Sea of Cowards arrived less than a year after the Dead Weather's debut, Horehound, an album that sounded like a bootleg of a 3 a.m. jam session – not a surprise, really, considering that the idea for the band came out of impromptu playing at Jack White's house. It’s also unsurprising that the Dead Weather evolved quickly, given that the group went from releasing Horehound to touring to recording again almost nonstop. Sea of Cowards isn’t a radical change from Horehound’s smoky, sludgy sound – if anything, White, Alison Mosshart, Dean Fertita, and Jack Lawrence go even deeper into their classic rock and blues fetishes – but it feels more organic, the product of a band instead of four separate personalities.
It took the Dead Weather two years to make and release Dodge and Burn, with the bandmembers recording whenever they had time to play together and issuing several songs as singles through Third Man's subscription service, The Vault. Despite these fragmented origins, this is the Dead Weather's most satisfying and engaging album, with everything that was good about their previous music getting a shot of adrenaline. The charged opening track, "I Feel Love (Every Million Miles)," is the first sign that things are a little different this time, with the spare swagger of '70s metal and boogie rock providing a platform for some of Dean Fertita's most unhinged guitar playing and some of Alison Mosshart's wildest vocals.
No sooner does he establish his White Stripes side project, the Raconteurs, as a fully fledged band, than the restless Jack White unveils his latest project, the Dead Weather. He has already described this record as "gothic blues". Here he hooks up with Alison Mosshart, singer of Anglo-American duo the Kills. She fronts the band with White ostensibly taking a backseat by playing drums, but his influence is everywhere; from the band name to the album title, a typically wry choice of word that turns an innocuous plant into an intimation of foreboding. The Dead Weather are given continuity with White's other musical activities through bassist Jack Lawrence, a carry-over from the Raconteurs, and rounded out by multi-instrumentalist Dean Fertita. The project came together through jam sessions that followed the end of a Raconteurs tour in 2008 (on which the Kills played as support) and was recorded over 15 days at the HQ of White's Third Man label in Nashville. (The Observer)
Back in February 2015, THE DEAD DAISIES got the chance to play some rock'n'roll in Cuba and it proved a revelation. The revelation became a revolution as the boys started conceiving their next album. The passion they'd experienced in Cuba was confirmation — the world needs to be reminded that classic rock is alive and kicking — and with the new album, THE DEAD DAISIES were going to deliver just that, a collection of classic rock, "Revolución".
Three generations of rock guitarists come together for It Might Get Loud, a 2009 documentary directed by Davis Guggenheim (An Inconvenient Truth). These are not just your garden-variety guitar gods: Jimmy Page, in his mid-'60s at the time of the film, founded Led Zeppelin, who dominated the 1970s following the breakup of the Beatles. As a member of U2, 48-year-old David Evans, better known as the Edge, created one of the most distinctive and influential sounds of the past quarter century…