The White Stripes “Get Behind Me Satan” V2
Records
Looking at the latest White Stripes press photos, it’s
astounding that “Get Behind Me Satan,” the duo’s
fifth album, even got made. After all, Jack, with a new top hat,
dastardly mustache and devilish glint in his eyes, looks like
he’s about to kidnap Meg at any moment and tie her to some
railroad tracks. These photos provide little insight into what
exactly went on in the studio during the recording of
“Satan,” and to be perfectly honest, the album’s
13 tracks don’t really explain anything either. Despite
earning their stripes (pun intended) as a duo of raw minimalists,
Jack and Meg seem to be doing everything they can to shed their old
image. As a result, “Get Behind Me Satan” is so
ostentatious that it outdoes even The Mars Volta’s
“Frances the Mute” in self-indulgence. Unfortunately,
while The Mars Volta’s pretension is part of its identity,
The White Stripes should do what it does best and keep it simple.
The process of creating “Satan” probably went something
like this: Jack pacing around cursing ex-girlfriend Renee Zellweger
and humming Loretta Lynn tunes while simultaneously firing off the
names of every bizarre instrument he can possibly think of while
Meg looks them up on Wikipedia. Regardless, the Stripes once again
have a killer opener in the tradition of “Dead Leaves and the
Dirty Ground” and “Seven Nation Army.”
“Blue Orchid” is a high-production romp with equal
parts AC/DC and Led Zeppelin that at times sounds less like a song
and more like a flourish from White’s guitar that happened to
get captured on tape. “Orchid” immediately grabs
interest and is a perfect choice for a lead single. It is also
unlike anything else on the album. The rest of “Satan”
rarely approaches the exuberance and excitement of
“Orchid” and instead comes off like a race between all
of the album’s songs to see which can be the weirdest and/or
most drawn out. “The Nurse” is one of the greatest
offenders here, eschewing traditional instruments for … a
marimba. While inspired, this is the worst instrument to use in a
song that never goes beyond a barely developed chorus of chants and
feels considerably longer than it is, as it makes the affair seem
even more monotonous. And herein lies the biggest problem with
“Satan.” Many songs feel like half-developed ideas that
Jack and Meg figured would sound more finished if they threw some
eccentric instruments into the mix. “As Ugly As I Seem”
and “White Moon” are notorious in this respect, as
their redundant verses attempt to cover up for their lack of
choruses. And “Instinct Blues” would be a great song if
only it were cut in half. But there is a good deal to like on
“Satan.” “My Doorbell,” a rousing piano
ditty, is easily one of the best songs the Stripes have done, and
“Forever For Her (Is Over For Me)” is a classically
polished Jack White ballad. Plus, “Satan” has another
song with Meg on vocals, the catchy yet painfully brief
“Passive Manipulation.” The closer, “I’m
Lonely (But I Ain’t That Lonely Yet)” also has some
truly clever and witty lyrics. Unfortunately, for all the good,
“Get Behind Me Satan” just isn’t an engaging
album. It isn’t the sort of album that you’d put on out
of the blue to enjoy. Rather, it’s the kind of album you
would play a drinking game with, drinking every time you think a
lyric is about Zellweger. And you know, after playing this game
with “Little Ghost,” “Get Behind Me Satan”
might even start to sound like “Led Zeppelin II.” Sort
of. OK, not really at all. -Mark Humphrey