What I Liked:
Jack White will always be able to rock. Anything on here that's rock, or at least half rock, is worth the time to pay attention. He's not too shabby at country either, as it turns out. He's got a rock-hard attitude that runs though the hard songs, and the countrified portion is classic country, thank heaven - with all the good things about it present. Meaty riffs, hooks, and even some fair melodies are all over this album. Calling the record 'Lazaretto' (and the title track too) was a very appropriate move; the record often feels like the introspective writings of a man released from long solitude. I guess White's had some time to think about what he wanted to say on this disc (I support this approach. It's worked!). I'll be honest, I was ambivalent about this at the first few listens, but I think after coming back to it, I get it. Best tracks: definitely rockers 'Would You Fight For My Love?' and 'Lazaretto', 'Alone In My Home' and 'Just One Drink' for the country-rock sound, and surprise instrumental 'High Ball Stepper'.
What I Didn't Like:
White goes all over for this record - a bluesy stomp in slot one, followed by a a wild post-rocker and a country-rocker, heavy on the country. It feels a little incohesive, but it's not quite so bad. A little readjustment of the tracklist might have helped. Oddly, 'The Black Bat Licorice' seems to have borrowed parts of the riff and hook from 'Alone In My Home'. Not helped by the fact that they're right next to each other on the disc.
An Observation:
I actually have to get technical for a moment here and explain why White's vinyl geekiness made this tricky to listen to. I've had problems getting the first side to play. Firstly, the first side plays from the center spiraling outward; and secondly, according to some reports, there are hidden tracks under the disc's labels. I haven't listened to them yet, as I'm wary of peeling the labels off. However, it looks like the lead-in grooves for the regular first side and the hidden track are fighting each other. I only got the thing to start playing by dropping the needle almost right on the beginning of the first track. Some other gimmicks that appear on the record didn't impress me either (locked groove sounds at the runouts and the pair of lead-ins - one acoustic, one electric - for 'Just One Drink').
In Conclusion:
Hmmm. While I like White's solo work, it was kinda rough trying to listen to the vinyl copy with all of the gimmicks. Seriously, they got a bit in the way. Pick it up, but stick with digital if you don't feel up to the challenge of listening or have a turntable with an automatic tonearm.
I've been looking for this album for a while now! The disc that gave 'Making Plans For Nigel' to us at the shed, I've wanted to check the whole thing out for quite a while now. On a recent trip to Jerry's, I happened across it in the alternative section's new arrivals. I think I even said 'yoink' out loud when I grabbed it.
What I Liked:
'Making Plans For Nigel'. 'nuff said. A brilliant, if subtle send-up of parental expectations for a child's future, it's a truly classic track. Bassist Colin Moulding knows how to write hooky and melodic, engaging pop, and most of the first side is testament to this fact. From the nostalgically upbeat 'Life Begins At The Hop', to the subtlety of 'Nigel' and 'Ten Feet Tall', and the hard-then-softness of 'That Is The Way', he's got a distinctly refined style that I find irresistible. I'd guess that a little more of the 'smart' in XTC's 'smart pop' formula is due to Moulding. Meanwhile, the rest of the disc is a showcase for guitarist/keyboardist Andy Partridge, whose songs have a bit more of a poppy bounce or drive to them, with a little New Wave-ish mania; some feel like caricatures ('When You're Near Me I Have Difficulty', 'Outside World'), occasionally a sinister undertone creeps in ('Millions', 'Complicated Game'), and a little bombast isn't unwelcome here and there (especially on 'Roads Girdle The Globe' with its choral backing). This is one energetic record as a result. If it isn't purely upbeat, it's interesting enough to keep you listening for one more track. It's more guitar-driven than I'd been led to believe (which is pleasant), thanks to Partridge and other guitarist/keyboardist Dave Gregory. Best tracks: without hesitation, 'Making Plans For Nigel'. Honestly, I can't say there's a truly BAD song on the album - with one exception.
What I Didn't Like:
Okay, I can't not say it: 'Helicopter' is a terrible song. For a band known for 'smart pop', they seemed to have played a nice long game of Hot Potato with the Idiot Ball while working on the track. It's too goofy, annoyingly bouncy, and doesn't fit the tone of the rest of the album. Other songs on the disc that sound similar, e.g. 'Outside World', have more of a message or meaning, and are somewhat more carefully crafted. 'Helicopter' is so over-the-top that it borders on self-parody. The overall bounciness of the record might annoy some; but it's generally upbeat enough to be redeeming.
An Observation:
My copy is an American pressing, with 'Life Begins At The Hop' substituted for 'Day In Day Out'. Also, the first pressing in the UK included a bonus 7" with the songs 'Chain Of Command' and 'Limelight'. The CD pressing from 2001 includes all fifteen songs. It might be a wise move to supplement the LP with this disc. EDIT: The digital version available on Amazon does in fact include all three as well.
In Conclusion:
A classic album. It's an unusual sound, and it's definitely not the rock I tend to seek out, but it is engaging and more complex than pop-rock from the late 70's is expected to be. It's a keeper.
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