.be/fF4V3FbT-U0
Of the two solo arrangements that didn’t make it to air, the first was another track from The White Stripes’ discography, Sugar Never Tasted So Good. Having initially appeared on the White Stipes eponymous LP, the latest version is an even bluesier iteration than the original.
https://youtu.be/Zpg1hUw8LcQ
White also performed a stripped-down version of Just One Drink from his 2014 solo LP Lazaretto.
https://youtu.be/4yxbCL2rOBY
Image: Pitchfork
There’s supergroups and then there’s supergroups. Imagine a world where Jack White’s next band had Beyoncé as a singer.
White has come out of hiding to release a special all-acoustic compilation record, bringing together original and new acoustic recordings of some of his personal favourite tunes from The White Stripes, Raconteurs, Dead Weather and more.
During a promotional interview with NPR, they discussed a range of topics, including his collaboration choices, notably Beyoncé and their phenomenal Lemonade cut Don’t Hurt Yourself.
Speaking on how he chooses his collabs, he notes that “I have to be able to feel like I can bring something to the table. There’s been some incredible offers at times to produce an album, and you know it would be a No. 1 record — but at the same time I felt like: Well, I just don’t think I can bring anything to the table for that person. I have to be able to feel like I can help bring the best out of them. That’s your job as a producer.”
The interviewer pushes harder for a Beyoncé quote, asking White if it came about through his co-partnership with Jay Z on their streaming service Tidal.
“You know, I just talked to her and she said, “I wanna be in a band with you.” [Laughs.] I said, “Really? Well, I’d love to do something.” I’ve always loved her voice — I mean, I think she has the kind of soul singing voice of the days of Betty Davis or Aretha Franklin. She took just sort of a sketch of a lyrical outline and turned into the most bodacious, vicious, incredible song. I don’t even know what you’d classify it as — soul, rock and roll, whatever. Don’t Hurt Yourself is incredibly intense; I’m so amazed at what she did with it.”
Don’t Hurt Yourself is certainly one of this editor’s favourite songs of 2016; to hear her usually refined vocals screech and roar their way through the track, backed by White’s guitar and a huge, stompy beat, it is indeed incredibly intense.
White was one of only four features on Lemonade, along with James Blake, The Weeknd and Kendrick Lamar. But his history with Jay Z, and ultimately Beyoncé goes far further than Tidal; in 2015, Third Man Records released an exclusive special edition vinyl of Magna Carta Holy Grail, for one. The pair have also worked on at least one track together years prior, with rumours abut the mysterious Ray Bans, which has still never seen the light of day, stretching back to at least 2010. And as seen below, they’ve been kickin’ it since well before that too.
Bey, Jay and Jack at Glastonbury Festival in 2008. Image: Pinterest
Obviously his work with Jay Z isn’t a direct link to Beyoncé except for the whole marriage, life, most powerful celebrity couple in the world, thing. Considering Bey and Jay will probably release a joint album to round off their incredibly well-marketed series of relationship ups and downs, you never know – may they’ll enlist White for production. One can dream, right?
https://www.youtube.com/watch?v=Nas0aIMb2Uk
Image: Radio Jingles
The White Stripes had this magical ability to make simple instrumentation and vocals feel like an explosion of sound. The energy Jack and Meg White could produce on a single track was unbelievable. Still is. Now imagine that 14 times and you have Elephant. Their fourth release is centred around the death of the sweetheart in American culture, and is a roaring exploration of blues rock tinged love. 13 years after its release in 2003, Elephant still sounds as raw as ever. Elephant was one of the first albums in my transition from Top 40-only listener to exploring other sounds. I was knocked off my feet, as I had no idea bands still made music this way. Years on, nothing has changed, and this is still one of my all time favourite albums.
https://www.youtube.com/watch?v=0J2QdDbelmY
Elephant opens with arguably the most famous riff of the 21st century music; Seven Nation Army. I saw Jack White perform at Festival Hall in 2013 and he brought the house down simply by playing the two notes as a teaser. Many didn’t realise at first, but that sound is not a bass; rather, a guitar ran through a bass amp, which gives it the deep texture you would normally associate with bass, and one which became synonymous with the White Stripes. Seven Nation Army’s anthemic and soaring sound sets the tone for the whole record. However, the band were aiming for a more stripped back and simplistic sound, which just goes to show the power the duo had.
We continue onto Black Math which shows a brighter but rougher side to the Stripes’ sound. Something I really appreciate about this record is Jack White’s production; the Third Man Records leader is incredibly adept at sonic moments, riff-length vignettes of musicality that enhance the story within the song or influence the way the listener feels about the record.
Much like Dave Grohl, Jack White is a big believer in minimal technologic influence in his music. While some of his records since have showcased a more refined sound, this was very much the case with Elephant. In the liner notes of the album you can see the words, “No computers were used during the writing, recording, mixing, or mastering of this record.” In fact, White went one further and didn’t use any equipment that was created after 1963. You can really hear that in the music and it touches down to the soul of any music fan. You can feel Hendrix, Muddy Waters and BB King flowing into the White Stripes sound. The vocal delivery is different, Jack White doesn’t have the baritone nor rawness of Hendrix and Waters respectively, but his razor sharp delivery built on classic sound is a killer combination.
https://www.youtube.com/watch?v=voQUtyB0WIs
The White Stripes are the best at blending a very midwestern American sound with coastal blues rock sensibilities. You feel like you’re cruising through middle America when you listen to this record. This is especially true in Ball and A Biscuit, a mammoth seven minute track that sounds at home on Route 66 as it does at the Apollo. The sound reaches into your bones and just seeps in. The rich analog sound, a rarity today, is just indescribable. Every time I listen to Elephant it’s like listening to it again for the first time. White can do so much with so little.
Another credit to Jack White’s production style is that he has a keen eye for sampling, as heard on Little Acorns which gives the listener some pretty solid advice, although it does come across a little sarcastic.
Meg inspired the cover of Burt Bacharach‘s I Just Don’t Know What To Do With Myself. The pair had began incorporating it into their live shows and it ended up being recorded for Elephant. Blending Bacharach’s lounge sound with screeching guitar and thundering drums? It works, really well. The raw sound exposes the song to new interpretation, and signifies more exploration of the theme of frustrated love, which is also explored on I Want To Be The Boy To Warm Your Mother’s Heart and is a huge portion of the centre of the record.
Meg jumps on vocals on In The Cold Cold Night for a subdued performance, contrasting Jack’s frantic delivery. She may not be an incredible singer, but she’s impeccable at creating a vibe that really compliments the shape of the album. Their relationship was mysterious and complicated, and some fans believed Meg had very little influence on the band’s sound. This track proves just how important Meg White was for The White Stripes.
https://www.youtube.com/watch?v=voQUtyB0WIs
https://www.youtube.com/watch?v=K4dx42YzQCE
One thing that’s rarely noted about Elephant is the amazing visuals that came along with it. The video for The Hardest Button To Button was directed by frequent Stripes collaborator Michel Gondry. It features Jack walking along playing guitar as Meg is duplicated along with her famous red and white drum kit. Subsequently, it was excellently parodied by The Simpsons, thus immortalising it forever. I’ve always found that cameo to be really interesting, albeit odd – the Stripes aren’t exactly known for their pop culture enthusiasm (although Jack did make a cameo appearance in Portlandia two years ago).
The album comes to its final ending with the quirky It’s True That We Love One Another, featuring English vocalist Holy Golightly. We’re farewelled by this Western, bluegrass song that shows off this cheeky, funny side to Jack White. We hear him sing about how he loves Holly, and how much she loves him back – like a little brother. Meg briefly chimes in, before the song closes out, and one of the greatest albums of the 21st century ends with Golightly saying, “Jolly Good, cup of tea, then, Bruce? Let’s celebrate.”
https://www.youtube.com/watch?v=dUx3kDnT-p8
Image: NME
Was on a bus so I listened but didn’t properly watch. Will do in the morning.
Although the White Stripes formally ceased in 2011, Jack White has never strayed far from our musical consciousness. He has now announced a new album release, aptly named Acoustic Recordings, to be released September 9 of this year.
The record is set to be an eclectic release, comprising tracks from throughout White’s career with the White Stripes, the Raconteurs and as a solo artist. With track listing of 26 songs, Acoustic Recordings contains album tracks, B-sides and alternate versions. Also the previously unreleased track from the White Stripes, City Lights, which has been shared online this week.
Originally written for the White Stripes’ 2005 album Get Behind me Satan, the song is an off the wall, melodic performance with White’s trademark strangled vocals. Those who pre-order Acoustic Recordings will receive a free download of City Lights as of tomorrow, as taster well ahead of the LP release date. It is officially the first new release from the duo since 2008.
https://www.youtube.com/watch?v=F2ftZ8qVrcA
In the elapsed time we’ve seen releases from White with The Dead Weather, his solo record Lazaretto, and guest spots on Beyoncé‘s album and with The Muppets. Plus a number of other ventures, including the continuation of his own Third Man Records, which is putting out Acoustic Recordings in conjunction with Columbia.
You can check out the full track listing below for Acoustic Recordings, nearly all songs are written and produced entirely by White. The exceptions being Honey, We Can’t Afford to Look This Cheap, produced by Beck, and Never Far Away with T. Bone Burnett. Also Carolina Drama and Machine Gun Silhouette, which were both co-written. The first with Raconteurs’ Brendan Benson and the second by artist Rob Jones.
Acoustic Recordings 1998-2016
01 Sugar Never Tasted So Good
02 Apple Blossom (Remixed)
03 I’m Bound to Pack It Up (Remixed)
04 Hotel Yorba
05 We’re Going to Be Friends
06 You’ve Got Her in Your Pocket
07 It’s True That We Love One Another
08 Never Far Away
09 Forever for Her (Is Over for Me)
10 White Moon
11 As Ugly as I Seem
12 City Lights
13 Honey, We Can’t Afford to Look This Cheap
14 Effect & Cause
15 Love Is the Truth (Acoustic Mix)
16 Top Yourself (Bluegrass Version)
17 Carolina Drama (Acoustic Mix)
18 Love Interruption
19 On and On and On
20 Machine Gun Silhouette (Acoustic Mix)
21 Blunderbuss
22 Hip (Eponymous) Poor Boy (Alternate Mix)
23 I Guess I Should Go to Sleep (Alternate Mix)
24 Just One Drink (Acoustic Mix)
25 Entitlement
26 Want and Able
Image: Pitchfork
Jack White is taking things above and beyond, quite literally.
In his latest attempt to make history, White is planning to play a phonographic gold record in space. His record label’s website reveals that the record is a “gold-plated 12” master of Carl Sagan’s A Glorious Dawn”. They will carry out their space mission using The iCarus Craft, a high-altitude balloon. The spacecraft was designed by Kevin Carrico who will be working with the label to get it off the ground with the assistance of SAINTS (Students and Teachers in Near Space).
We weren’t sure what the plan was in the beginning. It began with this cryptic video, posted by his record label Third Man Records last week.
https://www.youtube.com/watch?v=0-42PjkYZ-E
Now that we know, the excitement of whether he can actually do this is slowly creeping up.
There will be launch parties in Detroit and Nashville and a live stream, so the historic event can be viewed. There will also be live performances at each location, as well as Q&A with Carrico in Detroit and a display of the record in question in Nashville.
Apparently White has spoken about his dreams about combining music with the wide world above before. Time recalls a conversation recorded by Interview Magazine that occurred about four years ago between White and legendary astronaut Buzz Aldrin about this little idea:
“We want to launch a balloon that carries a vinyl record player, and possibly that Carl Sagan record, and figure out a way to drop the needle with all that turbulence up there and ensure that it will still play.”
Keeping his dream firmly close to his heart, here we are.
Let’s hope it works! Stay tuned.
Image: Pages Digital
It’s no secret that the whirlwind of technology has encouraged consumers to shorten their attention span in regards to music. Digital media has become the fundamental forefront of aural experience. With an audience that has constant access to music at any given moment, CDs do not hold the same value as they did in 1999. However, vinyl is a different story.
With streaming services offering songs at minuscule prices and pirated music more accessible than ever, music has become an entirely different ball game. It’s not only the monetary value that has been suppressed but also the attention that consumers will devote.
In total contrast to, say, Pink Floyd‘s all-encapsulating The Wall, hit singles have become status quo. The idea of a flowing story being narrated through multiple tracks has been almost obliterated. Thankfully, artists have not lost their sense of creativity. More and more artists turn to creative additions to vinyls, be it colourful presses, hidden tracks and even mathematical codes to add creativity, interest and originality to physical releases.
Musicians have always tried to captivate the attention of their audience in different ways. Led Zeppelin had a water colour feature on In Through The Out Door in 1979. If you lifted the plastic cover and poured water over the vinyl art, it created a water painting. The Rolling Stones even had a fully functioning zipper on their Sticky Fingers LP in 1971.
There are many different ways to make a record visually, emotionally or kinaesthetically appealing. Tool‘s Lateralus plays on the Fibonacci sequence, with the syllables in the lyrics corresponding perfectly. Pinback even released a 7″ with a track titled CLOAD Q. If you convert the sounds to ones and zeroes and load it in TRS80 BASIC, it comes up with their very own video game.
Image: Imgur
Locked grooves are arguably the most common “easter egg” in the vinyl world. Locked grooves exist on most LPs – they are the silent loop that holds the needle to the disc instead of flying into the stratosphere. The Beatles‘ Sgt Pepper’s Lonely Hearts Club Band and The Who‘s The Who Sell Out started the customised locked groove trend in the late 60s, and many artists have since adopted this technique. Arcade Fire ends We Used To Wait on their Suburbs album with an infinite loop of piano bars. Pink Floyd opted for a disconnected message on The Wall. At the end of the record, the voice says “Isn’t this where..” and begins with the same voice saying, “we came in?”.
Poison City Records (The Bennies, Camp Cope) are all about coloured vinyl. The Smith Street Band‘s Throw Me In The River came in a range of different styles including a paint splatter effect.
Image: Tumblr
Of course, no article on vinyl would hold any merit unless the ever-prolific Jack White was mentioned. He has just announced his plans to play the first record in space. He also holds the title for the fastest ever creation of a vinyl cut. White managed to record and cut Lazaretto (the highest selling vinyl album of all-time) in under 4 hours; he and Third Man Recirds then released Lazaretto Ultra LP, the Mona Lisa of the vinyl modification world. This LP includes two angels hand-sketched onto the groove to give a holographic effect while the record is spinning. It also features three different speeds, and the first song on Side B has two completely different intro songs depending on where you drop the needle.
Third Man have been extremely innovative, boasting techniques completely unheard of until now. They’ve printed vinyl on old x-ray prints, they’ve even encased a 7″ single within 12″ album that can only be accessed by physically cracking the album in half. The opportunities are endless.
We’re in an extremely complex era of music, particularly in terms of how it is distributed. Listeners are enjoying limitless access and constant exposure to new tunes, along with a constantly increasing visual aspect, be it extended film clips, amazingly high level production values, and even whole films, a la Beyoncé. There has never been an easier time to consume, and there has never been more to consume. However as a musician, as a single drop in the ocean, the only way to get noticed is to think laterally. Artists who turn to creative vinyl releases are not only keeping the beloved vintage medium alive, but adding to their marketability, and effectively helping them stand out from an ever-growing crowd. With people like Jack White at the forefront of the vinyl industry, the future of vinyl is miraculously as exciting as it was decades ago.
Image: YouTube
Jack White is about to take part in a collaboration of a different kind. In a really exciting move, White has been named as one of the 45 members of a new local council that will focus on bridging the gap for gender equality.
Thanks to Jack White, musician and business owner, for joining our Council on Gender Equity. @thirdmanrecords pic.twitter.com/rVL8W3Sen0
— Megan Barry (@MeganCBarry) July 13, 2016
At a press conference with Nashville’s mayor Megan Barry, White spoke about the issue in a powerful speech. White spoke about the regulations his record label, and store Third Man Records has put forward in order to ensure that the minimum wage is the same for all his employees, no matter their gender, and encouraged other businesses to do the same.
“It is embarrassing that in 2016 there are any differences in benefits or wages between genders in our society. gender equity is something that should’ve been solved a century ago worldwide, and it is sad that we even need to address it. If the person does the work, the benefits of doing that work, should be equal among all human beings,” he says.
“As owner of the record label third man records, with locations in both Nashville and Detroit, I am proud to say that since 2013 all employees of my record label have had a minimum wage of 15 dollars an hour, regardless of gender.”
He also brought up the importance of paid parental leave for expecting mothers and fathers. He says Third Man Records ensures new mothers are given six months paid parental leave, while fathers can have three.
“Nothing is more important than a new life and new soul being brought into the world, and newborn parents should not have to worry about anything but the health and welfare of their child. If my small company can enact these ideas, than so can McDonalds and General Motors,” he says.
All 45 members of the Nashville Council will be involved in an innovative where they will analyse the gender equality within the Nashville area. They will then deliver “data-informed recommendations and advice to address systemic differences in benefits and opportunities that might be unfairly provided to one gender but not another,” as reported in The Tennessean.
This morning we are coming together to discuss an important challenge we face as a diverse city pic.twitter.com/9PMC1dYSFP
— Megan Barry (@MeganCBarry) July 13, 2016
“All human beings on this planet, and in this society that we live in deserve to be treated the same. they deserve to be treated the same in their social lives, and in their financial and business careers as well,” White says.
The speech was posted on his Facebook page for all to see. Read it in full below:
Read more: Artists speak out about sexism in the music industry
Image: Pitchfork