In the middle of his current tour supporting his critically-lauded sophomore solo record, "Lazaretto," the unequaled Jack White has unleashed a brand new stunningly blue-tinged music video for the LP's third single, "Would You Fight For My Love?" The brooding "Lazaretto" track finds a sensitive White cautious about committing to a relationship having been previously burnt. White used two live bands for the recording of "Lazaretto," the all-male Buzzards and the all-female Peacocks. This song features both playing simultaneously in separate rooms at Third Man Studios.
The alt-rocker made what he called the world's fastest record - he performed and pressed to vinyl the album's title track in less than four hours. Now Continuing White's tradition of innovation and penchant for quick turnarounds, he's applied a similar tactic to the moody video for "Would You Fight For My Love?" Set in downtown Denver's the historic Cruise Room, a beautiful art deco-era, spooky and original post-prohibition bar in LoDo's Oxford Hotel, the blue-hued visual was conceptualized, produced and shot within a 24 hour period. The six-hour shoot came together on less than 12 hours notice by British director Robert Hales.
The conceit has its pros and cons. It's an admittedly simple video drenched in a moody blue color scheme and has an old-school glamor that luring viewers into its scene of brokenhearted blue tones. The stylish video opens with a woman selecting a track on a bar jukebox, with a brooding, unusually dapper White plays a lonely-looking and sharply dressed bar hound fidgeting with a drink and sitting alone at a bar, which is bathed in blue light before he performing his lovelorn lyrics "It's not enough that I love you/ There's all these things I have to prove to you," while gazing directly into the camera.
The clip interacting with the female vocalist, played by musician and photographer Scout Pare-Phillips, on the unfulfillment anthem, but its stripped-down feel and ghostly aesthetic are of a piece with the song's mid-tempo rock and eerie, cooed vocal hook. It's an intriguing and fitting complement to one of the album's best cuts. The very well-groomed White and Pare-Phillips lurk around bar and never seem to make a true connection, occasionally vanishing into thin air, and the clip ends with White raging on an old-school microphone.
The conceit has its pros and cons. It's an admittedly simple video drenched in a moody blue color scheme and has an old-school glamor that luring viewers into its scene of brokenhearted blue tones. The stylish video opens with a woman selecting a track on a bar jukebox, with a brooding, unusually dapper White plays a lonely-looking and sharply dressed bar hound fidgeting with a drink and sitting alone at a bar, which is bathed in blue light before he performing his lovelorn lyrics "It's not enough that I love you/ There's all these things I have to prove to you," while gazing directly into the camera.
The clip interacting with the female vocalist, played by musician and photographer Scout Pare-Phillips, on the unfulfillment anthem, but its stripped-down feel and ghostly aesthetic are of a piece with the song's mid-tempo rock and eerie, cooed vocal hook. It's an intriguing and fitting complement to one of the album's best cuts. The very well-groomed White and Pare-Phillips lurk around bar and never seem to make a true connection, occasionally vanishing into thin air, and the clip ends with White raging on an old-school microphone.
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