What was it about yourself then that you thought something was there?

But Goober & the Peas opened my eyes, that that world was very cool and very beautiful. It's like putting up a statue of Nero in Rome, you know?

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I gave myself over to music and art a long time ago, so I don't get to relax and I don't get to sit still.

And I've had to struggle with that for a long time, to kind of realize if you really care about what you're doing, the ultimate sacrifice has already been made, and you didn't even realize it. When you start playing together and rehearsing, you come up with ideas, and then at some point you have to take a day [and say], "Huh, I want to record a few things because I keep thinking of new ideas now that we've been playing music all day long every day."

She was messing around with it, and by the time she had done that, Lillie Mae was tuning up ... Yeah, she played the fiddle, and she made some sound effect while she was tuning up, and it sounded something like [makes screeching sound]. Why is this instrument so important to everybody? I probably could have a hip-hop-style entourage of 40 people coming with me to the club or whatever, and I don't do that. Jack White has always crammed his music and lyrics with riddles and red herrings, and it’s helped make him a continually interesting artist. I was like, "C'mon, there's just no way." I wanted to play drums, but he's a drummer.

This week's Saturday Night Live musical guest was supposed to be Morgan Waller, before the country singer got himself disinvited. You hear things like people putting up a Robocop statue and stuff like that. Without her, I wouldn't have been able to do the music that I do now. © 2020 www.tennessean.com. (Laughs) But I'm sure he would like, "Oh, my God, there's one good one in there and that's it."

I was playing a guitar, and I kept thinking of that little phrase. It's been feeling really good — compact.

I didn't even notice it, you know — I just kind of kept feeling it coming back there. A: For sure.

Thank you, I appreciate it. I have experience now. When you work on a song like this, would you sit with Lillie Mae in a room and make it? There's all those things — just because you move to Seattle doesn't mean you're going to start writing grunge music. I had read in National Geographic about these giant Queen Victoria lily pads that could hold up to a hundred pounds, so a person could actually float on a lily pad, which seems like an Alice in Wonderland, Through the Looking Glass kind of idea.

Can you tell what it is that engages them?

When I spoke with Jack White last week, I was in Philadelphia and he was in Nashville, in rehearsals with his band to tour the new record this summer. And then I thought later on, "Maybe it's not powerful enough."

I grew up with madness around me all the time. I wouldn't be able to feel proud about that if someone said, "I really like your song," and I'd just be like, "Yeah, well, I had about 3% to do with that, that was all engineers and other people." I played it for Jack Lawrence, bass player for the Dead Weather and Raconteurs, and he said, "Hell yeah!"

You can trip people up. So that's the funny thing.

In India, it would be seeing somebody onstage holding a sitar, to help us get there.

A: I do.

That thing you're hearing. I don't keep a book with me. Molto bene. But see now — (Third Man) is a place where you can generate things, and we can do a thing — we can film the cover of Rolling Stone here in this studio and charge them for the rental of the equipment to take the photo of what we're doing! Jack White talks 'Lazaretto,' Third Man Records in depth.

But I have a lot of things about myself — I would never go out with the "White Stripes" with some other drummer. I remember once, somebody telling me a story — maybe it was you, I can't remember — you used to work as an upholsterer, listening to NPR, and would write notes and stuff them in the couches and chairs.

This was a rhyme about the braggadocio of some hip-hop lyrics — the bragging about oneself in hip-hop music. And Memphis is very much like Detroit.

I really like that lyric now, even more. But I've always felt like my soul came from some other place.

So in a way they're all my records. I like to see the new school.

But today we're taking a break and we're just going to record things today. (Laughs).

But look at R. Kelly's song titles, Jesus. That it was meant to be. But if I’m in a Hollywood table read, and we say, ‘This is a bus driver, he lost his job, his rent is due, the kids are sick with polio,’ everyone will say, ‘Yeah, and his brother could be in jail!’ You can’t give musicians notes like that. And I'm very, very fortunate for that. You can hear or download the audio of this interview, with samples of new music, at the "Listen" link on this page, or read an edited version below.

And "Lazaretto" is a really interesting one too because a lot of people with the record label at Columbia, and the radio people, said it's great, it's an obvious single, but it ends with music and you're not supposed to do that with radio. Here’s what you need to know about the project. It's a little scary mentally.

Girls can't stand that for some reason, I don't know why. Something where someone else told me that I have to be in this spot and can't leave.

And I always say, you know, the best things that feel right — and in the end, seeming like the best ideas and they worked — are the ones that generated from me to begin with, and the band to begin with: "Why don't we do this, and if you guys want to, you can come film it and talk to us about, but we're going to do this."

A: I can say, well, I wrote a song like "You've Got Her in Your Pocket" in the White Stripes and it's very, very me — it's 100% me. Because I grew up with nine brothers and sisters. The Stooges or the early soul records are really going for your gut. And so you sort of say, wow, OK, don't talk about anything unless it's fluffy or something. Dead Weather is two albums, Raconteurs is two albums and all their singles, and a lot of Third Man material and other cover songs and things I've been involved with.

I worked at the restaurant there. We look for patterns of similarity all the time; we're trying to find things that are similar so that our brain can make sense of them. When he first sat down he told me his next stop was the studio, to record a B-side for an upcoming single.

And so I guess my fantasy is, it would be so nice to be in a quarantine hospital, but not to die from it — just to know that I had to stay here for two months and I can't do anything else.

One of the big projects we've been working on for a while is the first record in space. There's just so much beauty in there. But luckily, I think, because of Third Man existing, a newer kind of album like Wanda Jackson's record, where I put a band together for her — a big band with a lot of people — that production attack really paved the way for me to do my own thing. A: I know that when someone tells me, "I really like that song you did, or that video you did," I want to know when they say that, at that instant, I know how that was made and how that was done. You have to sort of wake yourself up.

Matter of fact, I put it in the bathroom, so that every time I was in there, I could pick it up and look at it. It's sort of boring just to sit around and boss people around and tell people what to do. Twenty-four hours later in that exact same line again, my morning ritual, getting coffee in this drive-through with the same person sitting next to me, and I'm given change. And New Orleans, the same way. If I told him, "Come on Tuesday and here's the track we're working on, see if you can think of something," he'll go and practice like any musician would, and he'd come with a different well-prepared scenario. (Laughs). Mine is more like: Oh, wow, Fats Kaplin is here today — he plays fiddle and he also plays mandolin. I remember watching the Black Crowes' sound check there when I was 16. … There's 150 recorded White Stripes song to choose from, not counting the covers we did — there were over 100 covers we did in that band. And that's a dangerous thought to think about, because if you really open yourself up to that as an artist, you can really become very depressed. This is the only thing I that I really put in the album of my own personality. I'm attacking them mentally the exact same way as recording live to acetate in front of a crowd here. Because you had the car money at the right time. You just do what you can do in your head that feels right, and I aim for that and see what happens.

But the architecture of Detroit is so incredible. “‘We’re a band right now, let’s record right now.’ I didn’t wanna come back and reintroduce ourselves to each other.” His creative methods were, as always, in flux.

These are the few materials that I have in the room together that, if you just give me a couple of slivers of wood and some metal shavings, I will be forced to create something in this room, under this condition. I’ve done that in the past.” He’s quick to point out, “I’ve still never mixed and recorded an album in ProTools.

But I think if anything, it's a sort of a heavier thought about modern times. I could easily say, God, I feel 70.

We'll send them the song, let them practice, send them the charts."

But that's OK. Q: Yeah, I think it is one of the more straightforward lyrical deliveries you've done. I can't remember if I actually applied that to somebody or not; it was so fast.

It's kind of hard to figure that out. (Fiddler) Lillie Mae (Rische) came through a blues series.

That there's a reason why he's coming out with Pono and at the very same time coming out with a record recorded on a 1940s recording booth, the most lo-fi recording basically you could think of next to a wire recorder. Non mi dilungherò troppo nella celebrazione della storia di questo grandissimo musicista, una delle ultime vere icone rock nella accezione più genuina del termine, diventato, Questo sito utilizza cookie tecnici (propri o di terze parti) per monitorare l'esperienza di navigazione degli utenti, Playlist e selezioni

You take a drummer like Daru, who's really hip-hop based, and he's really providing a structure of hip-hop to a song like that. It's a big no-no at radio, because it makes people want to fade out the song. I'm given a steel penny from 1942. I wouldn't feel good about it.

So that's why I guess that fantasy comes from me wanting to be in the Marine Corps or in prison or something. It's self-imposed though.

Q: A song like "Alone in My Home," I think it's easy for people to read it as, "This is Jack White telling us what he wants." Sometimes I'm like, 'Damn, the guitar again?'

It's all an interesting jigsaw puzzle. So you would do that until 4 in the morning. But you have to be honest at the same time.

Jack White, performing "Lazaretto" on Saturday Night Live. A: Yeah.

'” After these sessions, White spent the subsequent months refining, overdubbing, and editing: “I thought, ‘How about the challenge of working on something for a long time?”, White, famous proponent of analog technologies, had to use ProTools to make some of the songs work.

Yeah, Florence Green, she was the last surviving participant of World War I. I wrote her name down to think about her as a possible character for one of the songs on the record. It was just very dry and dead.

I can't tell why that would be.

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