There are many questions one asks themselves upon listening to the Dead Weather album.

- Is Jack White mortal?

- Have we accidentally stumbled upon a better Jack and "Girl" combination than Meg White?

- Is this record......better than both Raconteurs records?

- Does Jack hold a golden key to the future of the music industry?

Many varied answers appear for all questions above. As far as Jack White being mortal, he's probably not. You go record a record, tour that, open a record store/studio, write a James Bond theme and have a slotted disc in your throat.

Let's get to the matter at hand. Horehound. Breaking it down Track by Track, i'd like to talk about both how they appear to me live, and in studio.

"60 Feet Tall"

On the record, it almost sounds as though they press record, saunter into the studio, and just sit down to start playing whatever comes out first. Ironically enough, that only happens on the last track. In creeps Dean with a bluesy riff, similar to any Jack White record....but, with an obvious difference. Dean is involved with Queens of the Stone Age, and I feel like many parts of this record hold a QOTSA moment. These are not to be mistaken as a rip off, for the moments are only realized for a mere half second. Deans clean, slightly echoed guitar on this first track rings the tiniest bell of possibly a sound i'd hear off of "Wanna Make It wit Chu" from Era Vulgaris.

After Dean has said his piece, Allison fearlessly stamps her foot down, cutting in "You're so cruel and shameless, but I can't leave you be." Jack offers a first glimpse at what the drumming sums up to be for the rest of the album. Simple, with a flare of insane. Live, this track offers the same trick, yet fools you into thinking that Jack is going to tone it down for the performance. The band strolls in and Jack overlooks the crowd for a long moment, then sits down at a drumset where all the heads are level with eachother.

This track was probably the perfect way to start the album. It's almost defined as stoner rock at its best, with Dean laying down some solos later on that keep this track heart racing. After listening to this, you feel as though you're in the same recording space Jack and Lil' Jack used for Broken Boy Soldiers, and you're ready to jump in.

"Hang You From The Heavens"

There are so many things that are weird about this track. Why in the world did they decide to put this one out first? It's not even the THIRD best song on the album. Not to cite that its a bad song, but it's certainly not the first one I flip to. The song has a dull presence on the album, and when you go see it live, you forget that it was even on there.

The good thing is, it's extremely better live. You can hop onto youtube and search "Conan Dead Weather" and you'll probably find a great performance of this track on his show. The song is a better sight than sound, seeing Allison strut back and forth through the stage, teasing you with her swaggering figure, belting that "You Say I Love you, but it ain't True." The track offers drum solo spots, that I think Jack didn't take full advantage of on the album. And maybe he did that on purpose, because he wails on toms and snare alike in performance.

"I Cute Like a Buffalo"

Why chose if its better live or recorded? Let me tell you, either way, this song has a powerful vibe that makes you wonder ... if you've....erm....sinned lately.

Jack White's signature track on the album, he makes sure to say what he wants to say, and then blend right back in with the band. And who knew, choking on a track could be so sexy? There is no definited chorus, no definited verse, no bridge, just this ramming, thumping beat with goth-blues riffs ripping between lyrics. A song like this some would say is hard to be catchy, however, you can't help but scream in your car, "Wake me up when its broke! But only if its Broken! You know I treat you like a joke, but you, can't tell when i'm Chokin'!"

And....DON'T say that you havn't also done the coughs in this track in your car. Because, admittingly so, I definitely have. More than once.

Live, this is a spectacle. It looks like this track effects Jack the most, as he bends up and down to reach the drums around him, then make it back to the mic for a line. The opening riff came on, and everyone knew what was about to happen. Really, Jack could have just mouthed the lyrics, we were all singing right along with him. A full chorus of stubborn Columbus Jack White fans.

"So Far From You Weapon"

A bold, yet calming track. It places me in a western movie, late at night, on the porch of the town bar. The imagery continues, "There's a bullet in my pocket bruning a hole." A gristly cowboy local nervously sits on the porch, merely waiting for anyone to make a quick movement, to which he'll shoot the down without missing a beat.

I enjoy this track better live, It seems to hold more of an energy, and Deans soothing climbing keyboard parts stand out more.

"Treat Me Like Your Mother"

Had I had any hand in this record's publicity, this track would have been the first single.

Yes, it was the second single. But still, this is THE strongest track on the album.

"Come on Jeff, Jack wanted to hand things down to Allison, give her a single all to her own."

......

and you picked Hang You from the Heavens?

WHAT ABOUT BONE HOUSE??

Treat me like your mother is exciting, from my very first listen, to this very day. Crammed tight with tempo changes and heavy drumming, Allison and Jack shine on, and it is here on the record where you forget for a slight second that Jack has another music lady in his life....Meg White.

Like the White Stripes, this track shines in a manner that shows just how together this band is. It's a track that displays an effort and energy that sounds like its been there for years, and not just beginning in December.

Live, this track WAS NUTS. Held in the encore, this song made everyone in the crowd go nuts, even I lost care or control for who was going to be hit around me, and started jumping and dancing to the malicious "M - A - N - I - P - U - LATE!" Just when I thought i'd never forget THAT moment, they started playing the ending sequence (The one that has jack closed high-hat, and the riff hits with the short pause.) Between the pauses, without notion from the band or any notice, the crowd jumped up for HEY's.

Booobaboobababoobabo.

HEY!

Boobaboobababoobabo.

HEY!

And there? Rock and Roll was born again.

"Rocking Horse"

PLEASE. Tell me you're putting this track into some Pulp Fiction Sequel.

..... ok, I really don't want a sequel to that, but nevertheless. The song belongs in that movie. Creeping in with a monsters-in-your-closet riff, similar to that of "The Boogie Monster" from Gnarls Barkley's St. Elsewhere. The collaboration continues, Allison and Jack trade of lyrics and shout a defiant chorus of "OOHHH, OH! OH! OOHHH!!!"

The most peculiar and fun thing about this track, is that Jack White on the final chorus yells up almost to a yelp, and it is here that I was instantly taken back to the first White Stripes album, where we heard that sound on almost every track.

My personal favorite on the track, Rocking Horse stands out as one I hope they'll always play.

"New Pony"

Ending their Columbus set with this song was the best idea ever. Ending with a cover seems to be the thing to do nowadays, but these guys do it in Style. Bob Dylans new pony doesn't sound too different from this version, however, the Dead Weather make it loud and proud both live and in studio. Allison takes over vocals, and rightfully so. Her sqeak and squandering attitude, demanding "Come Over Here Pony!" make you think twice about doubting her involvment in the band.

And of course, it'd a song not known by half of the general public. You hear the artist and go, "Oh, Bob Dylan? He did that? When, it's an awesome song!"

Jack has a talent for unearthing tracks like that.

"Bonehouse" and "No Hassle Night"

2 more allison tracks, check.

Bonehouse is the obvious strong point for Allison here. Sliding distorted keyboards reign, while Allison holds the demeanor similar of a child throwing a tantrum, angrily squealing that "She built a house for your bones." No hassle Night was the weakest point on the album for me, until I saw it live, I now hold more of an appreciation for it.

"3 Birds"

Who the hell puts instrumentals on their track anymore?

This track, first of all, became my car's theme song.

Second of all, while it's not the best thing ever, it's the most interesting track for me, on the album. I can see why they didn't put lyrics to it, its got a better feeling just stripped down. A track doused in tremelo guitars and low electric keyboards, the imagery is again set in either a Pulp Fiction fan-fic, or an old/new Generation western.

The thing that bothers me the most about this track is the fade out. I know there's more to this damn song, there's got to be. It's almost like I only got the Itunes sample version of this song, and it fades out on me before it gets killer. They didn't play this live....so I suppose the real ending is up to my imagination.

"Will There Be Enough Water?"

Joining the league of songs that end all of Jack White's records, including "Carolina Drama," "Effect and Cause," "Your Southern Can is Mine," etc. etc., the song is a perfect way to end the album. Oh, and did you know?

This song was recorded on the spot.

That's right, Allison is even cited in an interview as saying that she had a little trouble guessing what Jack was going to sing. Lil Jack takes drums, White plays guitar, and Allison doubles the vocals while Dean keys. In studio, there is a haunting air about this track, while crickets creak in the background, you feel like a sailor trying to write a letter to his girl back home, but simply can't because you can't stop thinking about a girl you met in a city down the coastline.

Live?

Jesus, this song was heavenly.

Jack struts out from behind the drums to pick up his "Another Way to Die" guitar, and the crowd becomes nuts. They know whats about to happen, and either way, solo or not, its going to be sexy. Fortunatly, we got the solos. And unlike the studio version, the track kicks into sections of high powered jamming, with a slow, crooning sound of blues and soul, sending a wave of relief and pure joy through your ears.

- - -

In conclusion?

One question stands after all of these things rifle through my head.

What the hell with the White Stripes sound like after 2 Raconteurs records and 1 Dead Weather record?

Even the best White finatics can't even to imagine.