# | Cover | Release title | Total tracks | Download mp3 album | Release date | Label fo release |
---|---|---|---|---|---|---|
31 |
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De Stijl | 13 |
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2002-06-11 | |
32 |
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There's No Home For You Here | 2 |
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2003 | XL Recordings |
33 |
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Blue Orchid | 2 |
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2005-05-30 | XL Recordings |
34 |
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Get Behind Me Satan | 13 |
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2005-06-07 | V2 |
35 |
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Blue Orchid | 3 |
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2005-05-30 | XL Recordings |
36 |
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Get Behind Me Satan | 13 |
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2005-06-06 | XL Recordings |
37 |
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De Stijl | 13 |
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2000-06-20 | Sympathy For The Record Industry |
38 |
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White Blood Cells | 16 |
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2001-07-03 | Sympathy For The Record Industry |
39 |
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The White Stripes | 14 |
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1999-06-00 | Sympathy For The Record Industry |
40 |
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Blue Orchid | 2 |
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2005-07-00 | Spirit Recordings |
41 |
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My Doorbell | 2 |
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2005-08-22 | |
42 |
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My Doorbell | 2 |
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2005-08-22 | XL Recordings |
43 |
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Blue Orchid | 2 |
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2005-05-30 | XL Recordings |
44 |
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My Doorbell | 2 |
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2005-08-22 | XL Recordings |
45 |
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EP Volume 4 | 2 |
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2005-09-19 | |
46 |
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Under Blackpool Lights | 26 |
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2004-12-07 | V2 |
47 |
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Jolene - Live Under Blackpool Lights | 2 |
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2004-11-15 | XL Recordings |
48 |
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The Denial Twist | 2 |
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2005-11-07 | XL Recordings |
49 |
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The Denial Twist (Live) | 2 |
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2005-11-07 | XL Recordings |
50 |
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Elephant | 14 |
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2003-04-01 | V2 |
51 |
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Blue Orchid | 3 |
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2005 | Not On Label (The White Stripes) |
52 |
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Universal Buzz | 16 |
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2004 | |
53 |
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Walking With A Ghost | 5 |
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2005-12-12 | V2 |
54 |
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Under Blackpool Lights | 26 |
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2004-12-07 | XL Recordings |
55 |
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Jolene - Live Under Blackpool Lights | 2 |
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2004-11-15 | XL Recordings |
56 |
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I Just Don't Know What To Do With Myself | 3 |
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2003 | XL Recordings |
57 |
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Rip It Off | 6 |
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2004 | Not On Label (The White Stripes) |
58 |
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My Doorbell | 2 |
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2005 | XL Recordings |
59 |
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Life On The Flip Side | 29 |
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2004 | Spiral Soundz |
60 |
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I Just Don't Know What To Do With Myself | 2 |
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2003 | XL Recordings |
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.