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Ironically for The Third Man label founder, he has been breaking US vinyl records since the release of his second solo album.

The champion of vinyl, totem of tape and all-round retro rebel had to compromise slightly on this album and was forced to dabble in the dark art that is ProTool. Panic not, for he printed the edit back on tape when he had finished. Phew. He resorted to this process due to the new recording style he was trying out for Lazaretto. As he told Rolling Stone, he sought to capture the electricity generated while on tour with his backing bands by recording key sections of songs and filling the gaps in later.

We also discovered in this interview that the songs on the album were inspired by the 19-year old musings of the pubescent teen who would later become The White Stripes lead-man. This might explain a few things... The word 'lazaretto', which serves as the eponymous title track, can be defined as "an isolation hospital for people with infectious diseases, especially leprosy or plague". Anxty-Jack seems to be trying to reconcile a feeling of being "born rottin', bored rotten" and the phrase taken from the appropriately gothic Edgar Allan Poe "como en madera y yeso" which means "there is no beauty without some strangeness". Young Jack, with whom the elder was trying to collaborate, struggles to find his place in a world he feels strange in. Here lieth the beauty; it renders the track raw and heartfelt. Anger at God, an anonymous woman, over-compensative boastful sexual prowess and some self-loathing prove a powerful cocktail in establishing a general tonal atmosphere for the proceeding songs.

Perhaps Jack was an early fan of Dr. Seuss? "Who is the who, telling who what to do?" opens 'Want and Able' as the repeated chorus dances round and around. The childish rhyme is an excellent way to offset the feeling of insignificance in a world dictated by the didactic "who" in the world. Adults, companies and governments seem the target of a teenage rage which chimes with an increasingly pervasive zeitgeist for young and old alike. As this ends the LP, it will probably be the recurrent refrain going round your head for the rest of the day after you have finished Lazaretto, especially after the second, third and nth play that is bound to follow.

Yeah, that's cool but what does the follow-up to 'Blunderbuss' sound like you cry. Listen up...

'Just One Drink' could easily be a Rolling Stones record. Not only do White's vocals contain essence of Jagger but his rock 'n' roll has bluesy overtones that are a great throwback. There is not one unifying 'sound' however. There is constant experimentation as the method of recording reinforces. Fans of his debut will be satisfied by the screeching moan of the track 'High Ball Stepper' which only lyric consists of an occasional "oh-oh-wah, oh-oh-wah" scream, in an otherwise grit-filled guitar instrumental. It expresses itself without the need for words, even though the guitarist is a proven dab-hand with his ABCs.

The only issue that stops it quite reaching the heights of the previous album is the absence of jaw-dropping standout tracks such as 'Sixteen Saltines' and 'Love Interruption'. One might argue that 'That Black Bat Licorice' fits the criteria, but when its buried down at track number nine it doesn't punch you in the face like 'Blunderbuss' did. Now time for the usual fence-sitting required for an artist with the back catalogue and reputation of Jack White... sales have proved that he doesn't need hit singles, if anything the vinyl explosion suggests fans are buying the 'White experience' rather than the highlights package.

Despite Jack White's claims that each song is separate due to the archive nature of his source material Lazaretto is a cohesive entity made distinct by the range of styles and structural arrangements on individual tracks.

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