Personnel: Alison Mosshart (vocals, guitar, percussion); Jack White (vocals, acoustic guitar, drums); Dean Fertita (guitar, piano, organ, synthesizer, background vocals); Jack Lawrence (guitar, drums, background vocals).
Audio Mixers: Jack White III; Vance Powell.
Recording information: Third Man Studio, Nashville, TN (10/2008-02/2009).
Photographer: David Swanson.
The Dead Weather, which combines the talents of Jack White, Jack Lawrence (Raconteurs), Alison Mosshart (Kills), and Dean Fertita (Queens of the Stone Age, Raconteurs), aren't so much concerned with living up to expectations as they are about defying them. There's a different kind of alchemy on this 2009 release than on any of the bandmembers' other projects. Not only does White returns to his first instrument, the drums, he also trades in the high-pitched yelp he uses with the Stripes and Raconteurs for a deeper, at times unrecognizable, voice on "I Cut Like a Buffalo," the lone Horehound track he wrote by himself. The Dead Weather's sound isn't so much heavy as it is thick with a tense atmosphere that's sustained throughout most of the album, and the group shuns the tighter structures of their other bands for a bluesy, jammy grind.
This loose-limbed immediacy often feels like a particularly inspired rehearsal, especially on the cover of Bob Dylan's "New Pony," which gets amped up with huge grungy riffs and shouted backing vocals. This looseness also allows the band to indulge flights of fancy like the instrumental "3 Birds" and the menacing surf-jazz of "Rocking Horse." Given the fact that the Dead Weather formed on a whim and recorded these songs in a matter of weeks, this is a pretty compelling album, and one that shows that the band's members bring out the best in each other, albeit in unexpected ways.
Expectations for a project featuring members of the White Stripes, the Raconteurs, the Kills, and Queens of the Stone Age would almost have to run high. After all, these are all bands that find ways to draw on the classic tenets of rock without sounding completely indebted to the past. Yet the Dead Weather -- which combines the talents of Jack White, Jack Lawrence, Alison Mosshart, and Dean Fertita -- aren't so much concerned with living up to expectations as they are about defying them. There's a different kind of alchemy on Horehound than on any of the bandmembers' other projects. Not only does White returns to his first instrument, the drums, he also trades in the high-pitched yelp he uses with the Stripes and Raconteurs for a deeper, at-times unrecognizable, voice on "I Cut Like a Buffalo," the lone Horehound track he wrote by himself. The Dead Weather's sound isn't so much heavy as it is thick with a tense atmosphere that's sustained throughout most of the album, and the group shuns the tighter structures of their other bands for a bluesy, jammy grind. Horehound's opening track, "60 Feet Tall," shows just how explosive this sound can be, from the teasing guitars and percussion that begin it to its lunging climax. Sexual tension is one of the few constants between the Dead Weather and White and Mosshart's other bands, and they use it particularly well on "Hang You from the Heavens" and "Treat Me Like Your Mother," where their vocals and the lyrics "left, right, left, right" suggest a dance, or a fight, or something in between. Despite all the star power in this project, Mosshart's vocals are the main attraction: she snarls, croons, and sighs, displaying all the charisma she has in the Kills plus more nuance. She takes her voice to places she hasn't explored with her main project: "So Far from Your Weapon," which she wrote on her own, boasts an hypnotic groove and an oddly jazzy undercurrent, thanks to her smoky singing and White's rolling drums. Indeed, her voice and White's are usually the loudest elements on the album, with Fertita and Lawrence ably filling in the gaps between the pair's towering presences. Horehound's loose-limbed immediacy often feels like a particularly inspired rehearsal, especially on the cover of Bob Dylan's "New Pony," which gets amped up with huge grungy riffs and shouted backing vocals. This looseness also allows the band to indulge flights of fancy like the instrumental "3 Birds" and "Rocking Horse"'s menacing surf-jazz. However, the Dead Weather's chemistry fizzles on the more unfocused tracks, and as gripping as their sound is, it can get claustrophobic. The songs that break from the pack are among the best. "Bone House" layers programmed and live drums with creepy falsetto vocals and some great guitar work from Fertita, and "Will There Be Enough Water?"'s drifting acoustic blues provides the calm after Horehound's storm. Given the fact that the Dead Weather formed on a whim and recorded these songs in a matter of weeks, Horehound is a compelling album, and one that shows that the band's members bring out the best in each other, albeit in unexpected ways. ~ Heather Phares

Entertainment Weekly (p.55) - "The first half of HOREHOUND is just weird enough to be utterly mesmerizing, a series of ominous, fuzzed-out psych-blues riffs that climax in the tremendous Rush-meets-Jay-Z rave-up of 'Treat Me Like Your Mother.'" -- Grade: B
Alternative Press (p.126) - 4 stars out of 5 -- "There's no denying the quartet know how to work a mighty groove as well as set up atmospheres similar to bands remanded to the faded pages of old record-collecting magazines."
Billboard (p.44) - "The Dead Weather's gothic and electric R&B sound is exemplified on 'Treat Me Like Your Mother,' and the quartet demonstrates psychedelic swagger on a blistering cover of Bob Dylan's 'New Pony'..."
Pitchfork (Website) - "[T]he Dead Weather are greatly distinguished by a richness of atmosphere. Over its 11 tracks, HOREHOUND rarely relents in its murky, humid, southern-gothic ambience..."
Record Collector (magazine) (p.81) - 3 stars out of 5 -- "Slower numbers such as opener '60 Feet Tall' and closer 'Will There Be Enough Water' are impressively experimental and freeform."