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In February 2001, Jack and Meg White hopped into their trusty Dodge van and made their way down south to Easley-McCain Recording in Memphis, Tennessee. Inspired and electrified by their recent overseas touring and the increasingly rabid reaction to their live performances, the White Stripes would, for the first time, record an album outside of their hometown Detroit. Interviews at the time had Jack postulating that the record might stretch to a double LP length and while that didn’t happen, the fruit born from the sessions proved markedly unique in the band’s canon.
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.
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