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slowbellie's take on: the white stripes

Before I jump into this review, I think it's necessary to provide a mini-history of the Detroit rock duo (given that Get Behind Me Satan is an instrumental mash-up of several of the Stripes' previous releases). The White Stripes are defined as a minimalist rock band; that is, they boast a return to simple, bare-bones rock music. They debuted in 1997, coming into instant critical acclaim with their bluesy garage rock sound. They, along with musical counterparts such as The Strokes and the The Hives, were a refreshing addition to the popular music scene – amidst the dozens of corporately orchestrated pop super-groups that had been keeping a tight grip on North American CD sales.

More recently, Jack White has put his efforts into two solo projects, the most notable being his masterful collaboration with brazen country legend Loretta Lynn (Van Lear Rose), as well as solid soundtrack for the film Cold Mountain. After the massive success of the Stripes' 2003 project – the heavily processed Elephant – one would have expected Van Lear Rose to be a callous, money-driven marketing scheme (in short, a desperate attempt for the 'coal miner’s daughter' to refill her piggy bank). To every music dork's pleasant surprise, it was brilliant. The overwhelmingly positive response amongst fans and critics alike only added to the high expectations for the Stripes' next installment.

Get Behind Me Satan incorporates several albums worth of sounds – from bluegrass, to bare-bones folk, to disco metal. Jack's obsession with country-infused hilltop ballads comes through in "I'm Lonely (But I'm Not That Lonely Yet)." "Blue Orchid" is its heavily processed single, mimicking the studio-perfected sonic boom of Elephant. Bluegrass comes through in "Little Ghost", while "Forever for Her (Is Over for Me)" blends simplistic guitar elements with marimbas. As with any full-length, there are highs and lows. For instance, I almost fell asleep during the monotonous "Instinct Blues"; however, "Falling for Her" was its welcomed antithesis – blissful perfection.

Discographically speaking (is that a word?), Get Behind Me Satan has often been compared to the Stones' Exile on Main Street, in terms of what the album signifies for the holistic career of the group. Just as Exile was hailed as the album that added substance to the Stones' musical credentials (it, too, was a sophisticated blend of rock and roll, blues, soul, and country), Get Behind Me Satan marks the achievement of a diverse stylistic maturity.

My verdict is this – although the album tends to be get slow and cathartic in the middle bits, overall, GBMS is a rich, masterful fusion of styles. What I love about this LP is its refreshing focus on the entirety of the album (in a singles-driven, download-crazy market). So please, for the love of God, Allah, Buddha or Bowie, if you’re going to tack Get Behind Me Satan on your iPod, download the entire album... in the correct track order.

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