After the tumultuous revolution of The White Stripes, the twisted Pop/Rock convention of The Raconteurs and the Blues/Indie Rock gene splice of Dead Weather, there was nothing left for Jack White to do but to hang his own name on the marquee and go the solo route. There is an argument to be made that every White project is an extension of his musical persona regardless of the personnel he surrounds himself with or what he calls it; even the album's he produces bear his distinctive mark. At the same time, it’s also true White uses his shifting musical guises to offer a prismatic glimpse into the unique facets of his creative psyche, each one cut from the same bolt of cloth but patterned into something subtly but noticeably different.
White’s debut solo album, Blunderbuss, follows that logic line in much the same way.
Musically, Blunderbuss is a mixed bag of White’s best tricks; the Who-like guitar blast of “Sixteen Saltines,” the Prince-channels-the-Stooges Soul squall of “Freedom at 21” and the bluesy sugar swing of “I’m Shakin’.” But White also pushes his work down some interesting new paths as well, from the Americanapolitan Soul of “Love Interruption" (where White and singer Ruby Amanfu duet in a manner befitting Robert Plant and Alison Krauss) and the purer Country sway of the effecting title track to the Ray Davies-tinged dancehall Pop of “Hip (Eponymous) Poor Boy” and the loungey piano Pop of “Hypocritical Kiss.”
Blunderbuss is another prime example of Jack White’s impeccable track record as one of Indie Rock’s most reliable chameleons.
(Edited to correct White's duet partner on "Love Interruption")