Blunderbuss | ||||
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Studio album by Jack White | ||||
Released | April 23, 2012 | |||
Recorded | 2011 | |||
Studio | Third Man Studios, Nashville, Tennessee | |||
Genre | Blues rock, garage rock, alternative rock, folk rock | |||
Length | 41:52 | |||
Label | Third Man, XL, Columbia | |||
Producer | Jack White | |||
Jack White chronology | ||||
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Singles from Blunderbuss | ||||
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Professional ratings | |
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Aggregate scores | |
Source | Rating |
Metacritic | 83/100 |
Review scores | |
Source | Rating |
AllMusic | |
The A.V. Club | B+ |
Chicago Tribune | |
The Daily Telegraph | |
The Guardian | |
MSN Music | A− |
NME | 8/10 |
Pitchfork Media | 7.8/10 |
Rolling Stone | |
Spin | 8/10 |
Blunderbuss is the debut album by Jack White, released on April 23, 2012 through White's own label Third Man Records in association with XL Recordings and Columbia Records. The album was released in MP3, compact disc, and vinyl editions. The album was almost entirely written, recorded, and produced by White in 2011. The first single from the album, "Love Interruption", was released on January 30, 2012 through White's website and Third Man Records website. The album debuted at number one on the Billboard 200 with first-week sales of 138,000 copies. The album received Grammy Award nominations for Album of the Year and Best Rock Album at the 2013 Grammy Awards, while the single "Freedom at 21" was nominated for Best Rock Song. The single "I'm Shakin" was nominated for Best Rock Performance at 2014 Grammy Awards.
Blunderbuss has its roots in White's recordings with several artists under his label, Third Man Records, including Tom Jones. White was in contact with Wu-Tang Clan member RZA and, when RZA couldn't attend the session at the last moment, to make good use of the musicians that turned up at his studio, White decided to get them to play his own material ultimately recording several tracks that he had written in the last six months of 2011. The tracks would later develop into songs that appear on the album. The album was produced by Grammy-winning sound engineer Vance Powell, who had also worked with such names as The Whigs, Kings of Leon, and Daniel Ellsworth & The Great Lakes. The entire album was recorded to 8-track analogue tape. According to White, he used “100 different production styles on the record." He explained: