GA: Well. Perhaps we should stop and consider the all time classic:

"There's No Home for You Here"
Elephant, 2003

GA: This album and this song in particular represent a strategic expansion of the White Stripes original basic "garage band" premise. The band is just the two of them, with no outside musicians. That represents the most specific musical commitment to anything like punk rock principles. It provides a useful framework to focus their art.

LM: Damned Beyonce wannabe... stupid, empty-headed...

GA: "There's No Home for You Here" and other more recent records have fuller arrangements than the earlier work. This is MUCH more of a record than anything off the first three albums. This seems to have led to a bit of grumbling in some corners of Jack's kingdom.

But they're still within the technical limits of that, if that counts. It's just that he overdubs a whole chorus of Jack's to get that Queen effect. Particularly, the best break in the whole White Stripes catalogue may be about 1:55 into this record, when the instruments drop out in favor of a whole chorus of Jacks harmonizing the command of the title. Then add that beautifully modulated and expressive lead guitar shrieking across those pristine harmonies, and you've got a really prime moment.

LM: Within technical limits? I'll say. All vintage instruments, no computers... just a couple of kids making music because they love it. Unlike SOME people, who are so produced you don't know WHAT they might sound like....

GA: Yes, Jack and Meg are still working in a minimally processed and fairly transparent manner — particularly as compared to such demonic divas as Mariah. The duo format was such a strict frame to start with that they can liberalize considerably from there and STILL be pretty earthy and holistic.

LM: Are we going to talk about the music or are we going to talk about the bimbette? Because I'm okay with talking about the music, but if you're gonna bring up street trash, I'ma get a broom. It's up to you.

GA: OK, sorry to mention She Who Must Not Be Named. Back to Jack: Principally here, he affects an air of cold aloofness. The extended long strings of words in the verses are an articulate Brit kiss-off. This could be something like Hugh Grant might say if he were agitated. The way he purposely generates a lot of words to use in generating a baroque kind of blues melody reminds me a bit of Prince's underappreciated classic "Joy in Repetition." I particularly like the crunchy flow of

I've not been really looking forward to the performance
But there's my cue and there's a question on your face
Fortunately I have come across an answer
Which is go away
And do not leave a trace