Lillie Mae Rische has been performing on stage since she was 3 years old, according to Jack White, who recently signed her to Third Man and produced her new album. Her family band Jypsi was signed to Arista Nashville and released a digital-only album in 2008 and a few singles that went nowhere. The label dropped them.
She released a Third Man Blue Series single (“Nobody”) in 2014 and has played fiddle and mandolin in Jack White’s band. Now she’s ditched her last name and got a haircut like King Cyrus from “The Royals” and is ready to start fresh.
This song sounds good and shares a similar vibe with other White-produced countryish stuff like the more acoustic moments on his solo stuff, especially Lazaretto‘s “Temporary Ground” to which Rische contributed vocals and fiddle. She also sang on “Alone In My Home” and played fiddle and mandolin all over the album.
Another cool video from Jack White’s solo debut, Blunderbuss. “Freedom At 21” was directed by Hype Williams and features the briefest of cameos by Josh Homme who was clearly born to play a cop. My favorite detail is the prison girl’s Detroit tattoo. Is that a poke at his hometown or an appreciation of it? Could go either way, but the fact that the real star of the video is the Plymouth Hemi ‘Cuda leads me to believe it’s a celebration of Motor City muscle at its finest.
As an extra bonus, here’s a live version of the song, recorded back in April.
I want love to roll me over slowly, stick a knife inside me, and twist it all around. I want love to grab my fingers gently, slam them in a doorway, put my face into the ground.
And that’s how Jack White introduces his debut solo album, Blunderbuss, due April 24 on Third Man Records/XL Recordings/Columbia. Background vocals from Nashville-based, Ghana-born Ruby Amanfu add a creepy, old-timey vibe.
The lack of drums on this song is an curious choice for a lead-off single. It sounds great, but it’ll be interesting to see how well this does commercially. Will the mainstream audience who eventually embraced the White Stripes get into this? Will the rivalry with the Black Keys spawn a resurgence of listenable, commercial rock and roll? (I hope so.) Maybe the Hives and the Strokes and Mooney Suzuki can put out new albums this year and it’ll be like 2001 all over again! (Unlikely.)
No question about it, Jack White’s got style. More than just about anyone else who’s not named Gaga, Jack White understands that an ounce of appearance is worth a pound of effort, and that’s not to say that there isn’t plenty of effort in his work. He just makes it look effortless because he looks so goddamned good doing it.
This first video from his collaboration with rockabilly queen Wanda Jackson is another in a long line of examples with a tasty Dylan cover, “Thunder on the Mountain.” Backing the tiny Jackson with a band decked out in black and pink stage wear, White dances and stomps around his muse like a lovestruck hillbilly. Much like his earlier collaboration with Loretta Lynn, White knows how to embrace the elements and style of a genre without coming off as a parody. As someone who plays a lot of shows with bands with fake accents, I can tell you that ain’t easy to do.
The Party Ain’t Over is available on pre-order from White’s Third Man Records. First 1,000 orders come in an “exclusive Third Man greeting care gatefold sleeve,” 100 of which will randomly come with fuschia colored vinyl. Don’t you just love that sort of thing?
The latest single from her debut album, The Ghost Who Walks, out now on XL. I like this song—especially the organ—almost as much as I like Elson’s false eyelashes, but why do all the dudes in her band dress like White Stripes roadies?
It’s damn near impossible to hate Jack White. In fact, most complaints that I’ve heard or read are relatively superficial ones that have little to do with his music and more to do how his music is presented visually. White is a classicist rock musician, deeply rooted in and respectful of its past. It’s clear that he’s studied the records on his turntable intently and the footnotes of his term papers (or albums) are clearly audible.
Sea Of Cowards is the second album from the Dead Weather, a project where White finds himself behind the drum kit instead of center stage, even though the focus is squarely on his slight frame. I did a double take when I heard the band was releasing a new record as it was only last summer when they released their debut.
The Dead Weather will be streaming a live performance of their new album Sea of Cowards today on MySpace. The show will take place at Third Man Records‘ in Nashville. A guest list was created for members of TMR’s “Vault” record club to attend the show.
The band is scheduled to perform at 5:00pm EST. As of 7:13am today, the show is still on despite severe weather and flooding in the region.
Jeez, we can’t seem to go more than a week without Jack White dropping another single! Who’s he think he is, Berry Gordy? This one is the lead off single from the Dead Weather‘s sophomore effort, Sea of Cowards, due May 11 on Third Man/Warner Bros. I’m happy to see them spend some Warner dollars on a high-production video with costumes, sets, masks, special effects, and smoke machines. Badass. I also like how Jack is morphing into Johnny Depp and Alison Mosshart is gradually becoming indistinguishable from Meg.
Crazy to look back and realize how influential Beetlejuice and Edward Scissorhands have become. Who would’ve guessed?
We posted the acoustic version of this song back in February, but this is this time the rest of the band gets to play along. Recorded live at Third Man Records in Nashville, and directed by Jack White. The album is due May 25.
“If I wasn’t a model, I would never have been around interesting musicians, even had the financial capabilities to say, ‘I don’t have to work right now, I can sit and make my record,’ ” she said […]. Though she has long been musically minded, “I could never have made this record five years ago,” she said. “This record only could have been made with Jack.”
Nice that she acknowledges her place of privilege. Of course, if the music sucked we’d all just ignore her or ridicule her mercilessly. Since it sounds pretty good, that gives us the excuse—and the critical obligation!—to stare at a beautiful woman.