Jack White is releasing two new albums next year: Fear of the Dawn is out April 8th, and Entering Heaven Alive is out July 22nd. Featured on Fear of the Dawn is White’s recent single “Taking Me Back,” which also has a new music video.
Find the clip, directed by White and co-directed by Lauren Dunn, below.
Both Fear of the Dawn and Entering Heaven Alive are being released via Third Man Records. The former LP includes a collaboration with Q-Tip called “Hi-De-Ho.” Back in 2016, White was notably featured on A Tribe Called Quest’s comeback album We Got It From Here… Thank You 4 Your Service.
Jack White last released the studio album Boarding House Reach in 2018.
The Official Video for Jack White’s new single “Taking Me Back” from the upcoming album “Fear Of The Dawn” out April 8th, 2022.
“Fear of the Dawn” is the fourth studio album from Jack White, founding member of The White Stripes, The Raconteurs, and The Dead Weather. True to his DIY roots, this record was recorded at White’s Third Man Studio throughout 2021, mastered by Third Man Mastering, pressed to vinyl at Third Man Pressing, and released by Third Man Records. Pressed on limited astronomical blue vinyl, only available at independent record stores
To celebrate the 20th anniversary of the release of White Blood Cells, Third Man Records is privileged to release “White Blood Cells XX”, the companion to The White Stripes’ universally acknowledged 2001 album. Disc one contains 13 tracks previously unreleased demos, outtakes, alternate takes and unheard work-in-progress nuggets. Disc two is a previously unreleased live recording from Headliner’s in Louisville, Kentucky on September. 6th, 2001.”
For a band widely defined by its self-imposed rules, the strictures employed on “White Blood Cells” (while seemingly overlooked by the general public) are largely responsible for its breakthrough nature. No blues, no guitar solos, no guest musicians, no cover songs, no bass. Think about that and let it sink in. All of these elements are used extensively across just about every other studio recording across the Stripes entire career. But as an attempt to deviate from the profile of “De Stijl” the previous year, these guidelines would help carve out this work of incredible stature. To celebrate the 20th anniversary of the release of White Blood Cells, Third Man Records is privileged to release White Blood Cells XX, the companion to the White Stripes’ universally acknowledged 2001 album.
On July 3rd, 2001, the White Stripes released “White Blood Cells“, the album which would launch them to mainstream worldwide success.
The duo had spent their early years developing a passionate fanbase in their hometown of Detroit. Rousing performances at the local clubs had helped the White Stripes develop a reputation. Their self-titled 1999 debut album was a raw, unfiltered rush of frantic blues rock. Its follow-up, 2000’s De Stijl, found the group further forming their sound.
“There’s definitely a childishness in it,” Jack explained in 2000, while trying to describe his band’s style. “From Meg’s standpoint, the drumming is real primitive and I really love that. My voice, I think, sometimes sounds like a little kid. You see that approach in a lot of great bands, [for example] Iggy Pop throwing tantrums on stage. Everybody’s still that same person they were when they were young — at least they still want to be. They still want to have that freedom.”
Tours alongside Pavement and Sleater-Kinney took the White Stripes beyond the Motor City. Music fans and media alike were suddenly taking notice. As hype surrounding the band continued to grow, they retreated to Memphis to record a third album. To say that the sessions were a whirlwind would be an understatement.
“There were probably only three real days of recording,” Jack revealed “We really rushed the whole album, to get that feel to it, a real tense thing coming out of it.”
Engineer Stuart Sikes said that “we just set up and they started going. Jack knew what he wanted. Meg didn’t really think they should be recording: She thought the songs were too new. Jack pretty much knows what he wants, has a really good idea what he’s going for.”
Material for White Blood Cells was culled from a variety of sources. Some tracks were brand new, while others were leftovers from Jack’s previous band, 2 Star Tabernacle. “It was cool because a lot of things had been sitting around for a long time, stuff I had written on piano that had been just sitting around not doing anything,” said Jack “And it was good to put them all together at once, put them all in the same box and see what happened.”
Jack warned Sikes “more than once not to make it sound too good,”. “Basically he wanted it as raw as possible, but better than if it was recorded in somebody’s living room. He steered me that way, and I ran with it.”
The LP title and artwork would be reflective of the White Stripes’ ascent to fame. “The name, White Blood Cells, for the album, is this idea of bacteria coming at us – or just foreign things coming at us, or media, or attention on the band,” “It just seems to us that there are so many bands from the same time or before we started that were playing and are still playing that didn’t get this kind of attention that we’re getting. Is the attention good or bad?”
The results were met with critical acclaim: Uncut magazine compared the band to Zeppelin, while Pitchfork said the White Stripes “summon the Holy Spirit and channel it through 16 perfectly concise songs.” The New York Times argued that the band “made rock rock again by returning to its origins as a simple, primitive sound full of unfettered zeal.”
White Blood Cells was initially released on the indie label Sympathy for the Record Industry, but demand soon exceeded the company’s limits. Major labels came calling, including V2 Records.
“This was the type of band that I found completely fascinating musically and conceptually,” Andy Gershon, president of V2,. “When you look at it — the whole “brother-and-sister” thing, dressed in red and white, really raw — I figured this will never get on the radio. But I didn’t care about getting hits.”
Gershon’s instinct to sign the band was wise. However, his assumption that they wouldn’t have hits would be way off base.
The lead single “Fell in Love With a Girl” quickly became an alternative-radio mainstay, while its groundbreaking video – made with Lego blocks and directed by future Academy Award winner Micheal Gondry – earned heavy rotation on MTV.
Further gems included the fuzzed-out garage rocker “Dead Leaves and the Dirty Ground,” twangy “Hotel Yorba,” and the sweetly nostalgic “We’re Going to Be Friends.”
White Blood Cells would eventually sell more than a million copies in the U.S. Multiple outlets named it among the best albums of 2001 and (later) the top albums of the 2000s. The White Stripes performing “I’m Finding It Harder To Be A Gentleman” live at The Gold Dollar in Detroit, MI on June 7th, 2001. Listen to the original studio recording now in HD and the live version of “I’m Finding It Harder To Be A Gentleman” on the 20th Anniversary deluxe digital release of White Blood Cells
Through the excitement, media fanfare and being hailed rock’s latest savior, Jack stayed even keeled.
“In the end, it doesn’t really matter,” he said in 2003, “because I always think, in 20 years’ time, the only thing that’s going to be left is our records and photos. If we’re doing something meaningful with those, that’s what will live forever – so that’s what’s really important.”
The White Stripes have shared the full version of their “From The Basement” performance from 2005 for the first time, Created by Radiohead producer Nigel Godrich, the web TV series ran between 2007 and 2009 and saw The White Stripes and Thom Yorke perform during its pilot episode.
Originally recorded in November 2005 at Maida Vale Studios in London, this is the first time that The White Stripes’ entire “From The Basement” performance – as well as “exclusive, never-before-seen B-roll from the session” – has been available to watch in full. The White Stripes played such tracks as ‘Blue Orchid’, ‘Forever for Her (Is Over for Me)’ and ‘As Ugly As I Seem’ during their performance, while they also covered Captain Beefheart’s ‘Party of Special Things to Do’.
“The dream of From the Basement is to capture great performances with the most direct and beautiful coverage possible, both sonically and visually,” Godrich said in a statement. “We were so fortunate early on to have the support of Jack and Meg who instinctively understood the concept of the show and so came to be part of it.
“As a result, we have this amazing snapshot of their fantastic energy and style. It’s an intimate and direct performance, something magic, powerful and special. A day I will not forget.”
Director Sophie Muller said: “Everything fell into place very quickly, and because of Meg and Jack’s ease and natural chemistry with each other I could just shoot what I saw. Whatever it was between them made it very simple, but so, so special and it was an honour to be there. I just love this electrifying performance.”
Jack White added: “It was beautifully filmed and the sound quality makes a performance on a regular TV show sound like a wax cylinder recording. No host. Thank God.”
The From The Basement footage is the latest in a series of archive performances that The White Stripes have shared with their fans over the past six months.
The White Stripes’ full set from Episode 1 of “From The Basement”. Originally broadcast in November 2005, this is the first time the entire performance has been made available in full, along with exclusive, never-before-seen B-roll from the session.
Setlist:00:30 – Blue Orchid 03:06 – Party of Special Things To Do 05:27 – Forever For Her (Is Over For Me) 09:22 – As Ugly As I Seem 14:11 – Little Ghost 16:31 – Red Rain
Earlier this month, the duo shared a fierce 2007 performance of ‘Seven Nation Army’ from their set at that year’s Bonnaroo festival.
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.
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.
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 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.
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.
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
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.
“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.
The Fat Angel Sings 