Ever since kids with guitars firstdiscovered that the family garage had use beyond holding the oldman’s sedan, the racket that has so often emanated from them isconsidered the epitome of primitiveness. Merely deeming a band’ssound garage rock effectively chains it to a state of perpetualprimordiality, welcome or otherwise. But over the decades, garagerock has become much more than blundering stabs at Buddy Holly, theShadows of Knight and the Ventures. Each consecutive pop culturetrend — psychedelia, glam, punk, even disco — has been at one timeor another brought into the mix, making garage rock of the 21stcentury a very complex beast, indeed. Purists will contend that thetrue nature of garage rock has been diluted, that artistic tunnelvision is the only assurance that the genre will never congest andbloat just like the over-produced hits it was originally opposing.Considering the multitude of back-to-basics 60s rockers whoenlisted in the arena-ready brigade of the 70s, these purists maybe right, and garage rock now exists as a marketing ploy to helpthe young forget the wasted rap-metal years. It is fitting, then,that the act heralded as kingpin in the new millennium’s neo-garagemovement has gone out of its way to expand and flatly contradictthe very ideals on which the scene was built. As a result, theWhite Stripes are the best modern garage band around, withoutreally being a garage band at all. Rock is dead, long live rock. In1997, a pasty-faced upholsterer from Detroit named John Gillisrecruited his unobtrusive ex-wife Megan White as the drummer for ahighly conceptualized yet raw-as-sin guitar-drums duo, and createdthe White Stripes. Gillis became Jack White, stirred up someold-fashioned titillation by claiming his bandmate to be hissister-lover (who knew there was such a market for hillbilly lust?)and proceeded to paint everything the twosome touched with apeppermint-candy red-and-white palette. Musically speaking, theStripes are more vibrant than their color scheme will have youbelieve. Eschewing the necrophilic new wave appeal of the Strokesand the embryonic-Stones fascination of the Hives, Jack has soughtmusical salvation elsewhere. Building on the groundwork of Deltablues, he adds layer upon layer of less archaic influences: Dylan,for his ruffled genius quality; Iggy, for his appreciation of thebeauty in abrasion; Marc Bolan, for his flashy pop precision; LedZeppelin, for both their crunch and goo. With Meg’s minimalist MoeTucker-ish timekeeping as a cherry on top — a sometimes sloppy,thudding cherry, but a cherry nonetheless — the Stripes’ melodicroutine is a tasty treat. Even from the humble beginnings,greatness was achieved but it would be with their third album,White Blood Cells, in 2001 that the duo would get theirbreakthrough release. The duo was also proving that they were amontthe most exciting bands to catch live as they not only rippedthrough some sensational tracks from their own albums, they alsoperformed some outstanding covers. This album captures the band atthe Kentish Town Forum in London on the 6th of December 2001 andbesides some great White Stripe tunes we get a cover of Bob Dylan’sIsis which is an absolute gem. Isis is a favourite track among hisfans despite him seldom performing the track live so to hear TheWhite Stripes doing a cover of it was a pure joy. The band did Isisjustice and would become a regular number in their set for thewhole 2001 tour. This was a bold move for them as its one of thesinger’s more obscure tracks which their crowd were unlikely toknow but it is the sort of thing Dylan himself would be proud of,as they followed his maxim of playing for yourself first andforemost.

Track list:
1. Disappear
2. I Think I Smell A Rat
3. Dead Leaves And The Dirty Ground
4. Sick Of Love
5. Expecting
6. Death Letter
7. Little Room
8. Jolene
9. Im Finding It Hard To Be A Gentlemen
10. Hotel Yarba
11. Isis
12. Were Going To friends
13. Apple Blossom
14. Going Back To Memphis
15. Astro
16. Jack The Ripper
17. Rated X
18. Feeling Goin

Condition cover: nm

Condition cd: nm

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