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12 of Jack White's Very Best Deep Cuts

Whether with the White Stripes, the Raconteurs, by his lonesome or with the Dead Weather, Jack's got gems galore

1 / 12

"New Pony" (The Dead Weather)

Jack White just won't slow down. The rocker not only enjoys a solo career these days after first rising to prominence via the White Stripes, but he also moonlights in his share of other bands like the Raconteurs and the Dead Weather, playing various roles within each. These are 12 of our favorite White-related songs that never got mainstream attention.

So downright dirty, you feel like you'll be washing off the grime for weeks after listening. That's thanks to Dean Fertita's grooving guitar line plus Alison Mosshart's decidedly Jack White-esque vocal. Even if White couldn't be heard on the refrain of "How much longer?" you'd still know he was involved in some way.

2 / 12

"Old Enough" (The Raconteurs feat. Ricky Skaggs & Ashley Monroe)

Not the album version, though; instead, the cut with country singer Ashley Monroe and bluegrass virtuoso Ricky Skaggs that zeroed in on the original's fiddle and just added more, plus mandolin and a sudden but totally welcome Everly Brothers interlude. When Jack White finally does a country or bluegrass album, it'll sound like this, and it's gonna be fantastic.

3 / 12

"Well It's True That We Love One Another" (The White Stripes)

Elephant's coda recruited British singer-songwriter Holly Golighty and paints she and White as potential lovers coyly dancing around the issue. Even Meg has to cut in: "Will the two of you cut it out / And tell 'em what it's really all about?"

4 / 12

"Weep Themselves to Sleep" (Jack White)

The seventh track off Blunderbuss is driven by to-and-fro piano melodies, but with a stuttering guitar solo around its middle that reminds you that, yes, this is indeed a Jack White song. Note that dude's mostly rapping here.

5 / 12

"Old Mary" (The Dead Weather)

White takes over lead vocals from Alison Mosshart here, though there's not much to say save for a proclamation about "Old Mary, sister of mine" that oozes into a bluesy outro with continued, ominous shouts of, "Now till the moment of your last breath." Eerie.

6 / 12

"Wayfaring Stranger" (Jack White)

T Bone Burnett's Cold Mountain soundtrack followed his wildly successful work on O Brother, Where Art Thou? and, much in the vein of its predecessor, multiple folk tunes were covered by a variety of artists. Among them White's "Wayfaring Stranger"; the lush bluegrass instrumentation is a draw, but so is White's delicate vocal, a departure from his trademark yowl of the early 2000s.

7 / 12

"Little Cream Soda" (The White Stripes)

Nearly four minutes of manic preaching and the riffs of a lunatic. All he wanted was a little cream soda and they wouldn't give it to him.

8 / 12

"Rich Kid Blues" (The Raconteurs)

Consolers of the Lonely's lone cover took on Terry Reid's 1960s original, and sure enough, the Raconteurs' take sounds plucked out of another era, thanks in part to a triumphant, squealing dueling guitar line near its end.

9 / 12

"Three Women" (Jack White)

The opener to Lazaretto updates and reimagines Blind Willie McTell's "Three Women Blues" from 1928, adding a dash of soul, a little bite and some unmistakable swagger.

10 / 12

"Suzy Lee" (The White Stripes)

There are flashes of Led Zeppelin in White's material from time to time, perhaps one of the best examples being this slide guitar-infused track from the White Stripes' self-titled 1999 debut full of sludge-y riffs.

11 / 12

"Attention" (The Raconteurs)

One of the Raconteurs' more sprightly jams features some of the best riffs (guitar AND bass) White, Brendan Benson and Co. concocted during their time together.

12 / 12

"Effect and Cause" (The White Stripes)

What has been and may end up being the final White Stripes song chronologically (it's the last song on Icky Thump), "Effect and Cause" finds White strumming acoustic guitar over great songwriting that flexes an accusatory tone.

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