Get Behind Me Satan: More Proof That The White Stripes Rock
Written: Jun 14 '05
Product Rating:
Pros: A whole buncha great songs...
Cons: Not completely consistent, but who cares!?
The Bottom Line: The White Stripes prove again on their fifth album why they are one of the most outstanding bands of this era. Get Behind Me Satan is striking.
lambchops's Full Review: Get Behind Me Satan by The White Stripes
There’s a cozy nook in my heart for local bands. So few ever make it big, and when The White Stripes swaggered to the top of charts around the world it was pleasantly welcome surprise.
The White Stripes rise to fame began some time in the late 1990’s. Nobody is quite clear on whether Jack and Meg white are siblings or a divorced couple (my money is on the divorce), but that doesn’t hinder the chemistry of the band. I do, however, hesitate to call it a band. This is a two-person outfit with Jack White predominantly on vocals and guitar and Meg White on drums. It’s a unique setup that nobody could’ve guess would work so well. Five albums later, I can’t imagine the world of modern rock sans The White Stripes.
Making their debut with 1999’s self-titled album, the band made a smashing debut. It seems that Jack and Meg know exactly how to utilize their scant instrumentation. The chunking guitars, yelps, metronomic drums, and pauses are dramatic. Art can be found in even the tiniest of nuances. The White Stripes truly know how to make a great record and not just a hip single. Following their debut, the band quickly released a second album. De Stijl hit shelves in 2000, however it took until 2001’s White Blood Cells for the band to really get their big break.
It happened first in England when a music journalist picked up on the band and gratuitously lauded their talents. It didn’t take long before they found themselves the new critical darlings. That journalist gushed on about how grand the band was and how everybody needed to jump on the bandwagon immediately. Britain picked up quickly and was followed shortly by America. White Blood Cells was the hit that every band dreams of. It eventually earned The White Stripes a spot on V2. Despite the impressive nature of that album and the crazy amount of support it earned, I still had some deep down doubt that they wouldn’t be able to follow up with something of substance.
And then came 2003’s Elephant, the band’s best album to date. Emotional, beautiful, hip, and organic it proved the band was here to stay. I could only dream that 2005’s Get Behind Me Satan would be similarly appealing. While not exactly like any of the previous albums, it does take samplings of ideas from each to create something new and different. The White Stripes aren’t willing to rest on their laurels. This refreshing truth is what will keep them fresh and relevant for as many years as they choose.
Get Behind Me Satan is a diverse, wholly entertaining album that is on level with De Stijl and White Blood Cells but a smidge less great than Elephant. Even with that said, The White Stripes are still among the most consistent and most creative bands making music today. Don’t believe me? Try the new album on for size. Spend a little time with it and let it grow on you. I promise—it will so long as you don’t fixate on inadequate comparisons. Take the album for its individual value. Go in with as close to a clean slate as possible.
There are thirteen songs here. They definitely impress me, though if I do have to admit disappointment it would be with the lack of a Meg-fronted song like In the Cold, Cold Night. She’s not your typical singer, but that song helped to make Elephant what it was—excellent. Since I don’t want to make comparisons, I can’t dock Get Behind Me Satan for not featuring such a song. It is a work unto itself. Blue Orchid is only the start, albeit a great one. The band’s sparse instruments (drums and electric guitar) make the spiky, energetic, rock track pop. It’s an easy choice for a single.
The Nurse is one of the stranger songs. It’s got maracas, keys, and xylophone most prominently. It evokes the sunny feel of island music. The lyrics however are something else entirely. Jack sings about how the nurse shouldn’t be the one to put salt in the wound. That is certainly an interesting comparison. The song passes quickly and is followed by the excellent My Doorbell. What I love about the White Stripes is that they are unafraid of using unique arrangements. With just two members, they have no choice but to be creative. In this case, we have a piano, drums, and maracas. Nothing else is necessary. My Doorbell is one of the best, most distinctive and most immediately satisfying songs of this album.
Forever for Her (Is Over for Me) is the next in this line of fabulous songs. It’s a mid-tempo rocker that once again incorporates keys, xylophone, maracas, and drums. The White Stripes have in many cases eliminated their guitar-and-drum sound without sacrificing their trademark emotion and drive. There is little doubt that this song is well worth hearing. Little Ghost takes a cue from Jack’s work in the film Cold Mountain. It’s got a distinctive Appalachian folk twang which shakes up the album nicely. While not as brilliant as some of the other songs it is still excellent. The Denial Twist too is a decent although not completely memorable song.
A simple, startling ballad White Moon comes across as a nursery rhyme. Once again I’m impressed by the duo’s ability to mold their sound to fit so many different atmospheres. Also, I have to mention that Rita Hayworth is mentioned throughout the song and again later on in the album on Take, Take, Take. Continuing on, Instinct Blues is a distinctly blues-laden song. I always enjoy The White Stripes when they go in this direction. The heavy electric guitars and percussion mixed with Jack’s muffled and distorted voice help to make this an interesting although not entirely satisfying song.
Meg does make a vocal appearance on Passive Manipulation. It’s just thirty-five seconds that we are granted her uneasy, wispy voice as she sings:
Women, listen to your mothers
Don't just succumb to the wishes of your brothers
Take a step back, take a look at one another
You need to know the difference...
Between a father and a lover
Take, Take, Take speaks of the fire-haired siren, Hayworth yet again. It speaks of fame and celebrity. We see our protagonist in the seedy first wanting an autograph from the star. However nothing ever was enough. Then he needed a picture. Then he needed a lock of hair. Then he desired a kiss (he wouldn’t wash his face for a week). If there’s ever been a portrait accurately drawn of celebrity, it is this. It makes you really think. As Ugly as I Seem and Red Rain are entertaining enough songs, but don’t catch my attention as immediately.
Get Behind Me Satan wraps up with one final song. I’m Lonely (But I Ain’t That Lonely Yet) is the perfect way to cap off the effort. It’s a tender, piano-driven ballad. I’ve always enjoyed when The White Stripes step back from their amps and tug on the heart-strings. Jack doesn’t exactly have the most perfect voice, but the imperfections give the music individuality.
Even at its worst moments, Get Behind Me Satan is much better than most other modern music. There are times when we see the “old” kind of music we’ve come to expect from The White Stripes. On Blue Orchid, My Doorbell, The Denial Twist, and Red Rain there are echoes (but never facsimiles) of the old formula. What really gives this disc depth is its variety. The Nurse, Passive Manipulation, White Moon, and Take, Take, Take are what make it something special. If you’re worried that The White Stripes can’t continue to make great albums, this proves that they’ve yet to disappoint.
Rating: 4.5/5 stars
Track Listing:
01. Blue Orchid
02. The Nurse
03. My Doorbell
04. Forever for Her (Is Over for Me)
05. Little Ghost
06. The Denial Twist
07. White Moon
08. Instinct Blues
09. Passive Manipulation
10. Take, Take, Take
11. As Ugly as I Seem
12. Red Rain
13. I’m Lonely (But I Ain’t That Lonely Yet)
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