Comprised of Allison Mossheart of The Kills and Discount (vocals), Jack White formerly of The White Stripes and currently of The Raconteurs (drums, guitar and vocals), Dean Fertita of Queens of the Stone Age (guitar, keyboards, organs), and Jack Lawrence of The Raconteurs, The Greenhornes and City and Colour (bass), the members of the Nashville, TN-based all-star/supergroup The Dead Weather can trace their origins to one moment: Mossheart’s band The Kills and been touring with The Raconteurs, and shortly before a show in Memphis, White had lost his voice. White had asked Mossheart if she could fill in on vocal duties for a couple of songs during a set — “Steady As She Goes” and “Salute Your Solution.” After that show, White asked Mossheart if she would record a song with him and Lawrence. Initially, they had intended to record only one song but the trio of Mossheart, White and Lawrence ran into Dean Fertita at the studio, and they all began jamming together. During those initial jam sessions, White, who had played drums as a child and his pre-White Stripes project Goober and the Peas had been playing drums more regularly, after drumming on “Another Way to Die,” with Alicia Keys. And as White has mentioned several times to the press, he saw it as an opportunity to do something different than what he was known for.
In early 2009, Mossheart, Fertita, Lawrence and White met up for an impromptu jam session at White’s Third Man Studios, and the session was followed by a brief period of intense songwriting that resulted in the band’s full-length debut effort Horehound, which debuted at # 6 on the Billboard 200 and on the UK Album Charts at #14. Their sophomore effort, Sea of Cowards was a critical and commercial success, as that album peaked at #5 on the Billboard 200 and was #11 on Rolling Stone‘s 30 Greatest Albums of 2010. The band’s latest effort Dodge and Burn was released September, and the album’s first single “I Feel Love (Every Million Miles)” is a swaggering, bluesy stomp consisting of sludgy power chords, throbbing bass and Mossheart’s hoarse shouting and pleading. Sonically, the song channels the sweaty, rough and tumble Mississippi Delta blues of Howlin’ Wolf — as it sounds as though it were fueled by cigarettes, whiskey and furious desperation.
The video for the song begins in a gorgeously noir-ish and cinematic black and white before quickly shifting to color and ends in black and white, and it features Mossheart attempting to brave a massive storm that knocks her back for several steps each and every time she tries to advance. It’s trippy and yet highly symbolic — as though it suggests that life will knock you on your ass; but it’s your obligation to get back up again.