# | Cover | Release title | Total tracks | Download mp3 album | Release date | Label fo release |
---|---|---|---|---|---|---|
151 |
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Under Great White Northern Lights | 16 |
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2010-03-15 | |
152 |
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Conquista | 2 |
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2008 | XL Recordings |
153 |
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Under Great White Northern Lights | 19 |
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2010 | |
154 |
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Ellie | 21 |
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2003 | Pressure Drop (2) |
155 |
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Under Great White Northern Lights | 19 |
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2010 | |
156 |
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Candy Stripes | 14 |
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2002 | Wonder Boy Records |
157 |
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Peeler Sessions | 24 |
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2002 | Fig Boy Records |
158 |
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Under Great White Northern Lights B-Shows | 17 |
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2010 | Third Man Records |
159 |
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Blue Orchid | 2 |
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2005-05-29 | V2 |
160 |
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Carolina Drama/Jolene (Live)/7 Nation Army/Dead Leaves & The Dirty Ground | 4 |
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2010-06-00 | |
161 |
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The White Stripes | 17 |
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2002-06-11 | V2 |
162 |
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Walking With A Ghost | 3 |
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2005 | V2 |
163 |
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White Blood Cells Bonus Tracks | 4 |
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2002 | |
164 |
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De Stijl | 13 |
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2010 | Third Man Records |
165 |
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The White Stripes | 17 |
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2010-11-30 | Third Man Records |
166 |
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De Stijl | 13 |
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2010-12-07 | Third Man Records |
167 |
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De Stijl | 13 |
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2010-12-07 | Third Man Records |
168 |
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De Stijl | 13 |
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2000 | Sympathy For The Record Industry |
169 |
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7 Nation Army / 2 + 2 = 2 | 2 |
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Not On Label | |
170 |
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White Blood Cells | 16 |
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2010-12-14 | Third Man Records |
171 |
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The White Stripes | 17 |
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2010-11-30 | Third Man Records |
172 |
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White Blood Cells | 16 |
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2010 | Third Man Records |
173 |
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Hello Operator | 2 |
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2010 | Third Man Records |
174 |
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Merry Christmas From... | 2 |
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2010 | Third Man Records |
175 |
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I Just Don't Know What To Do With Myself | 4 |
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2003-09-05 | XL Recordings |
176 |
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Party Of Special Things To Do | 3 |
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2011 | Third Man Records |
177 |
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Under Great White Northern Lights | 16 |
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2010-03-16 | Warner Bros. Records |
178 |
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White Blood Cells | 16 |
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2008 | Third Man Records |
179 |
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De Stijl | 13 |
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2008 | Third Man Records |
180 |
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Under Great White Northern Lights | 19 |
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2010 |
Back-to-basics rock act from Detroit, Michigan, USA, comprising the bass-free duo of [a278763] [gtr., keyboards, vocals] and [a367269] [drums, percussion]. The Whites, once married and divorced in March 2000, formed their lo-fi garage band in 1997. They officially ceased to perform in Feb 2011.
Previously the guitarist in garage band "[url=http://www.discogs.com/artist/Go%2C+The]The Go[/url]", Jack White's musical output in this fused twosome was heavily laced with folk blues, country, 60s Britpop and Broadway show tunes. Dressed in minimalist red and white outfits, the Stripes' striking stage presence was allied to their undeniable grasp of the rudiments of timeless rock music. Their debut was the 1997 single "Let's Shake Hands", followed by "Lafayette Blues" [[l105510]]. They then moved to the label [l13828] and began to receive acclaim for their act and eponymous [url=http://www.discogs.com/White-Stripes-The-White-Stripes/master/10338]1st album[/url], mixing astute cover versions ([a=Robert Johnson]'s "Stop Breaking Down Blues" and [a=Josh White]'s "St. James Infirmary") with some devastating originals.
By the time of the following year's [url=http://www.discogs.com/White-Stripes-De-Stijl/master/399]De Stijl[/url] [The Style], the media buzz surrounding the White Stripes had reached new heights. Of particular note was the duo's reception in the UK, where their music was lauded in national media, including [i]The Daily Telegraph, The Sun[/i] and even Radio 4's [i]Today[/i] programme - not normally known for its liberal music policy. The influential John Peel was quoted as comparing their importance to that of Jimi Hendrix and the Sex Pistols - although both those acts were originators, whereas the Whites clearly powerful interpreters. They certainly dispelled any question of hype, upon release of a third album, "[url=http://www.discogs.com/White-Stripes-White-Blood-Cells/master/10332]White Blood Cells[/url]", followed by "[url=http://www.discogs.com/White-Stripes-Elephant/master/10341]Elephant[/url]" in 2003. The latter recorded at London's tiny Toe Rag Studios, using pre-60s analogue equipment and only eight tracks. Produced by Jack White, the highly-successful album offered a contrast to the digital conformity of music emerging in the new millennium, reaching the top-ten in the US & going platinum in the UK.