Jack White, member of The White Stripes, The Raconteurs, the Dead Weather and The Upholsterers, founder of Third Man Records in 2001 and acclaimed solo artist, surprised everyone when unnamed, blank sleeved records started being given out in branches of Third Man Records for free. The record just so happened to be White’s sixth solo album ‘No Name.’ Tracks were quickly ripped and uploaded online for fans who happened to be paying enough attention to find, unfortunately I wasn’t one of them and only got to listen upon its later official release. This quiet, faceless album comes as a great contrast to his 2012 release of Lazaretto which featured engraved angels in the dead wax area that acted as a floating hologram as it was played. It’s no secret White loves The Blues, he pays homage to the father of Rock in most of his music, and his choice of hair colour, No Name is no different.
The album doesn’t waste time, Old Scratch Blues starts us off with a raw guitar lick accompanied by a rolling, heavy drum beat. Lyrically, it seems White is making digs at the industry ‘Now there’s nothing left to take from me// A percentage of the prophet too.’ Although, considering the continued religious references in rest of the album, this too could have a double meaning, it does seem to be backed towards the end of the song with ‘You’re gonna find out, everything you need to give for free to be a sell out.’ With barking keys that feel like a shove to the chest with every note.
Bless Yourself is the first, but not the last, outright religious themed song on the album. It continues to have the stripped back garage made sound and speaks of taking control of ones spiritually ‘if God’s too busy then I’ll bless myself.’ and it even a bit sinful ‘Reach under your dress and caress yourself.’
Seen above – Jack White live at Troxy, London 01/03/25.
My personal favourite track featured has to be ‘Rough on Rats (If You’re Asking)’, maybe because its reminiscent of how British people talk about the state of the world or how they’re feeling ‘But I should stop complaining every time it’s raining’ – maybe us Brits have rubbed off on Jack on his visits to the Third Man Records shop just off of Carnaby Street. It’s a commentary on the world and the enormous wealth gap -‘there’s all too much, too much, but not enough for me’, touching on, in a world of plenty, there are too many people going without, on top a jangly, falling riffs. the drum track is very simple sounding and brings back nostalgia of The White Stripes, along with White’s signature, screeching wails.
Religious themes are really highlighted in Archbishop Harold Homes as Jack stands at the plinth and preaches his sermon. The lyrics almost fall over themselves in a constant stream. I love the dramatic effect of the ‘ahs’ at the ends of phrases ‘You need to see right away so I can fix this-ah’ that is used both by preachers, and pub singers. Its loud, in your face and enough to have audiences speaking in tongues.
‘Bombing out’ is the most rustic sound on the album, at the same time, it has a 50’s rockabilly quality to it, like Elvis Presley but heavier. Jack references Sam Cooke’s Blues ‘I was born by the river.’ Its over as soon abruptly as it started and has a stark difference between itself and ‘What’s the Rumpus?’ which has lot more repetitive structure to it, its toned down and cleaner than previous tracks but still connects with the running themes of shining a light on the music industry, ‘when will the label dump us?’ and turning a common turn of phrase on its head ‘it doesn’t matter who you know, it only matters what you know.’
I’ll be honest, the second half of the album falls flat for me, probably because its much of the same, the drum beats are steady, the guitar solos are enough to raise the hairs on my arms, but nothing stands out to me, ‘Underground’ has a nice jaunty riff and ostinato that’s punchy and pleasant and is particularly bluesy with the use of sliding guitar but I think I would have left it there. ‘Terminal Archenemy’ is atmospheric and gives the impression the album is reflecting on itself but is still powerful enough that you stay awake through it, but I don’t find myself returning to it as a stand along song and by the time I do get to it while listening to the album, I feel a bit fatigued.
No Name is nostalgic and feels like it’s made for the those who were fans of Jack White in the 90s, the only criticism I have is that it’s too long and could have easily been an 8 or 9 track album but then again, can I really complain about having too much Jack White material to listen to? It tackles serious topics and the state of our current reality with some cheeky, raunchy tones that give an insight on how White sees the world.