Bests & Worsts Reviews from Amazon

This album will make or break a "true" White Stripes fan. The change is HUGE, and I'm certainly not complaining. I'm happy that The White Stripes have the balls to constantly experiment and bring something new to the table, time and time again. Most notably, casual fans are going to miss Jack's wailing guitar solos and time signatures. His artistic vision is channeled through piano, marimba, tambourine, and acoustic guitar (although their is some electric guitar lurking around in the mix). While other bands try to replicate the magic of their freshman debut, The White Stripes are busy honing their skill, creating music that has soul, feeling, and ideas (all executed within a 2 week recording session). This subsequently feels like a retreat to their "little room" from the staggering success of "Elephant". They've locked the door and threw away the key to make whatever they see fit, which merits even more respect. Screw the bigwigs, the "true" fans want to hear a intimate recording by these two creative forces, which is exactly what they brought us. The first cut "Blue Orchid" is a thrilling metal number, reminiscent of past material, but still different. By the end of that song, they slip back into their little room to stun listeners throughout the rest of the record. "The Nurse" is very experimental. Meg's drums sound like a series of explosions over Jack's piano and marimba, along with his soft lyrical delivery. But I have to say, it's "My Doorbell" that sinks it's hook into you. It's a little reminiscent of the "Hotel Yorba" days, with Jack's quick, happy go lucky lyrics. It's actually very catchy, and stands in stark contrast to the previous cuts. Up next is "Forever for Her (Is Over for Me)" where Jack sings ever so passionately. It's one of the most well written songs on the album. But then comes my personal favorite, "Little Ghost". Jack and Meg belt out this soulful number with a brilliant country bluegrass swagger that is simply irresistible. "The Denial Twist" is fantastically driven by piano and tambourine. The presence of Rita Hayworth also plays a significant role on songs such as "White Moon" and the dazzling "Take, Take, Take". The rockers closest to the material on "Elephant", "Instinct Blues" and "Red Rain" should please all White Stripes fans. Meg does a fantastic job with her vocals on "Passive Manipulation" were she boasts the very effective lyric - "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". "As Ugly as I Seem" is a very simple acoustic guitar flavored tune. I can't think of a better song they could have used to close out the album, than "I'm Lonely (But I Ain't That Lonely Yet)". Jack's lush voice and beautiful piano work will leave your head swaying just like Meg's head would be at a live show. Needless to say, I am quite impressed with this album. But I'm sure some of you will be sorely disappointed with their new direction. Personally, I would be in heaven if all of my favorite bands made albums the way The Stripes do. I would rather hear something completely original, than to hear "Elephant" part 2. If I want to hear riveting guitar solos, I'll listen to "Elephant". If I want to listen to Jack's blues-rock perfection, I will listen to "De Stijl" (It's nice to have choices). But in no way does "Get Behind Me Satan" pale in comparison to it's predecessors. Their discography is on it's way to being just as staggering as Beck's. They're all brilliant works of originality. And although it may push away some casual fans, The Stripes are at their best when they push themselves to their limits.