![]() ![]() That eccentricity is the pleasure of Lazaretto, which is by every measure the strangest record associated with White since 2005's Get Behind Me Satan, a record that found Jack tackling the aftermath of fame by turning gothic. There is a fair share of blues bluster - via Zeppelin riffs and huffed references to digital cameras, the opener "Three Women" modernizes Blind Willie McTell, while he twists a refrain from Howlin' Wolf's "I Asked for Water (She Gave Me Gasoline)" on "Just One Drink" - but Lillie Mae Rische's violin occupies nearly as much space as his own howling guitars, pushing White into the left field where he prefers to reside. This tension surfaces on Lazaretto, his second solo album, a record that lives upon the edges of his interests. ![]() Contrary to his carefully cultivated persona as a raider of lost Americana, White never, ever was a purist: he thrived upon seizing the precise moment when accepted definitions lose all meanings and turn into something new. Like "blunderbuss," a "lazaretto" is an ancient reference that means little in the modern world, a fact that does not escape Jack White, a musician who specializes in blurring lines between past and present. ![]()
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