...which I find a bit odd for The White Stripes, really.
THE WHITE STRIPES new single ’BLUE ORCHID’ is available as an exclusive download today (April 18).
The track, which is the first song to be lifted from the band’s forthcoming fifth studio album ’Get Behind Me Satan’, is available through iTunes Worldwide.
’Get Behind Me Satan’ is due for release on June 6. For a full track-by-track of the new LP, get this week’s NME, out nationwide on Wednesday (April 20).
’Blue Orchid’ is officially released on May 30.
(From nme.com)
Oh, I don't get this iTunes nonsense...do I have to have iTunes to download a song from there? I don't think I have enough memory to download it. GAY.
Full Version: New White Stripes Single Released Today
*runs off to itunes*
Lots of new album details:
White Stripes Tickle Ivories, See Ghosts On New CD
The White Stripes stretch out musically without abandoning the rock on their highly anticipated new album, "Get Behind Me Satan." Due June 7 via Third Man/V2, the set was unveiled for media last night (April 13) in New York amid a setting befitting the Stripes' trademark red and white outfits: deep red curtains around the room, red-tinted lighting inside and bartenders decked out in red shirts.
First single and album opener "Blue Orchid" got things off to a hard rocking start, with vocalist/guitarist Jack White climbing to a near falsetto and unleashing an AC/DC-worthy riff atop drummer Meg White's primal pounding.
The first sign of experimentation came with the marimba lead-in of the positively weird "The Nurse," punctuated by crashing guitar/drum downstrokes that eventually reach full-on thunder. "No, I'm never gonna let you down," Jack promised.
The piano and tambourine accents on "My Doorbell" gave off a Motown vibe, while on the acoustic guitar and piano-tinged "Forever for Her (Is Over for Me)," Jack's singing nodded to the impassioned style of Prince a la "Purple Rain."
Jack's 2004 collaboration with country icon Loretta Lynn seemed to rub off on "Little Ghost," on which he and Meg sing together over back-porch acoustic strumming. "I'm the only one that sees you, and I can't do much to please you," Jack proclaimed to the paranormal subject.
The sexy cool strut of "The Denial Twist" gave way to the slow, piano-led "White Moon," a quasi-church confessional loaded with rhyming couplets. But the Stripes' gritty rock'n'roll returned on "Instinct Blues," a raw slab of garage blues that found Jack emoting in his best Robert Plant homage.
Meg took the mic for the short "Passive Manipulation," which instructed listeners: "Women, listen to your mothers / don't just succumb to the wishes of your brothers." Jack kicked in quickly on acoustic guitar for "Take, Take, Take," a romantic fantasy about late actress Rita Hayworth, who ultimately does not give in to the narrator's advances.
"As Ugly As I Seem" proved the band's effectiveness in a stripped-down setting, marked by a sliding acoustic guitar progression and sparse percussion. "I'm as ugly as I seem / worse than all your dreams could ever make me," Jack sang.
"Red Rain" featured more of Jack's sweet, high-register singing and what sounded like a triangle or a xylophone, eventually toppled by sudden full-band blasts of rock with shades of past favorite "There's No Home for You Here."
"Get Behind Me Satan" closes with the soulful lament "I'm Lonely (But I Ain't That Lonely Yet)," which imagined Jack on solo piano in a dusty saloon. "I miss my mother / I miss being her son," he sang, "Sometimes I miss her so much I want to hop on the next jet."
The new album will be supported by extensive touring, but at deadline, only a handful of dates were confirmed, beginning May 11 with a three-date run in Monterrey.
(from billboard.com)
---
When publicists for the White Stripes circulated a carefully drafted press release stating that the band's new record, Get Behind Me Satan, was written entirely on "piano, marimba and acoustic guitar," fans (and journalists) had to wonder,
"Was this the same primal-blues duo we've grown to love? The same candy-cane characters who busted out jams like 'Seven Nation Army' and 'Fell in Love With a Girl'?"
Had the White Stripes gone — dare we say it — soft?
Not in the least.
Because when Get Behind Me Satan made its world premiere on Wednesday night at New York's splashy Splashlight Studios — before an assembled crowd of around 100 rock journos — one thing became clear: Satan is not only the hardest, sleaziest, gut-punching-est album the Stripes have ever made, it's also the prettiest, subtlest and most confounding thing they've ever done.
The lead track (and first single), "Blue Orchid," charges in with such a loud blast of amplified guitar, you'd swear this was the new Electric Six disc. Jack White's falsetto has never been higher, his guitar never more reminiscent of Led Zeppelin. And as the tune sped along to its conclusion, many in the room were left wondering what happened to those new, soft Stripes they'd been reading so much about.
If heads were scratched during the album's opening tune, then they were gashed wide open by track number two, "The Nurse." As chimes and that aforementioned marimba made their debuts, Jack assaulted it all with brutally distorted guitar stabs and then — in probably the album's most stunning moment — drummer Meg White, who is the album's unexpected MVP, absolutely kills her kit, pounding louder and harder than she ever has on disc, until the whole song bunches up into what can only be described as a God-honest noise-rock jam. As the marimbas and chimes make their way back in, it sounds as though "The Nurse" has just introduced the world's most destructive children's toy.
"My Doorbell" is next, marrying some beat-box drums and jumpy piano chords with Jack White's hound-dog whines. The tune builds to a bluesy, lilting piano/drum combo reminiscent of — no lie — the Black Crowes' "Hard to Handle." "Forever for Her (Is Over for Me)" rang out like a supercharged version of the Stripes' "You've Got Her in Your Pocket" (from 2003's Elephant), with pianos and drums thudding joyfully. And before you realize it, it's been almost 10 minutes since you've heard one of White's near-patented guitar solos.
Track five, "Little Ghost," does little to assuage those thoughts. It's a Deep-South hoedown that shows that Jack took careful notes when working with country legend Loretta Lynn. "The Denial Twist" is a short and sweet slab of classic Stripes, with Jack's frantic vocals and guitar (there it is!) balanced perfectly atop Meg's thudding drum work. "White Moon" is a slow, down-tempo tune, with little more than a plodding piano line and a rhythm egg accompanying Jack's laments.
After "Instinct Blues" starts off with some guitar noodling, Meg's drums come crashing in like anvils falling from the sky. Then Jack does an amazing imitation of Hendrix, pulling deep, ruddy blues notes out of his axe. "Passive Manipulation" gives Meg a chance to stretch out her pipes over a Holly Golightly-esque piano line (Jack soon reassumes vocal duties). "Take, Take, Take" melds jangling, twisty acoustic guitars with a piano line, sounding a whole lot like some of Zeppelin's mellower numbers.
The album abruptly closes with two boozy, bluesy tunes: "Red Rain" and the piano ballad "I'm Lonely (But I Ain't That Lonely Yet)," both of which smack of Lynn. On "Rain," Jack's slide guitar bleeds into Meg's smashing drums in a sloppy but pretty interplay. And on "Lonely," White pounds the keys like a drunken pianist in a whiskey joint in hell, bringing the record to a tears-in-yer-beer conclusion.
It was loud, it was quiet. It all seems like a bunch of contradictions, but on Get Behind Me Satan, one thing was without debate: the White Stripes haven't gotten soft.
(from mtv.com)
[What do they mean by 'MPV'?]
---
It sounds ace, anyway.
White Stripes Tickle Ivories, See Ghosts On New CD
The White Stripes stretch out musically without abandoning the rock on their highly anticipated new album, "Get Behind Me Satan." Due June 7 via Third Man/V2, the set was unveiled for media last night (April 13) in New York amid a setting befitting the Stripes' trademark red and white outfits: deep red curtains around the room, red-tinted lighting inside and bartenders decked out in red shirts.
First single and album opener "Blue Orchid" got things off to a hard rocking start, with vocalist/guitarist Jack White climbing to a near falsetto and unleashing an AC/DC-worthy riff atop drummer Meg White's primal pounding.
The first sign of experimentation came with the marimba lead-in of the positively weird "The Nurse," punctuated by crashing guitar/drum downstrokes that eventually reach full-on thunder. "No, I'm never gonna let you down," Jack promised.
The piano and tambourine accents on "My Doorbell" gave off a Motown vibe, while on the acoustic guitar and piano-tinged "Forever for Her (Is Over for Me)," Jack's singing nodded to the impassioned style of Prince a la "Purple Rain."
Jack's 2004 collaboration with country icon Loretta Lynn seemed to rub off on "Little Ghost," on which he and Meg sing together over back-porch acoustic strumming. "I'm the only one that sees you, and I can't do much to please you," Jack proclaimed to the paranormal subject.
The sexy cool strut of "The Denial Twist" gave way to the slow, piano-led "White Moon," a quasi-church confessional loaded with rhyming couplets. But the Stripes' gritty rock'n'roll returned on "Instinct Blues," a raw slab of garage blues that found Jack emoting in his best Robert Plant homage.
Meg took the mic for the short "Passive Manipulation," which instructed listeners: "Women, listen to your mothers / don't just succumb to the wishes of your brothers." Jack kicked in quickly on acoustic guitar for "Take, Take, Take," a romantic fantasy about late actress Rita Hayworth, who ultimately does not give in to the narrator's advances.
"As Ugly As I Seem" proved the band's effectiveness in a stripped-down setting, marked by a sliding acoustic guitar progression and sparse percussion. "I'm as ugly as I seem / worse than all your dreams could ever make me," Jack sang.
"Red Rain" featured more of Jack's sweet, high-register singing and what sounded like a triangle or a xylophone, eventually toppled by sudden full-band blasts of rock with shades of past favorite "There's No Home for You Here."
"Get Behind Me Satan" closes with the soulful lament "I'm Lonely (But I Ain't That Lonely Yet)," which imagined Jack on solo piano in a dusty saloon. "I miss my mother / I miss being her son," he sang, "Sometimes I miss her so much I want to hop on the next jet."
The new album will be supported by extensive touring, but at deadline, only a handful of dates were confirmed, beginning May 11 with a three-date run in Monterrey.
(from billboard.com)
---
When publicists for the White Stripes circulated a carefully drafted press release stating that the band's new record, Get Behind Me Satan, was written entirely on "piano, marimba and acoustic guitar," fans (and journalists) had to wonder,
"Was this the same primal-blues duo we've grown to love? The same candy-cane characters who busted out jams like 'Seven Nation Army' and 'Fell in Love With a Girl'?"
Had the White Stripes gone — dare we say it — soft?
Not in the least.
Because when Get Behind Me Satan made its world premiere on Wednesday night at New York's splashy Splashlight Studios — before an assembled crowd of around 100 rock journos — one thing became clear: Satan is not only the hardest, sleaziest, gut-punching-est album the Stripes have ever made, it's also the prettiest, subtlest and most confounding thing they've ever done.
The lead track (and first single), "Blue Orchid," charges in with such a loud blast of amplified guitar, you'd swear this was the new Electric Six disc. Jack White's falsetto has never been higher, his guitar never more reminiscent of Led Zeppelin. And as the tune sped along to its conclusion, many in the room were left wondering what happened to those new, soft Stripes they'd been reading so much about.
If heads were scratched during the album's opening tune, then they were gashed wide open by track number two, "The Nurse." As chimes and that aforementioned marimba made their debuts, Jack assaulted it all with brutally distorted guitar stabs and then — in probably the album's most stunning moment — drummer Meg White, who is the album's unexpected MVP, absolutely kills her kit, pounding louder and harder than she ever has on disc, until the whole song bunches up into what can only be described as a God-honest noise-rock jam. As the marimbas and chimes make their way back in, it sounds as though "The Nurse" has just introduced the world's most destructive children's toy.
"My Doorbell" is next, marrying some beat-box drums and jumpy piano chords with Jack White's hound-dog whines. The tune builds to a bluesy, lilting piano/drum combo reminiscent of — no lie — the Black Crowes' "Hard to Handle." "Forever for Her (Is Over for Me)" rang out like a supercharged version of the Stripes' "You've Got Her in Your Pocket" (from 2003's Elephant), with pianos and drums thudding joyfully. And before you realize it, it's been almost 10 minutes since you've heard one of White's near-patented guitar solos.
Track five, "Little Ghost," does little to assuage those thoughts. It's a Deep-South hoedown that shows that Jack took careful notes when working with country legend Loretta Lynn. "The Denial Twist" is a short and sweet slab of classic Stripes, with Jack's frantic vocals and guitar (there it is!) balanced perfectly atop Meg's thudding drum work. "White Moon" is a slow, down-tempo tune, with little more than a plodding piano line and a rhythm egg accompanying Jack's laments.
After "Instinct Blues" starts off with some guitar noodling, Meg's drums come crashing in like anvils falling from the sky. Then Jack does an amazing imitation of Hendrix, pulling deep, ruddy blues notes out of his axe. "Passive Manipulation" gives Meg a chance to stretch out her pipes over a Holly Golightly-esque piano line (Jack soon reassumes vocal duties). "Take, Take, Take" melds jangling, twisty acoustic guitars with a piano line, sounding a whole lot like some of Zeppelin's mellower numbers.
The album abruptly closes with two boozy, bluesy tunes: "Red Rain" and the piano ballad "I'm Lonely (But I Ain't That Lonely Yet)," both of which smack of Lynn. On "Rain," Jack's slide guitar bleeds into Meg's smashing drums in a sloppy but pretty interplay. And on "Lonely," White pounds the keys like a drunken pianist in a whiskey joint in hell, bringing the record to a tears-in-yer-beer conclusion.
It was loud, it was quiet. It all seems like a bunch of contradictions, but on Get Behind Me Satan, one thing was without debate: the White Stripes haven't gotten soft.
(from mtv.com)
[What do they mean by 'MPV'?]
---
It sounds ace, anyway.
The new single is like metal 
Really? How so?
I can't wait!
Blasted iTunes! Who do they think they are? That is so retarted..having to wait more than a month...
Blasted iTunes! Who do they think they are? That is so retarted..having to wait more than a month...
QUOTE(comradestripe @ Apr 18 2005, 09:46 AM)
Really? How so?
The guitars sound AC/DC-ish, but not quite as rough, a bit more polished.
Jack's voice is very high while he's singing. Michael Jackson high.
I don't know what to think of that. Is it good?
I think it's good. It's quite different from their older material though.
YES!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! can u get it in america cuz i heard it was only released in uk
*adds Blue Orchid to already long enough list of songs to download*
YAY!!!!!!!!!!!!!!!!!!!!!!! I JUST GOT BLUE ORCHID!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! it is kick ass! u might think its only ok after the 1st listen, but keep listening and it gets addictibe!
IM LISTEN IT TO IT NOW!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! THIS IS WAY BETTER THAN 7 NATION ARMY!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! yeah its kinda weird i just got it late last night and ive already listened to it 27 times
Gosh, could you lay off the exclamation marks?
NO!!!!!!!!!!!!!!!!!!!!!!!!!!!! THAT WOULD STRIP HIM OF HIS WINNINGDAYS1 STYLE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Anyhow, it's good, better then alot of music out there. But if the whole album is like this I'll need to do some adjusting.
Anyhow, it's good, better then alot of music out there. But if the whole album is like this I'll need to do some adjusting.
of course i will, anything for u brian. ive listened to blue orchird 60 times now
Shame you can't spell it, then, isn't it?
For all the people that dont have it here:
Blue Orchid
Very good in my opinion, white stripes never fail to make me happy, always having some new different type of song while staying true to there sound...i hope that album is good...
and what do u think of the name 'get behind me satan'? is it like get behind me as in the past, or is he SATANIC! haha, thats just weird imagining that....
Blue Orchid
Very good in my opinion, white stripes never fail to make me happy, always having some new different type of song while staying true to there sound...i hope that album is good...
and what do u think of the name 'get behind me satan'? is it like get behind me as in the past, or is he SATANIC! haha, thats just weird imagining that....
QUOTE(comradestripe @ Apr 20 2005, 05:41 AM)
Shame you can't spell it, then, isn't it?
yes, its a bloody shame as u english folk say it
QUOTE(ain't no room for me @ Apr 21 2005, 02:09 AM)
and what do u think of the name 'get behind me satan'? is it like get behind me as in the past, or is he SATANIC! haha, thats just weird imagining that....
It's a common saying, probably from the Bible...trying to overcome temptation and all that.
Channel 4 are showing an hour's worth of the Blackpool gig in about an hour at 1.25 am, if anyone in the UK reads this before then.
I heard 'Blue Orchid' and it has to be one of the most annoying songs I have ever heard. Falsetto just isn't for Jack White. And he keeps his voice like that for the entire song. It's a pretty pointless song, if you ask me.
I haven't heard it yet; I'm waiting for it to be released properly.
I didn't download it. I heard it on the radio.
QUOTE(comradestripe @ May 7 2005, 11:22 PM)
Channel 4 are showing an hour's worth of the Blackpool gig in about an hour at 1.25 am, if anyone in the UK reads this before then.
hahaha, you knew all along!
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