Posts Tagged ‘Jack White’

Vault 47 Jack White Live At the Masonic Temple

Jack White will release his July 30th, 2014 concert at Detroit’s Masonic Temple on vinyl via Third Man Records, the singer-songwriter announced on Monday. The release will mark the 47th Vault package from his record label and will be available to those who subscribe by January 31st. A preview of the album is available now with a live cut of “Missing Pieces”.

The 38-track concert clocks in at nearly three-and-a-half hours. Over the course of the evening, White ran through memorable White Stripes tracks like the opening “Fell in Love With a Girl” as well as “The Big Three Killed My Baby”, “Icky Thump”, “We’re Going To Be Friends”, and more. The show also finds White offering up covers of Beck‘s “Devil’s Haircut”, Led Zeppelin‘s “The Lemon Song”, and Hank Williams‘ “Ramblin’ Man”.

The four, 180-gram LPs come in White’s signature solo colours of blue, black, and white. Together they are housed in a slipcase cover with photo inner sleeves, featuring pictures from the show shot by David Swanson. Along with Live at Masonic Temple, subscribers will also receive a 7′ vinyl of White’s appearance on Saturday Night Live on October 10th where he performed a medley comprised of “Ball and Biscuit”, “Don’t Hurt Yourself”, and “Jesus Is Coming Soon” as well as paid tribute to Eddie Van Halen with his performance of “Lazaretto” using a guitar modeled after Eddie’s.

Ahead of the Vault package’s release, White has also shared live audio of “Missing Pieces” from the concert, available below. 

“Live at Masonic Temple” and subscribe to Third Man Records‘ Vault series by January 31st to receive the vinyl.

The White Stripes Greatest Hits

In 1997 a brother and sister climbed into the third floor attic of their Southwest Detroit family homestead and bashed out a primitive cover of David Bowie’s “Moonage Daydream.” In an alternate reality, it’s all they ever do musically. The brother leads a spartan life as a dutiful upholsterer and the sister finishes culinary school and continues to make heart warming food.

But that doesn’t happen. Something sparks in both of them. They take their simple guitar-drums-voice approach to a local open mic night on Bastille Day. The performance was just good enough to keep them going. In what feels like a whirlwind, they record and release two 7-inch singles for a local indie label. A not-so-local indie offers to put out a full length album.

They start touring. Another album. More touring. Another album. Folks Really start to pay attention. Crazy touring schdeule’s. More albums, accolades, wildest dream after wildest dream coming true. “World-renowned” becomes an appropriate descriptor as does “long-building overnight sensation.”

The fact that people even care about the Vault at all is almost entirely predicated on the hard work and dedication that the White Stripes exhibited from the very onset of their existence. So it is with extreme reverence that we pour that same dedication into The White Stripes Greatest Hits.

We get that the idea of “Greatest Hits” may seem irrelevant in the era of Spotify and playlisting…that an act’s most streamed songs are considered their de facto “hits.” But we also wholeheartedly believe that great bands deserve “Greatest Hits” and that a large part of our successes has been built on zigging when the rest of the “music business” is zagging. The White Stripes are a great band with great fans and it feels like a greatest hits compilation from them is not only appropriate, but absolutely necessary.

With a track list traversing the entirety of their career, from late Nineties flashes of brilliance through early 2000s underground anthems, masterful MTV moon man moments, Grammy-grabbing greatness, worldwide stadium chants…the songs here are as wide-ranging as you can imagine. Two LP’s worth of those tracks are precision pressed on glorious red and white discs at Third Man Pressing in Detroit.

The White Stripes Greatest Hits detonation vinyl

But for our most dedicated supporters, the legion, the ride-or-die Vault members…well, you deserve a bit more

We expanded the collection by adding a bonus LP of largely overlooked, previously scattered b-sides. That disc is pressed on an exquisite red/white/black “detonation” coloured vinyl. Of particular interest is the first-ever official vinyl appearance of the Stripes’ stellar cover of the Tegan and Sara track “Walking With a Ghost” coupled with the first vinyl issue of some tracks in over 15 years.

To climb further down the rabbit hole, the Vault version of Greatest Hits features iconic artwork from longtime White Stripes collaborator Rob Jones. Fully displaying why he’s a Grammy Award-winning designer, the Jones artwork is whimsical and engrossing and chock full of Easter eggs that will only slowly avail themselves to the most scrutinous of eyes over the long arduous passage of time.

In addition to the exclusive album art, the Vault package comes with a shockingly breath-taking custom set of three Rob Jones 8×10 silk-screen prints. There are three different sets of prints and they will be inserted into your package at random. Frameable, gallery-worthy, dare we say investible…nothing short of the brilliance that’s become par for the course from Mr. Jones.

As the final little treat for this our 46th Vault package, we’ve got a White Stripes-themed set of magnetic poetry. Yes, all the words you best know from Jack White’s lyrics…home, bone and telephone and SO many more, included here for you to randomize and make your own “little” White Stripes song. While the standard issue black vinyl version of The White Stripes Greatest Hits will be available for eternity, the Vault version will be the ONLY coloured-vinyl or artwork variation. Sign up for the Vault by midnight Central Standard Time October 31st to lock in what is truly a stunning collection celebrating the best recorded moments of the White Stripes.

This week’s Saturday Night Live musical guest was supposed to be Morgan Wallen, before the country singer got himself disinvited. At short notice on Friday morning, SNL creator Lorne Michaels announced that Jack White — whose best-known band, The White Stripes, who releases a greatest-hits album in December — would show up to perform in Wallen’s place. With no new material to promote, White cranked out a few scorching career highlights, including 2014’s solo hit “Lazaretto” — which he performed with a guitar designed for him by the late Eddie Van Halen  and kicking off with a fantastic medley.

This song White chose is a medley of his Beyonce collaboration “Don’t Hurt Yourself,” the White Stripes classic “Ball and Biscuit” and Blind Willie Johnson’s “Jesus is Coming Soon” which was recorded in 1928 about the 1918 flu pandemic. For his second song, he played “Lazaretto” on that signature guitar and Jack incorporated a little EVH-style tapping too.

The drummers name is Daru Jones, he’s endorsed by; Paiste, DW/PDP, Ahead Drumsticks. He is talented as all get out! He plays the drums like that for ergonomics and to allow for his choppy playing style (at least that’s what he’s said in interviews.)

Musical guest Jack White performs a medley of “Ball and Biscuit,” “Don’t Hurt Yourself” and “Jesus Is Coming Soon” on Saturday Night Live. .interweaving Blind Willie Johnson’s “Jesus is Coming Soon” about the 1918 flu pandemic w/ Ball & Biscuit…only Jack White could have pulled off a song to save 2020,

The Musical guest Jack White performs a medley of “Lazaretto” on Saturday Night Live. Jack White dedicated his “Saturday Night Live” musical performance to another fellow rocker: Eddie Van Halen. In a touching tribute to the late Van Halen who died of cancer at 65 on Tuesday, “The White Stripes” frontman abandoned his own guitar to instead use a cobalt blue model. The show then featured a short clip of Van Halen’s guitar performance in February 1987 on “Saturday Night Live.” Host Bill Burr ended the show by saying “rest in peace, Eddie Van Halen.” Hours before his appearance, White, 45, teased that he would be using his “Saturday Night Live” performance to honour the musical legend, whom he described as “very kind.”

The White Stripes Greatest Hits

The first-ever official anthology of recordings from the iconic rock duo, Jack and Meg White, is an essential career-spanning collection highlighting 26 previously released White Stripes songs – from late nineties flashes of brilliance through early 2000s underground anthems, masterful MTV moon man moments, grammy-grabbing greatness, and worldwide stadium chants…the songs here are as wide-ranging as you can imagine.

Twentysome years ago, a brother and sister climbed into the third floor attic of their southwest Detroit family homestead and bashed out a primitive cover of David Bowie’s “Moonage Daydream,” sparking something in both of them and leading them to take their simple guitar-drums-voice approach to a local open mic night on bastille day. in what feels like a whirlwind, they record and release two 7-inch singles for a local indie label. a not-so-local indie offers to put out a full-length album. they start touring. another album. more touring. another album.

Accompanying the announcement is a previously unreleased live video of the band performing “Ball and Biscuit”—the only song so far confirmed for the tracklist—Live in Tokyo in 2003.

In addition to the standard CD, double LP, and digital editions, a 3xLP edition with colored vinyl will be available as part of Third Man’s Vault Package subscription. The Vault version also features new artwork from the White Stripes’ collaborator Rob Jones, silk-screen prints, and White Stripes-themed magnetic poetry. More special versions, benefitting independent record stores, will be announced later, according to a press release.

Folks really start to pay attention. crazy touring, more albums, accolades, wildest dream after wildest dream coming true. “world-renowned” becomes an appropriate descriptor, as does “long-building overnight sensation.” the same hard work and dedication that the White Stripes exhibited from the onset of their existence is what has been poured into the White Stripes Greatest Hits. in an era of streaming where the idea of a “Greatest Hits” album may seem irrelevant – that an act’s most streamed songs are considered their de facto “Hits” – we wholeheartedly believe that great bands deserve “Greatest Hits” and that a large part of Third Man Records’ and the White Stripes’ successes have been built on zigging when the rest of the music business is zagging. thus, for a great band with great fans, a greatest hits compilation for the White Stripes is not only appropriate, but absolutely necessary.

expected release: 4th December 2020

 

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On June 15th, 2000, The White Stripes performed at Jay’s Upstairs in Missoula, MT, just five days before the release of De Stijl, the band’s second album. Today, June 20th, 2020, “De Stijl” celebrates its 20th birthday, and though The White Stripes are no longer together, the band has released footage of “Death Letter” from that Jay’s Upstairs concert, which will also appear in the Third Man Records Vault Package #44.

The 2000 Son House cover came before frontman Jack White would add a Big Muff to his pedalboard, and well ahead of its emergence as a fan-favorite live track, way back in the days of $1.25 pints of Pabst and Hi8 camcorders. This rendition of “Death Letter” featured Jack’s high-pitched vocals, percussive guitar picking, and Meg White‘s steady drumming, typical of the band’s minimalist garage rock and blues sound at the time. While not as extensive as later versions, which usually include an improvised intro and some segues, Jack took the solo to familiar places thanks to his trusty DigiTech Whammy pedal and high-gain tone.

Though the band had only been together for a couple of years at this point, Jack and Meg’s chemistry is palpable. A simple glance or an audible “Hey!” from Jack signals the changes, which sees Meg follow in lockstep. The crowd seems entranced throughout the grainy video too, and while there are not many people at the tiny venue, it certainly foreshadows the arenas that followed in later years.

In celebration of the 20th Anniversary of De Stijl, watch The White Stripes (Jack White & Meg White) perform “Death Letter” live at Jay’s Upstairs in Missoula, MT from June 15th, 2000! This performance took place during the peak of De Stijl touring, and was taken directly from the original tapes deep within the Third Man Records archives for the 20th anniversary of De Stijl Third Man Vault Package.

De Stijl, dutch for “the style”, is the second album released by The White Stripes on June 20th, 2000. Head to the Third Man Records website for more information on future vault releases.

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The Raconteurs have announced a forthcoming documentary and live album to both titled, “Live At Electric Lady”, with both projects scheduled to arrive this Friday, May 29th.

Live At Electric Lady will document The Raconteurs’ clandestine performance at the iconic New York recording studio in support of the band’s most recent album, 2019’s Help Us Stranger. The EP will be released exclusively to Spotify, and will feature like takes on a catalogue-spanning selection of songs, including a cover of Richard Hell & The Voidoids“Blank Generation”. The documentary, directed by filmmaker Jim Jarmusch, will include video of the live performance, along with interviews with the band and behind-the-scenes footage.

A Facebook post announcing Live At Electric Lady arrived with a one-minute video trailer and a pre-save link for the “special enhanced album.” The trailer offered snippets of artist interviews and the live performance as well as a cameo from Jarmusch, who noted that the Electric Lady is “Kind of a magical, mythical place.”

“Everyone who’s a musician on stage is doing something that they love and they’re trying to share it with someone else,” added frontman Jack White in the trailer. “Some people fall in the trap of it being about authenticity, but I don’t think it’s about that. I think it’s about the attitude of what you did was the best part. Not whether you got all the notes right, but your point of what you were trying to accomplish was evidence to us in the crowd.”

In September 2019, The Raconteurs visited legendary New York City recording studio Electric Lady Studios to record a live EP and interview with Jim Jarmusch in honor of the studios’ 50th Anniversary – exclusively for Spotify. ‘The Raconteurs: Live at Electric Lady’ is a documentary and concert film showcasing the day, including their explosive 7-song live performance

Watch the Live at Electric Lady trailer.

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Margo Price has released a new live album, “Perfectly Imperfect at The Ryman”, which documents her sold-out three-night run at the iconic Nashville, TN venue in 2018. The album comes after Price announced back in March she would delay the May 8th release of her new Sturgill Simpson produced studio album, “That’s How Rumors Get Started”, due to the ongoing COVID-19 crisis.

“I am so excited that we are releasing it today,” said Price in a press release. “The recordings are rough and the performances are raw, but there was a magic there and the band was on fire. We played unreleased songs, alternative album versions and had lots of special guests. I hope it moves you.”

The 11-track album features collaborations with Emmylou Harris on Margo’s original, “Wild Women”, Sturgill Simpson on a rendition of Rodney Crowell‘s “Ain’t Livin Long Like This”, and Jack White on a duet of the rare White Stripes track, “Honey We Can’t Afford to Look This Cheap”. Additionally, Perfectly Imperfect at The Ryman also features a “funk version” of Price’s Midwest Farmer’s Daughter track, “Weekender”, and a take on the title track of her 2017 LP, All American Made.

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“Perfectly Imperfect at The Ryman” is available now via Bandcamp. Preview the album below, scroll down for the full tracklist and credits, and purchase it for $10, All proceeds will benefit the MusiCares COVID-19 Relief Fund.

Raconteurs FAME

The Raconteurs perform “Now That You’re Gone” from their latest album “Help Us Stranger” and a cover of “I’m Your Puppet” at the historic FAME Studios in Muscle Shoals, AL.

“I’m Your Puppet” was written by Dan Penn and Spooner Oldham, both members of the acclaimed Muscle Shoals Rhythm Section group of session players — also called The Swampers — that originated at FAME. The song was a hit in 1966 for James & Bobby Purify. The Raconteurs – Jack White, Brendan Benson, Jack Lawrence and Patrick Keeler – included “Now That You’re Gone” on their recently released studio album.

The White Stripes' 1999 debut

Jack White will mark the 20th anniversary of The White Stripes’ self-titled debut with a new companion vinyl release.

The White Stripes XX (as its called) contains previously-unheard outtakes from the album’s recording sessions, a live recording of a September 1999 performance in Raleigh, NC, a DVD containing performance footage of two Michigan shows that year, a 24-page archival booklet featuring never-before-seen photos, lyrics, flyers, and other insights, all housed in a hard-cover hinged case.

The cache of unreleased material includes an acoustic demo of “Dead Leaves”, alternate takes of “Jimmy the Exploder”, “I Fought Piranhas”, and “Wasting My Time”, and cover of Burt Bacharach’s “Little Red Book” (listen to a sample here). Burt Bacharach and Hal David may have written “Little Red Book” for the film What’s New Pussycat?, but Love’s version (their 1965 debut single) was clearly the inspiration for The White Stripes’ cover, which will be on the 20th Anniversary Box set for their debut album. Jack and Meg play this like they wrote it.

Other rarities include versions of “Screwdriver”, “Sugar Never Tasted So Good”, and “”Why Can’t You Be Nicer to Me?”. All of these tracks were newly mixed by White in celebration of the album’s 20th anniversary.

The White Stripes XX is available through Third Man Records’ Vault subscription program. You can get more info and sign up here.

In related news, Jack White is presently touring the country with his other acclaimed rock band, The Raconteurs.

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The White Stripes played their final concert at the Snowden Grove Amphitheater in Southaven, Mississippi 12 years ago. Now, their full recorded performance is accessible for the first time ever, The White Stripes: Live in Mississippi is available to stream and download via Nugs.net, and it features the band’s 20-song set from July 31st, 2007, along with a four-song encore. Tracks include “Icky Thump,” “In the Cold, Cold Night,” “Dead Leaves and the Dirty Ground,” and more.

The White Stripes’ archivist and Third Man Records co-founder Ben Blackwell posted a statement on Nugs.net recalling the group’s final performance, and the moment he realized it would be their last. Find Blackwell’s full post along with the White Stripes’ hand-written setlist from the show here.

“I can’t even tell you how much it means for me to be here tonight…so I’m not even gonna bother”

Jack White, July 31st, 2007

Not long after I walked offstage as the hired-gun drummer for opening act Dan Sartain, an assortment of crew and musicians and friends gathered together and took part in a celebratory, raise-the-glass toast, all led by Jack White to mark the end of the run of nine shows in the previous ten days.

As the crowd thinned, Meg White and I were the last ones left standing there. Apropos of nothing, cups in hand, not even in a conversation at that point, Meg said to me, “I think this is the last White Stripes show.” Confused, I responded “Well, yeah, last show of this leg of the tour.” She replied “No…I think this is the last White Stripes show ever” and slowly walked away. I was dumbfounded. I had no idea what she was talking about. I had no idea what she meant.  I had no idea what to do. I looked around to see if anyone else heard what Meg had said, but I was all alone.

Within minutes, the band was onstage. The White Stripes had never played Mississippi prior to this performance and it’s clear the deep musical heritage of the state loomed large in Jack’s mind as he attacked the performance setlist-free.

“Stop Breaking Down” was an unexpected opening song. Despite being released in 1999, it had only opened a set once before, just three weeks earlier. The inspiration behind that first opening performance was the band headlining the Ottawa Bluesfest, being met with newspaper headlines that asked “Are the White Stripes bluesy enough to headline Bluesfest?” Seems as Jack’s intention of starting both these shows with the Robert Johnson classic was to leave no doubt to a skeptical homegrown audience of armchair connoisseurs or a lazy Canadian newspaper editor that the band was well-within their powers conveying the blues to the masses.  All that was only further buoyed by Jack later throwing in an unexpected tease of another Robert Johnson song “Phonograph Blues” to assuredly placate the ghosts of the Mississippi Delta.

Inspired, one-of-a-kind takes on both “As Ugly As I Seem” and “Astro” now jump out to me as beautifuleach song’s last hurrah from the band that birthed them. Exploratory adventures the both of them, proving that no piece was ever finished or finalized or etched into stone. Rather, they were all living, creative works, changing and adapting over the years and begging to be recorded and shared and analyzed by all of you reading this right now.

Jack began the encore by himself, pouring every last drop of feeling and emotive vocal quiver into a solo offering of “300 MPH Torrential Outpour Blues” that was achingly bare. The raw force behind it feels beyond naked…as if Jack had pulled back his own skin to reveal his truest, innermost thoughts, particularly when he changed the lyrics on the fly and sang…

“See there’s three women in my mind that know they have the answer, but they’re not letting go…

What else is new? I’m the only one that seems to care where I should go”

After re-listening to this show for the first time in ages, I feel like only now have I fully absorbed the enormity of that line. Frankly, it just hit me like a freight train to the chest. I was caught entirely off-guard. I couldn’t help but be moved to tears.

Moments like that make me feel this show is the audio manifestation of opposing, equally-powered forces clawing for control of my brain in an id-versus-ego battle of monumental proportions. On one end I’m mourning, absolutely fucking hurt that this huge presence in my life, my occasional reason for being, my family both by blood and by choice…just ceased to be. And yet at the other end, I am so goddamned lucky that the White Stripes ever existed at all…that people even paid attention, that the band was able to make a lucrative career out of their passion, out of art and that I had a side-stage seat to the entirety of their existence.

After the completion of a bombastic, career-defining version of “Death Letter”, Jack poignantly says “Son House, thank you for finally letting me come home.” House was a passive participant in this matter, having died in the band’s hometown of Detroit in 1988. But Jack’s comment has seemingly little to do with any physical structure…what he is saying is that Son House (and to a larger extent, blues music in general) provided both he and Meg with an avenue to pursue their artistic vision. In this sense, home is not spoken in the predominant, noun usage of the word to describe where one lives, but rather in a more colloquial, adverbial sense meaning ‘deep, to the heart.’

In short, the blues is home. The blues provides comfort, the blues provides center, the blues provides foundation.  It provides a manner to express one’s feelings, both a connection to the past and a path through the future.

Ending the set with Leadbelly’s “Boll Weevil” and the singalong chorus repeating “he’s looking for a home” only further drives this point, well…home. The White Stripes were only able to become THE WHITE STRIPES because of the blues. Able to find their voices, to spread the word in a way that was seeming antithetical to two white kids born in Detroit in the 1970’s.  Blues was the language, not chosen, but seemingly divined, to best communicate themselves, to express, to converse, to paint this masterpiece. Upon the completion of the set, with a backdrop of Who-like synth arpeggiations singing out into the night, Jack sincerely says the following…

“I can’t believe how long it has taken us to get here. Thanks for waiting. Thanks for coming. Thanks for buying our records. Thanks for buying a ticket. We love you very much. Thank you. God bless you Son House. God bless you Robert Johnson. Thank you so much.”

I can think of no better epilogue for Jack to punctuate the White Stripes last-ever live performance. Each thought a simple sentence that, upon closer inspection, opens up to a wider meaning…not just spoken to these folks in suburban Memphis on a Tuesday night. Rather, they speak to all their fans across the world. About the journey. About patience. About action. About appreciation. About presence. About gratitude. And ultimately, about the blues. Which is, arguably, all it was ever about.

In the intervening twelve years I’ve had countless conversations with Meg White. And I have never once, not for a moment, even considered asking her what was going through her head that night in Mississippi. To me, she has found her home and that is all that matters.

What would YOU do if half of your favorite band told you (and ONLY you) it would be their last show immediately prior to taking the stage?

The White Stripes recently also announced a 20th anniversary box set reissue of their self-titled debut.