Jack White debuts 'Would You Fight for My Love'

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.

Jack White goes into beastmode in "Lazaretto"

Jack White grooves, burns rubber, explodes guitar in the stylish black-and-white new clip for "Lazaretto," the scorching first single and title track from White's new sophomore solo album, drops next week. The record takes its name from the quarantine stations built for maritime travelers between the 15th and 19th centuries. No modern rock star does eccentric as convincingly as Jack White and so he delivers exactly what is expected with his new clip, directed by French pair Jonas and François and features White shredding the song's riffs while surrounded by broken glass and flames.

"Lazaretto" is a hippity-hoppity garage cut - the closest White comes on this disc to evoking the thump and crunch those dang Black Keys sometimes get with the help of Danger Mouse. He delivers the lyrics in rap-attack mode, this time closer to the slam-poet style of Saul Williams. And while this aggressive approach as an instrumental element itself makes for the catchiest song in the collection, the hip-hop harp ultimately draws one's attention back to the lyrics. White's latest single, "Lazaretto," is full of chaotic groove, and now it's been paired with an equally insane music video.

Everybody knows White is a guitar god, but "Lazaretto" is dominated by the low-end. The Nashville rocker keeps finding new, old ways to start the adrenaline pumping. Early on in the clip, the multi-instrumentalist plugs in his bass and nestles into a funky riff, as psychedelic synth leads sparkle between heavy drum fills. White spends much of the video mugging for the camera, cranking out one an ear-busting guitar solo midway through. It is a work of postmodern art, hitting all the hallmarks of the genre: ironic, referential and highly staged. Those attributes, are a delight to watch.

The gravity-defying clip opens with a guitar pick flying through shards of shattered glass and the whiplash visuals only get more eye-popping from there. The b-shots give us a collection of outsiders, reflective of White's perceived image of himself. We get snakes, shattered glass, explosions, speeding cars, a raging bull bull and a tattoo of the Third Man Records boss himself. But as with the old-fashioned rock'n'roll and the country-twanged fiddle of the song itself, damned if those familiar pieces don't fit together into something exhilarating. The climax - a guitar shattering into a million pieces - is the true highlight.

Jack White Gets Violation In "Freedom At 21"

Jack White worked with perhaps his most curious collaborator to date for the just-released video to "Freedom At 21," the latest standout track from the 37-year-old's debut solo album, "Blunderbuss," which was released in April 23, and debuted at No.1 on the Billboard 200. "Freedom at 21," a originally released via helium balloon as a part of a stunt for Record Store Day, was leaked onto the internet on April 14.
The former lead singer of The White Stripes is well-known for hooking up with out-of-the-box collaborators. He's recorded with everyone from Jimmy Page and Alicia Keys to Insane Clown Posse and comedian Stephen Colbert. The eclectic rocker tapped the veteran video director Hype Williams, the man behind some of the most influential hip-hop videos of all time, to helm the clip, and he infuses his dynamic signature style with elements of classic American Grindhouse, resulting in a "pulse pounding" video.
White has pulled the covers off his new blue-toned video for song "Freedom at 21," and it looks like a stylistic homage to grindhouse horror films by way of Jonas Akerlund. The video was shot with a blue hue throughout, matching White's latest wardrobe color of choice following years of red and white outfits in The White Stripes. The video also shows the singer wailing away on a Fender Telecaster as he sings about a woman who misuses her rights and takes advantage of the double standards of society that favor females.
The video begins with White getting into a neon-green car, speeding off and on the run from the law after racking up more than a few traffic violations. White is chased by a sexy female patrol officer and dragged into jail where he meets a seductive woman and after a very intimate moment between them, they break out of the small prison. The video ends with the couple facing a roadblock consisting of a wall of policemen and their cars. As per Williams's style, the camera ticks and editing are stylized and great, and the coloring is remarkable, and it more than fulfills that trifecta.

Jack White Debuts Video For "Love Interruption"

Nashville resident rocker Jack White released a self-directed cloudy, vintage-looking performance video for his acoustic guitar and keyboard-led track "Love Interruption," the first single from the uuber-cool rocker's upcoming solo debut effort "Blunderbuss," will drop in full on April 23. The former White Stripes man has a pretty large profile in the music world. But, he'll launch his solo career on March 3, when he performs on Saturday Night Live – an episode to be hosted by Lindsay Lohan.
"Love Interruption," is a sparse and breezy episode of empty air acoustics, where a few simple strums of the guitar are given dimension by subtle swirls of clarinet and electric piano. White's distinctly familiar voice is the undeniable center of the arrangement, but his simple man delivery is blanketed by the full-bodied brood of backup vocalist Ruby Amanfu, whose mere presence rightfully keeps the tune from turning too much into one man's desperate plea for absolution. The sound may be mellow but the lyrics sure ain't as we hear White and Amanfu singing intensely of love in a bitter way.
The lyrics are exactly what you would expect from White at this stage; a concise and clever meditation on the longing that comes with loneliness, albeit with a darkened twist that is as cynical as it is romantic. Not just anyone could have you feeling a sense of empowerment while singing along to lines about killing your own mother and turning all of your friends into enemies, but White pulls it off here, particularly when the been-burned-before defiance of the chorus becomes more and more redemptive with each repetition.
White's "Love Interruption," as its discourse is all love. White its understated melody hints at something simpler, White's love is not for the faint of heart, speaking to murder plots and doors slamming on fingers, to lost friends and fresh enemies. It's not a song that needs a catchy video, and with its ashy tones and simple backdrop, the vision is not particularly compelling. "Love Interruption" isn’t a track for everyone, and it is certainly not a track for Valentine's Day, but in the midst of winter skies and winter sickness and winter stay-abed love affairs, it will suit many of us just fine.