Tag Archives: The Strokes

Rocks In The Attic #610: Muse – ‘Origin Of Symmetry’ (2001)

RITA#610.jpgThis is it. This is the one. Out of all of the albums I got behind during my twenties, this is the one that resonated with me the most. It still strikes a nerve today, sixteen years later.

I seem to remember the very late ‘90s being a desolate wasteland in terms of guitar rock. The homemade ethic of Grunge had drifted into stadium-filling Alternative Rock, but the punk vibe was still very much there. It was almost a crime to be proficient at playing the guitar. That’s just not cool, man.

The turn of the century gave us the Strokes and the White Stripes, both bands making guitars cool again. But for all their posturing, both of these American imports still took a simplistic approach to guitar playing; Jack White from garage rock, blues and folk, and the Strokes’ Nick Valensi and Albert Hammond Jr. from the New York City New Wave of Television, Talking Heads and Blondie.

Something far more interesting was happening in England. I had heard tales of a Devon band featuring a hot-shot guitarist with dazzling effects pedals. By the time I finally heard their first record, Showbiz, in 1999, I was an instant fan but I wasn’t bowled over. Sunburn was an awesome song, but there was a fair bit of mediocre filler throughout the record.

Fast foward a year or so, and a friend passed me an advance promo single for Plug In Baby. I played it that night during my DJ set at 38 Bar, and instantly fell in love. I hadn’t heard such an off-kilter guitar riff since Randy Rhoads’ Crazy Train. This Bellamy kid definitely wasn’t hiding behind those pedals.

The next day, I drove (for no particular reason) over to Hadfield, the Royston Vasey of The League Of Gentleman. I played the song over and over in the car, and just couldn’t get over how good it was. It felt like it had been written for my tastes in mind.

Thankfully the rest of the album was much stronger than its predecessor. New Breed and Bliss were both riff-heavy, and there was even a heavy cover of Nina Simone’s Feeling Good introduced with a lovely bit of Wurlitzer piano. The record does get a little tired towards the end – a good 15 minutes could have been shaved off to make a truly awesome 35 minute record – but it was still a damn sight stronger than Showbiz.

I saw the band tour this record at 2001’s V Festival in Staffordshire. They headlined the second stage, and I managed to get up close to the front. After the set, I turned round to walk back to my tent and realised how many thousands of people had also been watching. This little band I had followed for a couple of years had grown beyond my expectations. I wouldn’t seem them again until 2010, touring album number five.

Hit: Plug In Baby

Hidden Gem: Hyper Music

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Rocks In The Attic #538: Jack White – ‘Acoustic Recordings 1998-2016’ (2016)

rita538Does the world need a collection of Jack White’s acoustic recordings? I’m not sure. The whole concept of a compilation album seems to be everything White stands against. It’s music for product. Remember, this is the guy who – in the early days of the White Stripes – never told the press anything truthful because he wanted to remain enigmatic.

Acoustic Recordings 1998-2016 is a double-LP collection of White’s acoustic-leaning songs with the White Stripes, the Raconteurs, and assorted solo recordings. The real gems are the rarer songs taken from b-sides or soundtracks, and these leave you wanting more. I’d kill for an album worth of b-sides and unreleased material – a White Stripes Past Masters next please, Third Man Records.

The real gem of the album is City Lights, a previously unreleased leftover track from Get Behind Me Satan. Previous White Stripes collaborator Michel Gondry surprised White by filming a lovely little music video for the song, and only notified White’s Third Man records when it was completed.

At least it’s not just a straightforward ‘Best Of The White Stripes’ compilation. That really would be a little too hard to stomach. But we do get something almost as mawkish – a cover photo of him looking all moody, in monochrome of course. He looks like a handsome balladeer, and his mournful good looks probably wouldn’t look out of place next to this Christmas’ undoubtable Michael Bublé release.

The liner notes, by Greil Marcus – who else? – paints a picture of Jack White as the next in a long line of Delta blues guitarists, passing the torch down from the likes of Son House, Mississippi John Hurt and Skip James. Hmm…maybe…you think. But then you read the song credits and notice that White wrote one of the songs specifically for a Coca Cola commercial in 2006. Hmm…maybe not then.

Still, Jack White means a lot to me and always will. He was a key component in the shift back to the roots of rock music. After grunge, alternative rock became stagnant with nowhere to go, but then a couple of players – most notably the White Stripes and the Strokes – seemed to reset the dial.  They brought analogue recording back into the mainstream, and shorter, sharper running times of records; thirty minutes rather than the CD-bursting 50- or 60-minute snoozefests.

But I still can’t get over the fact that a compilation record just feels wrong for White…

Hit: Hotel Yorba

Hidden Gem: City Lights