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Jack White - Lazaretto download album

  • Performer: Jack White
  • Album: Lazaretto
  • FLAC: 1452 mb | MP3: 1576 mb
  • Released: 2014
  • Country: US
  • Style: Alternative Rock, Blues Rock, Country Rock
  • Rating: 4.2/5
  • Votes: 229
Jack White  - Lazaretto download album

Jack White's sophomore LP might be instrumentally lavish, but these emotionally vacant songs features some of his worst tunes since the demise of the . Fav tracks: would you fight for my love, lazaretto, high ball stepper. Least fav track: want and able.

Music video for Jack White's "Lazaretto" directed by Jonas & Francois.

Lazaretto is the second studio album by Jack White. It was released on June 10, 2014, through White's own label Third Man Records in association with XL Recordings and Columbia Records. Lazaretto was partly inspired by a collection of short stories, poems, and plays White wrote when he was 19 years old and rediscovered years later in his attic

Renews automatically. Sample this album Artist (Sample). Jack White never disappoints. I find this to be a much quieter album than anything he has done so far. That being said, it is quite beautiful. Obviously White's style is very different than His Purple Badness but his ear, prolific style, and slightly off center eccentricities draw that comparison for me. To get back to Lazaretto, I find it a more cohesive album than Blunderbuss. Maybe he is relaxing more into who he is as an artist.

Jack White makes heavy, turbulent modern-blues records the same way he pursues his other passion, furniture restoration: with a decisive attention to contour, color scheme and cagey, durable detail. Lazaretto is only White’s second solo album, but he’s played on and produced dozens of records since 1999’s The White Stripes, mostly for his own Third Man label. The guy playing the brute-fuzz guitar in the Gothic-garage instrumental High Ball Stepper doesn’t sound like anyone’s pushover. But as in Three Women, White draws on older blues for these songs: prose and plays he wrote as a teenager about his busted heart and dogged ambition, sawed and planed into new settings and urgency. The kid is still in there.

Like "blunderbuss," a "lazaretto" is an ancient reference that means little in the modern world, a fact that does not escape Jack White, a musician who specializes in blurring lines between past and present. Contrary to his carefully cultivated persona as a raider of lost Americana, White never, ever was a purist: he thrived upon seizing the precise moment when accepted definitions lose all meanings and turn into something new. This tension surfaces on Lazaretto, his second solo album, a record that lives upon the edges of his interests.

Format: MP3 320Kbps, FLAC. FLAC (233 mb): hitfile: download. Previously on NewAlbumReleases. net: March 16, 2018 - Jack White – Boarding House Reach (2018)

Album · 2014 · 11 Songs. When Lazaretto roars to action with the sweltering, Hammond-driven rocker Three Women, Jack White is on familiar terrain, unleashing a supercharged, garagey blues riff that’s as archetypal as the theme. But when the red, blonde and brunette ladies in question appear in a digital photograph, the anachronism is a striking reminder of White’s gift for recasting classic musical elements in arrestingly modern contexts

My veins are blue and connected And every single bone in my brain is electric. But I dig ditches like the best of 'em Yo trabajo duro Como en madera y yeso Como en madera y yeso. And even God herself Has fewer plans than me But she never helps me out with my scams for free, Though she grabs a stick and then she points it at me When I say nothing, I say everything Yeah when I say nothing, I say everything. They threw me down in the lazaretto Born rottin', bored rotten Makin' models of people I used to know Out of coffee and cotton

Tracklist Hide Credits

A1 Three Women
Bass – Dominic DavisDrums – Daru JonesMandolin, Harmonica, Backing Vocals – Cory YountsOrgan [B3], Keyboards – Ikey Owens*Pedal Steel Guitar – Fats KaplinVocals, Piano – Jack White Written By – Jack White/Blind Willie McTell
A2 Lazaretto
Bass – Dominic DavisDrums – Daru JonesFiddle – Fats KaplinSynth [Korg] – Cory YountsSynth [Moog] – Ikey Owens*Vocals, Electric Guitar – Jack White
A3 Temporary Ground
Bass – Catherine PopperDrums – Carla AzarFiddle, Backing Vocals – Lillie Mae RischePedal Steel Guitar – Maggie Björklund*Piano – Brooke WaggonerVocals, Acoustic Guitar – Jack White
A4 Would You Fight For My Love?
Backing Vocals – Ruby AmanfuDrum [African] – Olivia JeanDrums – Daru JonesDrums, Timpani – Carla AzarElectric Bass – Dominic DavisElectric Guitar – Dean FertitaElectric Upright Bass – Bryne Davies*Fiddle – Fats KaplinOrgan [B3], Electric Piano [Rhodes] – Ikey Owens*Piano – Cory YountsPiano, Organ [B3], Synth [Moog] – Brooke WaggonerVocals, Electric Guitar – Jack White
A5 High Ball Stepper
Backing Vocals, Tambourine – Ruby AmanfuBass – Catherine PopperDrums – Carla AzarElectric Guitar – Jack White Fiddle – Lillie Mae RischePedal Steel Guitar – Maggie Björklund*Piano – Brooke Waggoner
A6 Untitled
A7 Untitled
Written-By [Uncredited] – Curtis Mayfield
BA1 Just One Drink
Acoustic Guitar – Maggie Björklund*Backing Vocals – Joshua V. Smith, Ruby AmanfuBass – Catherine PopperDrums – Carla AzarFiddle – Lillie Mae RischePiano – Brooke WaggonerRecorded By [Assistant] – Joshua V. SmithVocals, Electric Guitar, Acoustic Guitar [Intro] – Jack White
BB1 Just One Drink
Acoustic Guitar – Maggie Björklund*Backing Vocals – Joshua V. Smith, Ruby AmanfuBass – Catherine PopperDrums – Carla AzarFiddle – Lillie Mae RischePiano – Brooke WaggonerRecorded By [Assistant] – Joshua V. SmithVocals, Electric Guitar – Jack White
B2 Alone In My Home
Backing Vocals – Lillie Mae RischeBacking Vocals, Shaker – Cory YountsDrums – Ben BlackwellElectric Bass, Electric Bass [VI] – Dominic DavisHarp – Timbre CierpkeMandolin – Fats KaplinPiano – Ikey Owens*Recorded By [Assistant] – Mindy WattsVocals, Acoustic Guitar, Maracas, Shaker – Jack White
B3 That Black Bat Licorice
Backing Vocals – Olivia Jean, Ruby AmanfuClavinet, Organ [Hammond] – Brooke WaggonerDrums – Patrick KeelerElectric Upright Bass – Bryne Davies*Fiddle, Mandolin – Fats KaplinHarp – Timbre CierpkeVocals, Electric Guitar, Percussion – Jack White
B4 Entitlement
Drums – Ben BlackwellElectric Upright Bass – Dominic DavisHarp – Timbre CierpkeMandolin, Backing Vocals – Cory YountsPedal Steel Guitar – Fats KaplinPiano – Ikey Owens*Vocals, Acoustic Guitar – Jack White
B5 I Think I Found The Culprit
Backing Vocals, Shaker – Ruby AmanfuBass – Catherine PopperDrums – Carla AzarFiddle, Mandolin – Lillie Mae RischeHarp – Timbre CierpkePedal Steel Guitar – Maggie Björklund*Piano – Brooke WaggonerVocals, Acoustic Guitar – Jack White
B6 Want And Able
Vocals, Acoustic Guitar, Piano – Jack White
B7 Untitled
B8 Untitled 0:44

Companies, etc.

  • Copyright (c) – Third Face, LLC
  • Phonographic Copyright (p) – Third Man Records, LLC
  • Manufactured By – United Record Pressing
  • Published By – Third String Tunes
  • Recorded At – Third Man Studio
  • Mastered At – Gateway Mastering


  • Artwork [Hologram Track] – Tristan Duke
  • Design, Layout – Jack White , Nathanio Strimpopulos
  • Edited By [Additional] – Lars Fox
  • Management – Ian Montone
  • Mastered By – Bob Ludwig
  • Mixed By – Jack White , Joshua V. Smith
  • Photography By – Mary Ellen Matthews
  • Photography By [Additional] – Lewis Hine
  • Producer – Jack White III*
  • Recorded By – Joshua V. Smith (tracks: A1 to A5, B2 to B6), Vance Powell (tracks: A1, A4, BA1, BB1, B3, B5)
  • Recorded By [Assistant] – Joshua V. Smith (tracks: A1, A4, BA1, BB1, B3, B5), Mindy Watts (tracks: A1 to A3, A5, B2, B4)
  • Written-By – Blind Willie McTell (tracks: A1), Jack White III*


The record was pressed in the U.S. and distributed worldwide. So some copies might have different hype stickers on shrink wrap (from the country of distribution).

"Ultra LP" release featuring several special features:
· Tracks A6 and B7 are locked grooves featuring elements from their respective previous tracks. "High Ball Stepper" doesn't end with a faded-out distortion as in the digital versions, it is locked instead.
· Tracks A7 and B8 are hidden tracks pressed on their sides' labels, and play at 78 RPM and 45 RPM respectively, thus making the LP a three speed record.
· Side A's groove is inverted and plays from the inside out.
· "Just One Drink" consists of two different intros, each in its own groove, with both connecting at the body of the song. BA1 is acoustic, BB1 is electric.
· Side B has a matte finish, giving the appearance of an un-played 78 RPM record.
· Vinyl is pressed in flat-edged format.
· Dead wax area on Side A contains a hand-etched hologram by Tristan Duke of Infinity Light Science, the first of its kind on a vinyl record.
· Tracks B3 and B4 are swapped in comparison to the digital editions, and B2 features a slightly longer intro.
· The vinyl was mastered entirely from analog sources with no additional compression used.

Tracks A1 to A5 and BA1/BB1 to B6 are listed continuously from 1 to 11 and play at 33 ⅓ RPM.
Track A7 is an uncredited reworking of 'Pusherman', originally by Curtis Mayfield.
Durations unlisted, approximates obtained by digitizing the vinyl audio.

Jacket features Soft Touch aqueous coating. Record comes in die-cut black paper poly sleeve. Also included are an insert with lyrics and credits, and a digital download card for the album in MP3 format, which also shows info about the hologram.

Some copies have the same label on both sides of record.


Published by Third String Tunes (BMI)

Recorded at Third Man Studio in Nashville, TN 2012-2014

Mastered by Bob Ludwig at Gateway Mastering Studios in Portland, ME

Additional Photography: Lewis Hine, Courtesy of the National Archives and Records Administration (photo no. 102-LH-1919)

Jack White is exclusively managed by Ian Montone at Monotone, Inc.

Lazaretto is dedicated to: Florence Green, Voltairine de Cleyre, and Amazing Grace Hopper

Barcode and Other Identifiers

  • Barcode (Sticker on shrink wrap): 8 88430 63981 2
  • Matrix / Runout (Variant 1: Runout side B, etched): TMR • 271 - B KITCHEN SINK XI
  • Matrix / Runout (Variant 2: Runout side B, etched): TMR • 271 - B KITCHEN SINK
  • Matrix / Runout (Variant 3: Runout side B, etched): TMR • 271 - B ΘT KITCHEN SINK XI
  • Rights Society: BMI

Other versions

Category Artist Title (Format) Label Category Country Year
TMR-271 Jack White Lazaretto ‎(LP, Album, Etch, Ltd, Blu) Third Man Records TMR-271 US 2014
88843 06398 2 Jack White Lazaretto ‎(CD, Album, Dig) Third Man Records, Columbia 88843 06398 2 Colombia 2014
88843063982 Jack White Lazaretto ‎(CD, Album) Third Man Records, Sony Music 88843063982 Australia 2014
88843063982 Jack White Lazaretto ‎(CD, Album, Dig) Third Man Records, Sony Music 88843063982 Australia 2014
TMR-271 Jack White Lazaretto ‎(LP, Album, TP, Whi) Third Man Records TMR-271 US 2014

Garbage United pressing - unpleasantly noisy on side one, and way off center on side two. United is about the worst pressing plant going
No one is ever happy? It's his best effort for sure ...
Thats really one of the records with the most features i've ever seen. Great music and ok mastering. One of the Bonus Tracks require 78 rpm with a normal stylus (bit unfortunate because no new player is able to).
Most "oem" dj turntables do play at 78rpm, selected by pressing both 33 and 45rpm buttons at the same time.
side A sounds quite flat, almost muffled with lots of noise even after cleaning twice. not a great sound quality at all. it's got some cool features, but sounds terrible. hardly paid attention to the actual music because of the poor quality coming through the speakers. Pressing seems slightly off center as I can see considerable sway in stylus head. side B a little better with a little more depth and not as much noise. I think it comes down to piss-poor quality control or standards from the plant.
Definitely a mixed bag.The gimmicks are really neat, I love the little hologram, and especially love the matte 78 rpm look of the b-side. I commend Jack White for trying to innovate. Unfortunately the pressing quality is a huuuge gamble. A side had surface noise, not enough to ruin the experience but definitely couldn't ignore it. The B side was night and day, tracks B1 and B2 were abysmal, the amount of cracks and pops overpowered the music. However once I got to B3 the pressing got incredibly quiet and it was very enjoyable. They really should have had higher quality control with the pressing. I do not recommend this pressing overall except for the novelty of it. After reading other reviews it seems there's more problems than benefits quality wise with the music.
Anyone who's able to place the needle on the first track of this LP without missing the first few seconds or touching the hologram grooves, on the first try, is a master of the turntable. Jack White was out of his mind to not add some dead grooves before "Three Women".
Believe it or not but Jack White is not a mastering engineer. Although he is a musician, it didnt qualify him to cut vinyl records.
Just bought two copies each from a different retailer and they both had bad wrinkles in the pressing that produced very noticeable thumping sounds in at least four different places. Really disappointing.
My copy also has a weird wrinkle, as you described.
Definitely doesn't sound great, even though they boasted a 100% analog process. But, I gotta admit, the long list of little gimmicks made it enjoyable for a few minutes. Can't blame the guy for trying to shake things up a bit, but it was probably just too much for the pressing house to do perfectly all in one LP.
True. It did come with a high-res download card, after all.
I bought this LP just because of its gimmicks. I've come to accept that given the nature of this kind of LP, it was never going to receive the quality of pressing expected from normal records. My copy suffered from pops, and I think the process of going full matte on side Side B resulted in it being completely off-center. If anyone really wants a clean sound from this album, they'd just get it as a FLAC, or on CD. I'm sure a non-gimmick straight LP edition isn't far from the horizon, but until then, you buy this LP, you buy it as a curiosity and no more.
How about fewer gimmicks and more attention to detail on the actual pressing? Off-center, scratchy, crackling, grooves running right into the label, etc. I purchased a 2nd copy to see if my 1st was just a bad copy, but the 2nd version has all the same issues - except I get to the last song on Side B before my stylus hits the label. Yippee!! Even with some software touch-ups via VinylStudio the needle drop doesn't sound pristine. Too bad, because the music is awesome.
What a terrible choice on the outward playback! Side B sounds like my ar$e too and I don't even see what that hologram is supposed to be! If you care one bit about good sound, pass on this release its terrible.
If it wasn't for the gimmicks I would rate this 4 or 5 stars. I like the music, and my copy sounds good, but the record is a royal pain in the ass to play.
No one seems concerned about the stylus damage this causes. Has anyone got a definitive answer to if the record grooves on side a still retain the inward spindle forces or of they are reversed since the playback also is? If both the inward force is reversed and your anti skate is normal you will put more stress on the right side groove and stylus tip.This just seems like pretentious gimmicks to me. How is he genius when this doesnt seem to relate to the music? Was the idea just to be as unnecessarily creative as possible just to say you are the first to do these things?
puckdefender Good point but what if you have a straight arm? No arm is straight, the headshell is bent inwards at the end still.
Good point but what if you have a straight arm?
The skating force is simply the drag on the stylus. It makes the arm move inwards because the bend in the arm means the drag is not in a direction exactly away from the pivot, but slightly inwards. This does not change if the spiral is inside-out; the record is still turning clockwise. No change to anti-skating setting should be required.Compared to the skating force, the force required to make the stylus track the spiral must be approximately zero. I don’t think any damage should be caused.
Exactly right, more wear on one groove wall but also on one side of your stylus. You can often see this if looking in a microscope at old styli belonging to inexperienced users, one side is always more worn because of improper anti skating most likely.Lets wait for someone to give a definitive answer with good reasoning.
Trash Obsession
Look i'm in no way an expert so this is a novices perspective but i do not think it will damage the record. If it does wouldn't a normal record wouldn't there be to much stress on the left side? Again total beginner and i would like more information if someone knows more than me?
I have this on black vinyl as the standard pressing of the "Ultra LP" but I can't find the runout etchings for the life of me with a loupe or magnifying glass. Either there's more than one version or? Help!
TY. Found it with the right light and a magnifying glass.
You need to shine a light on it and a particular angle above the record when it's playing at 33 1/3
it is on the edge of the label on the B side
I have a copy of Lazaretto that I bought directly from Third Man Records in Nashville. When I got home to play it, I didn't realize that the way the album is pressed. Side A is completely off centered with the grooves. I don't know if my copy is supposed to look like that or not. When I played it a few times, I didn't hear the music sound off. I'm thinking my copy is a considered a Mispress.
Just bought mine from Third Man Detroit, and same thing. Tracks out of order and scratchy - not pressed well or something. Trouble is, I don't live in Detroit.
Side A is meant to be played backward. more words.
I received my copy from a large european mail order retailer in the very year it was released. Back cover says, manufactured at United Pressing. My copy seems to have the mentioned B side runout groove hand etching TMR • 271 - B KITCHEN SINK XI, but it's very hard to decipher.Sound quality seems to be OK, I noticed nothing wrong.However, during B1, Just one drink (with the two intros), the acoustic intro plays just OK.However, there is a small or short skip in the continuity of the sound and music when the electric intro goes into the common body of the song. Not much, but still noticable, like a skip of one record groove. So the rythm of the song stumbles at the transition of the electric intro into the body of the song.However, once two years later or so, I had the chance to listen to a differrent copy of that record. On this pressing, the transition from the electric intro into the body of the song is very very noticable, there is almost one bar of discontinuity (one bar is repeated), when the electric intor joins into the body of the song.Whereas on my copy of the record, the discontinuity is just about a sixteenth note, or so.So, there must have been at least two masters (laquers) cut from which stampers have been made, at least of side B of the record.Is there a copy around, where both intros, the acoustic and the electric intro join into the body of the song without a glitch in contiuity of the music?
I have a pretty clean transition on just one drink...I have already filed down the spindle hole myself... it was sort of worth it...it was bad...like a 1/4 inch out.. even now with near perfect alignment, it still sounds sub par and hissy. ALSO, mine is the mispress where the back cover is totally upside down,.. purchased via Amazon... not from the Third Man Vault FYI...I should have sold it instead of filing it down honestly. So bummed...I've never been so excited to buy an album and then be immediately disappointed w both sides once received. Music = A++++Quality = D+
Look for a copy with ONLY "TMR•271-B" in the deadwax, and absolutely NO additional deadwax markings, on side 2. I own one of these, and can confirm that both intros to "Just One Drink" merge seamlessly and flawlessly without skipping, repeating, skating or otherwise 'glitching', as well as the fact that side 2 has absolutely no deadwax space at all.I'm serious - I've tried my copy on 3 different turntables, and on all of them both intros converge without a single hitch.I got mine in December 2014 at Amoeba Music Hollywood, meaning that this new lacquer cut with the fixed double-groove feature was introduced rather early on in the album's run. Guess I'm lucky, considering that many others that have reportedly purchased Lazaretto much later on ended up getting the infamous "KITCHEN SINK XI" version, which is what you have.
On my copy of Lazaretto Ultra LP there is virtually NO continuity problems. On the transition from the electric intro to the body of the song there is a noticeable "pop" but that's all. On the transition from the acoustic intro to the body it is basically seamless. This is on the copy with no run-out grooves and the badly off centered grooves.My roommate's copy DOES have a small glitch on transition from the electric intro to the body of the song. Very small glitch...reminds me of a single CD skip.I have actually been considering drilling the center hole on my copy in attempt to correct the off center grooves. The grooves are SO off center (sways maybe 1/4 inch!!!) that it sounds like a warped record. I've never tried re-drilling a record before. I am quite skilled at permanently removing a record skip though...
Ok...I got to ask. Has anybody else noticed that there are 2 different stampers? or versions? of the Ultra LP on black vinyl? Both with all the nifty tricks that make this album so neat.On SIDE B of the copy I own (Matte finish) the grooves are very noticeably off center, including the hidden track under the label. Also on my copy, the grooves on SIDE B play ALL THE WAY to the record label (I thought it might hit the label!) There is no run-out area or even anything that looks like a run-out area. It has (playable) grooves from edge to label. It has the repeating locked groove with the crows nearly touching the record label.My roommate also got a copy of the Ultra LP. On SIDE B of his copy (also Matte finish) the grooves are nearly centered. Also on SIDE B of his copy, there is what appears to be a run-out area (without grooves?) It hits the repeating locked groove with the crows before this run-out area...approx 1/2 inch from the record label.
Hello, my copy seems to be the later one you mentioned.Don't know about copies with off-center grooves, though.But, read my other posting on this topic.
Lots of cracking noises on both sides, will try cleaning and report back!
Not impressed one bit with the sound quality. Is it supposed to sound so reserved and fuzzy? And while I think it's pretty nifty that it's got so many gimmicky features, it simply makes the vinyl and PITA to play, particularly side A. I refuse to try the hidden tracks on the label. No reason to risk destroying my stylus.
I've had three copies of this from three different UK sellers in the last couple of weeks and had to return them all as track one sticks in a groove half way through. I've given up now as I'm assuming the current pressing available in the UK is faulty. Before anyone asks, I know it plays backwards!
Unsure why you are getting this. I have purchased recently from amazon and I can confirm I do not have this problem. I'm based in the UK.
I think it's a feature of the Ultra Album - https://www.youtube.com/watch?v=i-8B-_Jq2ro
After cleaning my copy with a Project VC-S and trying it on my new system today, I have to say that my copy is absolutely flawless. Not a single noise apart from what was intended on the recording. Silence between tracks etc. So nice to hear analogue to analogue with no digital intervention. The extra features make for interest but the actual music is also very good. Very clean and deep sounding album. I loved it.
If Jack purposely included scratches, pops, and skips, then he's a genius. If not, then I would start pressing elsewhere. My copy was dirty. Little pieces of vinyl were clinging to the record. Had to clean it twice. Ironically, this was the first album I played on a newly installed new cartridge. Of course I thought the cart was bad, until I read these reviews. I love the music. I love the minimalist vibe. I love the eclectic attraction. I HATE the sound, but I get it. Awesome album. If you don't like all the bells and whistles, and skips, just listen to the MP3s. Definitely one for the collection!!
My copy was dirty. I also had to pull of some of the edges. Also I found the hole was a little too tight. As for click and pops, I always clean my records prior to playing for the first time and ensure I put them in a new clean cover (never the sleeve provided)
For the love of god, Jack White, stop using United Record Pressing...
Really love the album but the musical quality of this pressing leaves a lot to be desired. It's not horrible as people tend to make you think but it could and should certainly be a lot better. (still a fantastic album tho)
In my opinion quality matters more than a different features. The noise floor on this one is very high. Sounds like it was recorded off the ferric cassette tape. I did in fact try to record it onto a cassette and the hiss of recording exceeded that of a tape. The highs and overall sound is not clear also, there's no punch to it. Analog audio isn't meant to be like this. As for the features of the record I didn't notice any flaws in double-groove track and side A plays fine from center to the edge, so it's not the pressing itself but mastering problem. For those who really likes this album I recommend to stick with a 96/24 FLAC or an MP3. No point buying this record other than for a collection.
I'm hoping for a rerelease of this along with the rest of the White Stripes albums when Third Man opens the new record plant. I really hope for a better pressing of all their records (not taken through United). I just want them to release this without all the dumb gimmicks. Yeah, it makes it cool as a conversation piece, but I'd worry about this record skipping a lot with all the "dual grooves" and the inside-out side.
Received this LP today. To be honest, I don't think it deserves such harsh criticisms as found below. The sound quality isn't superb, but I would not saw it is poor. Mediocre to good. As for the actual tracks, this is one for Jack White purists.
Good album but poor quality sound for a 'third man records' label
Very nice features of the release but very poor sound quality.
All of these bonus features seem neat and all, but it's excessive to the point of just becoming one big gimmick. Is there much appeal to this outside the realm of record collecting?
I look at it as a proof of what can be done. It's a little over the top but from an artistic perspective, it's the equivalent of all the bonus and extra features you sometimes get on a DVD. In years to come it will be found by someone and they will be amazed.
Really shoddy quality control on this one. Third Man Records should avoid all these pressing gimmicks like alternate intros and concentrate on putting out decent quality records. Music isn't great either. Avoid this LP!
Personally, mine has Side One on the Side Two and vice-versa...
I heard that this isnt mastered very well. Its fully analog but could be better.
I would say that the major concern is that it was pressed more times than you can imagine.
One of the untitled numbers is a short cover of Curtis Mayfield's Pusherman.Maybe it's just me, without all this novetly stuff, and I like the appearance of the B side. This is a rather average album, musically speaking.
A phrase I was once told was "all fart and no follow through". I think that definitely describes this LP.
White gold
I pre-ordered mine from third man and it came promptly. The quality was great and I didn't notice any flaws at all.
One of my black vinyl copies has side B labels on both sides. The three i opened all had download codes. One of those did have two lyric sheets. Didnt open any others. One of my favorite JW/WS albums.
my copy has a side one sticker on both sides. Is this a known flaw?
Pictures of the labels are incorrect. As stated above this is a mispress version with on both sides Label: "side two"
a warning would be nice to avoid damage to needles....Regarding side "A"
Side A doesn't "damage" needles. Care to let us know what you are talking about?
Im thinking maybe that the record starts from the label matrix and grooves out.....im assuming
what exactly you're talking about?
I got my copy today from my local independent record store and it sounds amazing. I just have a question, did anyone else's copy come with two lyric sheets?
I picked up a copy of Lazaretto last night and it did not contain a barcode or a hype sticker. Is this a 2nd pressing?
well I just picked up a copy from local record shop...barcode was a sticker attached to shrink....so Im not sure, were there some covers with the barcode physically printed on?....So, Ive been no help.
Sermak Light
Im looking into it right now but I believe they still all fall into the 1st pressing (unless the limited swirled copy was pressed first technically that might be argued) but I am thinking all copies without barcodes came straight from Third Man Records website....let me know if you have found any info that's diff
So has anyone already figured out which songs are mixed differently for this release or are the differences not really audiable?
just one girl
Well it has dual grooves so you kinda have to get lucky and drop it in the other groove which is an acoustic version of that song. Kinda cool in my opinion. Then there is also the hidden label songs which are also pretty tricky to set up.
Got mine from 3rd man records, but must have a slight misspress on mine. The side B the electric version intro skips into about a second or two of the acoustic intro ending and then into the joint groove. The acoustic runs seamless. Like the hologram though.
Same for mine... annoying.
hey, on mine the electric plays ok but then goes back to the acoustic version for 1 turn before going to the normal song... the acoustic intro plays perfectly though.
same for me, a bit disappointing :(
i think thats with all of them,its how its made with the joint groove.the electric skips(or goes in the song,you hear the word just twice)and the acoustic runs through without the skip,or the word just twice....
My side b has more scratchy background noise than you would expect from new vinyl. Is this because of the matte finish. Anyone else hearing this?
Ronnie_White_Vinyl Both sides have some hiss in the background. This is because there is no compression used in the production. Therefor you keep all the dynamics in the recorded sound but there will be some noise. We are all a bit spoiled by digital recording I guess. Not at all. If you'd listen to a good quality records mastered from analog tape you'll notice no hiss, but this one sounds worse than a cheap old cassette tape, and I know how good a sound from cassette can be. In other words they did it on purpose. And there's a lot of compression on drums and on vocals. Yet overall compression. Don't let yourself be fooled. Dynamics are very poor. Actual dynamic range hardly gains 8 db Low level recording and background noise doesn't mean it's not compressed.
Not at all. If you'd listen to a good quality records mastered from analog tape you'll notice no hiss, but this one sounds worse than a cheap old cassette tape, and I know how good a sound from cassette can be. In other words they did it on purpose. And there's a lot of compression on drums and on vocals. Yet overall compression. Don't let yourself be fooled. Dynamics are very poor. Actual dynamic range hardly gains 8 db Low level recording and background noise doesn't mean it's not compressed.
same with me. not an audiophile, a careless and incautious pressing. lots of clicks 'n pops.
Same for me
Jack said in an interview that to achieve the matte finish the master plates were sanded down, I'm not too sure how this was done but I'm pretty sure sanding the masters is not going to do anything for the sound.
Thanks. That makes perfect sense and yes, we have been spoiled by digital recordings.
Both sides have some hiss in the background. This is because there is no compression used in the production. Therefor you keep all the dynamics in the recorded sound but there will be some noise. We are all a bit spoiled by digital recording I guess.
I heard the same thing and thought it was most likely caused by the matte finish. Not sure though.
Your needle(stylus) will not be damaged by playing through the label. Your needle will more likely get damaged by playing uncleaned second hand records. So don't hesitate and try all the features on Lazaretto!
I have a ProJect Debut Carbon Esprit, with 2M red, and i also have a short "scrashhh" (short, but quite loud) with the electric intro when it merges into the common groove. The acoustic intro merges perfectly though.Anyway, the sound of this LP is awesome !
I emailed Third Man Records about that issue, and it's normal.
Both sides play fine on a low-end Numark TTUSB turntable. I have not (and will not) try the hidden-tracks under the label.
How do I remove the center labels for playing the hidden tracks?
You don't. Just drop the needle on the black outside ring on the label. And adjust the speed
doesnt Do You
You don't, just play over the label (though probably not recommended if you have a nice needle)
Same here, a small "pop" from the electric intro, the rest plays fine. Yes it is a ittle tricky to play the inside out groove, but after listening twice, i know where to put the needle.
alright, so anyone else have a pop/skip when the electric intro merges into the body of the song on "just one drink".. also notice a repetitive clicking on both intros, more pronounced on the acoustic intro, is this normal (part of the mix)? also the sweet spot to drop the need so it actually catches and plays side A (Instead of getting all caught up in the hologram etching) is like 1mm.. same for others?
Same thing happens on mine and it's the Vault version (blue/white vinyl).
totally a pressing issue, i tried different vtf's and stuff... hey.. is there a repetitive clicking/popping on both intros.. i think it might be on purpose..either way.
Same issue. Acoustic intro merges fine but it skips back a groove or two when the electric intro merges with the main groove. Tried adjusting anti-skating weight but the more I experiment the more I think it's a pressing issue.
I have a Technics SL-BD20 and I could play both sides, but I couldn't play the hidden tracks. The Technics turntable thinks the record is over after a certain point and automatically retracts (which doesn't matter since my turntable doesn't play 78rpm). Also, to my knowledge, the paper portion of the album is not good for the needle. It's cool that Jack White is innovating with vinyl, but there are definitely some kinks.
i'd like to buy this album but i'm really wondering if side A playing from the inside out is problematic or not...? the stylus can be damaged, am i right ? inverse force on the stylus + antiskating....?
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