Jack White is kinda obsessed with the past, but not in a "look at this dusty museum" way. More like a "I’m going to dig this up and electrocute it" way. When he dropped Lazaretto back in 2014, everyone was talking about the gimmicks. The holograms. The hidden tracks. The fact that the record played from the inside out.
But honestly? People got so distracted by the plastic that they missed the ghost in the machine.
The Jack White Lazaretto songs aren't just a collection of blues-rock riffs. They’re actually a weird, time-traveling collaboration between a 38-year-old rock star and his 19-year-old self. See, White found a pile of old plays and poems he wrote as a teenager in his attic. He decided to use them as lyrics. It’s basically a dialogue across decades.
The Tracks That Defined the Era
If you just listen to the hits, you’re only getting half the story.
"Three Women" kicks the whole thing off with a heavy nod to Blind Willie McTell. It’s got that Hammond organ that sounds like it’s screaming, and White’s bragging about his digital photographs. It’s an odd mix of 1928 blues and 21st-century vanity.
Then you’ve got the title track, "Lazaretto."
It’s basically a hip-hop song disguised as a garage rock anthem.
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White actually admitted that the song’s DNA comes from MC Lyte’s "Cha Cha Cha." He had his band listen to the track, then told them to forget it and play. The result? That jagged, 12-note riff that feels like it’s going to fall off the rails but never quite does. It’s a song about quarantine, but it sounds like a breakout.
Why "Just One Drink" Is a Technical Nightmare
You’ve probably heard this song a million times on the radio. But if you own the vinyl, you’ve heard a version nobody else has.
There’s this thing called "dual-groove technology."
Depending on where you drop the needle on the record, you’ll hear an acoustic intro or an electric intro. Eventually, the grooves merge into the main song. It’s a brilliant, frustrating piece of engineering. It’s Jack White essentially saying, "I want to control how you experience my art, even if it makes your life harder."
The Deep Cuts Nobody Talks About
While everyone was busy watching the angel hologram spin in the dead wax, some of the best Jack White Lazaretto songs were hiding in plain sight.
"Alone in My Home" is surprisingly upbeat for a song about isolation. It’s got this bouncy piano and a shaker that makes it feel like a summer afternoon, even though the lyrics are about building a fortress to keep people out. It’s vintage Jack—masking deep, personal paranoia with a melody you can whistle.
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And "That Black Bat Licorice"?
Man, that song is a trip.
It’s got a violin solo that feels like a caffeinated version of a Nashville barn dance. It’s also where he gets the most defensive, snapping at people who have opinions about his life.
- Three Women: The Blind Willie McTell reimagining.
- Temporary Ground: A country-inflected duet with Lillie Mae Rische.
- High Ball Stepper: A rare instrumental that proves he doesn't need words to be loud.
- Entitlement: A grumpy-old-man anthem that’s actually quite beautiful.
What Really Happened with the "Ultra LP"
You can't talk about these songs without the "Ultra LP."
It broke the record for first-week vinyl sales for a reason.
It wasn't just a record; it was a puzzle box.
There are two hidden tracks tucked under the paper labels in the center of the record. One plays at 78 RPM, the other at 45. To hear them, you basically have to risk scratching your record. It’s a total power move. He’s making you work for the music.
Also, the matte finish on Side B makes it look like an old shellac record from the 1920s. It’s an aesthetic choice, sure, but it also changes the tactile experience of the album. You handle it differently. You respect it more.
The Legacy of the Lazaretto Sound
Looking back, Lazaretto was the moment Jack White fully embraced his role as the "Willy Wonka of Rock."
He wasn't just a guy in a band anymore. He was a mogul with a chocolate factory (Third Man Records) and a lot of wild ideas.
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The album is dense. Some critics at the time thought it was too dense—cluttered with fiddles, harps, and over-the-top guitar solos. But that’s sort of the point. He was moving away from the "two-person" restriction of The White Stripes and seeing how many people he could fit into a single track.
If you're looking to really understand the Jack White Lazaretto songs, you need to stop thinking of it as a rock album.
It’s a collage.
It’s a mix of a teenager’s angst and a grown man’s technical obsession.
Actionable Next Steps for Collectors
If you’re just getting into this era of Jack White’s career, don’t just stream it.
- Find the Ultra LP: Even if you don’t have a high-end turntable, the physical artifact is worth it for the Tristan Duke hologram alone.
- Listen for the Piano: While everyone focuses on the guitar, Lazaretto is arguably White’s most piano-heavy record. Listen to "I Think I Found the Culprit" for proof.
- Compare the Mixes: The vinyl version actually uses different mixes and a different track order than the CD or Spotify version. It’s a completely different listening experience.
The songs on Lazaretto are a reminder that music doesn't have to be "easy" to be good. Sometimes, it’s the friction—the dual grooves, the hidden tracks, the 78 RPM speeds—that makes the art stick to your ribs.
Check out the original "Cha Cha Cha" by MC Lyte after listening to the title track. You'll never hear that riff the same way again.