Well, it's safe to say that I'm not a "hardcore fan" of the White Stripes per se. My obsession with the band has only just recently started after picking up my first album of theirs ('Elephant') just last week. I guess what first turned me onto them was their first single off the album, 'Seven Nation Army', that was receiving massive airplay on the radio and tv. I decided to take a chance on the CD seeing as it was already receiving great praise from practically every magazine on the shelve. And, I have to say, I was very impressed. It reminded me quite a bit of the older 60's rock in a way, but modernized to some extent. I was also amazed at the great variety of genres that are found on this disc, from the bluesy 'Ball & Biscuit' to the hard rock 'Black Math', the grunge 'Little Acorns' to the Burt Bacharach cover ('I Just Don't Know What To Do With Myself'). The White Stripes effectively explore all the far corners of rock & roll, and the end result is magnificent. And what's to say about Jack White's talent? Jack is an amazing guitarist, lyricist, and songwriter, and 'Elephant' is definite proof of this. And Meg's drumline, always present, superbly carries the tune. Both are extremely talented, and together have crafted a magnificent rock album. As for a comparison? Well, like I said before, this is my first album of theirs, and I'm unsure if this one is their superior. But it's safe to say that it was 'Elephant' that got me hooked on the White Stripes, and I'm glad that it was.

It's the same White Stripes you've always known. Great garage rock mixed with folky acoustic songs. Somewhat odd song titles and somewhat odd lyrics. Still no bass (the "bass" on Seven Nation Army is actually a guitar). And who's complaining? Not a soul.

Despite how similar Elephant is to the rest of the White Stripes catalogue (in a couple instances songs even partially use the exact same chords and melodies as songs from White Blood Cells), it does show continued musical maturation and experimentation. In addition to longer, more creative solos, songs such as Black Math, There's No Home For You Here, and Ball and Biscuit show some changes to the White Stripes sound. Black Math juxtaposes a punk rock chord riff with a more heavy metal sounding guitar (like the acoustic and electric in Now Mary from White Blood Cells). There's No Room For You Here is almost a rewrite of Dead Leaves and the Dirty Ground until the music breaks off and there is only feedback and the chorus sung in harmony. Ball and Biscuit contains a classic blues riff repeated over and over, until it bursts into an amazing blistering solo. These songs are different from the normal White Stripes formula (is there such a thing?), and provide even more evidence of Jack White's songwriting skill.

Some fans of the hard garage rock songs may be turned off by the softer, acoustic/piano songs on here. There are three; You've Got Her in Your Pocket, In the Cold, Cold Night, and Well It's True That We Love One Another. Well It's True (a country sing-a-long type song, with Jack, Meg, and Holly singing to each other about Jack's love for Holly) is the worst song on the album, because of it's novelty. The others, however, are good acoustic songs, much like Hotel Yorba from White Blood Cells, although not as great. Even if you don't like these types of songs, I think the strength of the electric material would outweigh the acoustic, and you would like the album anyway.

The White Stripes have done it again. Another great garage rock album you can listen to on a day when you feel like banging your head and air guitaring (or playing real guitar, depending), without skipping a track. Any fan of White Blood Cells should buy Elephant without hesitation.

There are things in life that we just don't want to see change because they're so damn good the way they are. They're comfort food for the soul. The White Stripes are such comfort food for me. Following up the massive breakout record White Blood Cells they've given us another fabulous record that bleeds classic White Stripes sound. . The title, Elephant, was chosen because the animal represents their personalities: regal, innocent, compassionate, and subtle. The musical rules are loosened a bit from the previous record's tight restrictions, but it's hardly anything new, even in the world of Jack and Meg White. IN the end it's still all about guitar and drums, indistinct relationships, and red and white outfits.

Jack's confidence as a songwriter really shows through. It's as Jack has stated an album about the death of the sweethearts (note the dying country lovers the album cover depicts) and, for the most part, the songs center around the ways of love, relationships, commitment and the rules that govern going about them. Nothing too new here, much like a lot of White Blood Cells lyric wise; personal with keeping enough hidden to still be mysterious.

The musical structure is quite familiar, but there's enough "new" elements to satisfy. They're quite comfortable with themselves and their musical formula and they should be because it works quite well. The first single and lead track "Seven Nation Army" kicks in with a false bass groove (guitar w/ pedal effect) and kicks the album to a charging start with the usual charging blues based riffs that have become Jack's trademark. The loud riffing continues on such songs as the building then bombastic "Hardest Button to Button", the crunching "Little Acorns", and the punk, could be hit single "Hypnotize". Then there's the softer side of Jack White with the acoustic, tender "You've Got Her in Your Pocket" and "Cold, Cold Night", which has Meg takes over on vocals.

The record just reminds me why the White Stripes are so much beyond just another garage revival band (not that the rest of the bands are without merit). Even with all the relationship rumors that float around the band and their personas they never pretend to be something they're not. Even with their simplistic musical styles they're still put out more a more interesting sound than the rest of the lot. The slow going evolution of Jack White's songwriting is certainly something to be excited about and I think they've yet to make their best record, but this one is pretty damn close if not.

Not being a big fan of low-fi garage rock, or Jack White's singing voice, I thought The White Stripes' last album was overrated. I bought Elephant with reservations and was delighted to find a much stronger, groovier, and more musical album that retains the punk attitude of White Blood Cells but ups the songwriting, production and performance ante.

Jack White's frequently offkey, whiny singing sounds more polished on this record, doing much more singing than shouting, and it's a welcome change. His voice is still more about attitude and urgency than body or finesse, but it just sounds so much better on Elephant. But it's the songwriting and arrangement that really make this record shine: The positively primordial riff to "Seven Nation Army" stuck to my head for days, the 'Black Sabbath Vol. 4' guitar sludge of "Black Math" is aggressive and rocks out like a maniac, the cover of "I Just Don't Know What to Do with Myself" outdoes Elvis Costello's version thanks to an unusually sensitive and soulful Jack White lead vocal, and "Ball and Biscuit" taps into the deep grooves of the best classic-rock bands. There's a heavy Stones/Zeppelin vibe to this record that's highly suitable to the ragged soul of The White Stripes, hitting that groove which only blues and blues-based rock can muster.

A great record for the year, showing major progression for this band.

For all of you who've been waiting for the "new Nirvana" and didn't buy into the "garage band hype", the White Stripes have released the perfect album at the perfect time. I've liked 'em for a while, but I never put much stock in them, partially because the lo-fi 2 person band seemed too much like a gimmick, and in my blindness, I often couldn't see past that. Well consider this a repentance of sorts. I couldn't think of a better band (or album) to lead the world of rock out of this overproduced melodramatic slump it's been in for so long. Granted, this "garage band revival" already has and will continue to provide us with loads of flash-in-the-pan style [singers] (see Mooney Suzuki, The Vines, The Music, etc.) but albums like "Elephant" will make it all worthwhile. Jack and Meg are back, with more vintage gear, organs, vocal harmonies, and *gasp* BASSLINES. But don't worry, they're still as scratchy and raunchy as ever. I would go into detail about each particular song, but all you need to know is that THEY'RE ALL AMAZING. They've managed to pack all of the catchiness, lyrical brilliance, and energy of their previous 3 albums into one rock masterpiece. Jack White's guitar mastery comes out more than ever, without any ham-fisted 300-note solos. Remember how big guitars used to sound in the 70's? Yeah, well they're bigger now. This will undoubtedly go down as one of the top 10 rock albums of the decade. Get it any way you can, you need it.