The elephant is not my terrible update consistency recently, which is something that I need to work on. But I’m going to work on it and fix it. Instead, I want to talk about a different Elephant.
For readers of this blog, you’ll know that I’m trying to listen to at least one hundred albums I haven’t listened to before. One of the benefits besides finding new music is that I’ve been listening to more music than I have recently. It’s helped me move away from my habit of rewatching videos that I’ve seen a thousand times.
However, now that I’m writing this, I realize that I’m just listening to songs that I’ve heard a thousand times before. To be fair, I don’t listen to that much Dreamtheater so the time sink isn’t that much. Maybe three or four minutes.
And while I feel like I’m wasting my time rewatching the same videos, listening to the same songs makes me feel like a warm blanket is being wrapped around me. It reminds me of different times, not always the best but… different.
To that end, while I was on my walk I started listening to tracks from the White Stripes’ Elephant. It reminded me how good that album is from start to finish. So, I decided in a new segment to break down every track on the album and my feelings on it.
- Seven Nation Army
I mean, come on, it’s the hit. The biggest hit of the White Stripes’ history. It starts with that sneaky guitar sounding like a bass. It then cuts into some excellent solos as Jack rides up and down the octaves like he’s surfing. I know that he used a Digitech whammy pedal that he would eventually develop his own dual version of later down the line. There’s not much to say about it except that it makes perfect sense that it became staple at sporting events and was going to be a possible James Bond movie opening. Jack would later do an intro to Quantum of Solace with Alicia Keys, which was the only good thing about that movie. - Black Math
This is classic White Stripes. A song that features roaring guitars and the childhood nostalgia that makes up a lot of their songs like Apple Blossom and I Can Tell That We’re Gonna Be Friends. This one features another octave blazing solo before Jack comes back in with a tempo and melody change. He brings it home towards the end. I used to be able to play this on the guitar and it was so fun. - There’s No Home For You Here
One of the best breakup songs ever written in my opinion. It feels so dispassionate but personal in the way that most relationships feel at the end. “I’m only waiting for the proper time to tell you that it’s impossible to get along with you”. Dang that’s cold. The thing is that the choral parts of this is that the album was recorded at a studio that featured lo-fi throwback equipment. It was recorded all on eight tracks with nothing pass the year 1963. So, while on a normal laptop this would take mere minutes, this effect was a lot of work. - I Just Don’t Know What To Do With Myself
This is a cover of a Dusty Springfield song and it just goes to show the timelessness of Burt Bacharach’s writing. It’s a solid song but I just don’t have that much to say about it. It’s just a straight forward cover. Confusingly, the video had Kate Moss pole dancing in her drawers. I don’t understand, did we both have too much money to book her and run out of money to do anything bigger? - In the Cold, Cold Night
Meg takes the stage on this one. Famously shy, her voice never gets that big or wild. But she that fits the song better in my opinion. The lyrics point out that she’s still a girl on the edge of womanhood trying to fall for a man that’s bad for her. Pretty classic setup and a reverse of male rock stars complaining that the girl is only 17 but they can’t wait that long because they’re pedophiles. There are no drums and the guitar is sparse as well. There is a solo in this but it’s a rumbling organ that brings some extra texture to the song. - I Want to be the Boy to Warm Your Mother’s Heart
This is my favorite track on what’s already a great album. The song features the most piano work on the entire album. The song is about the narrator trying to win over his partner’s mother. As we get through the song we do get a warm and buttery guitar solo. It’s a great song through and through. - You’ve Got Her in Your Pocket
This is what I would say is the weakest song on the album. It’s not that bad but it does take the album out of all killer, no filler. It’s just kind of slow and boring and there’s no Meg White on it. Skip. - Ball and Biscuit
Sometimes if you’re one of the greatest guitarists in recent memory you need a song that you can just let loose on. White Stripes were notorious for jamming during shows. This just gave Jack the excuse. The lyrics are probably the most suggestive that I’ve heard from the White Stripes. Jack White cooing if I want a ball and a biscuit. Plus, he wants to get clean with me. You know what that means, wink. This song rules, it’s one of the longest at about eight minutes but the whole thing is worth listening to. - Hardest Button to Button
The White Stripes had an early single called Hand Springs about getting angry while playing pinball. It was fairly simple, a single chord played during the verses and then some variation in between. This has a similar feel, thumping guitar and drums but as the song goes up and down throughout. The video for this is great where amps and drums appear as the two play. Apparently, Jack White didn’t like the concept that the video director, Michel Gondry put forth so, he started messing with the takes. Michel thinks it actually made the video better. They donated the amps and drum sets to a music school afterwards. The Stripes have a knack for making something simple into something incredible. That partly explains Meg’s drumming. You don’t need much for songs this good. - Little Acorns
A song with audio from some kind of ancient self help movie talking about Janet learning from the squirrels, which is a line I would put in as a joke most other places. This intro makes me think about the Union Forever, a song from White Blood Cells where Jack took lines from Citizen Kane and turned them into one of their best songs. It’s also because this song has a kind of darker feel towards it. Kind of oppressive. - Hypnotize
If Little Acorns is dark and oppressive, Hypnotize is lighthearted and playful. Reminds of a song from the sixties, just frolicking and getting to the point. No complicated solos here, just between the two verses we’re going to hit that fuzz pedal and hit you with some E chords. - The Air Near My Fingers
I was going to be dismissive of this track as not one of my favorites but a re-listen made me reconsider. This one features something new, both organ and guitar being played at the same time, this rarely happened on Stripes’ songs because Jack always seemed to keep in mind how he was going to play them live. It would be unthinkable to bring anyone else out on stage, so you never knew what he was going to do with songs like this. Things would change down the line on Get Behind Me Satan and Icky Thump. But at the time, this was a surprise to me. It’s a song that feels like you’re walking down the street with change in your pocket. You got some options and it’s time to have some fun. - Girl, You Have No Faith in Medicine
Jack has gone on to say that he really doesn’t like this song. I can see why, he’s also taken a fairly feminist route to his songwriting and this one does seem to blame the narrator’s female cohort for a lot of things. It’s still a great song with a great solo in the middle of it. I was going to say that you could slow down the track, switch out the electric guitar for an acoustic and boom you’d have a Johnathon Richman song. But then I thought about it some more and realized that the writer of “The Girl Stands Up to Me Now” and “Not a Plus One on the Guest List Anymore” wouldn’t want to do this either. - It’s True We Love One Another
A song where Jack and Meg play themselves and sing along with Holly Golightly. The three of them discuss the love between Holly and Jack, with Meg stating that Jack annoys her. Personally, I love songs like this where the singers are basically part of the story. Maybe it’s why I’m such a Swiftie. Anyway, like a lot of the end songs on White Stripes’ albums, it’s a quiet and gentle outro. Between the others, This Protector, Effect and Cause this is one of my favorites.
So, in the end, I have to say still a ten out of ten album. Give it a listen to when you get a chance.
Franklin Cota, an author and podcaster 