According to Jack White, Get Behind Me Satan deals with "characters and the ideal of truth," but in truth, the album is just as much about what people expect from the White Stripes and what they themselves want to deliver. Advance publicity for the album stated that it was written on piano, marimba, and acoustic guitar, suggesting that it was going to be a quiet retreat to the band's little room after the big sound, and bigger success, of Elephant. Then "Blue Orchid," Get Behind Me Satan's lead single, arrived. A devilish slice of disco-metal with heavily processed, nearly robotic riffs, the song was thrilling, but also oddly perfunctory; it felt almost like a caricature of their stripped-down but hard-hitting rock.

Band of the moment, the saviours of rock'n'roll… something to write about in an age of musical mediocrity?
The White Stripes can be seen as all of the above. The hype around the release of this fourth album has gone on and on, the critics' saliva abundant. Finally it's here. Can it really change the course of mankind as we know it? Let's see.

Singles – The UA Years is a terrific double-album set that chronicles all of Dr. Feelgood's major singles, from 1976's "Roxette" to 1986's "See You Later Alligator." Although the hits-only approach leaves out some major Feelgood songs, Singles remains a first-rate retrospective, and for many years, it was the best Dr. Feelgood collection available. The 1997 double-disc Twenty Five Years of Dr. Feelgood later replaced Singles as the definitive retrospective, yet there are enough songs on this collection to make it worthwhile for serious fans who don't want to spring for either the box set Lookin' Back or the entire catalog.

Pacer is an album released in October 1995 by the Amps, Kim Deal's side project from her group the Breeders, who took a break from playing together beginning in late 1994. Deal recruited two new musicians and named the group the Amps. The band recorded Pacer at several studios in the USA and in Ireland, with different engineers each time, including Steve Albini, Bryce Goggin, and John Agnello. The album received mixed reviews, ranging from highly enthusiastic to quite dismissive. Despite radio airplay for its single, "Tipp City", Pacer did not sell well. The Amps toured in 1995 and 1996 with groups such as Sonic Youth, Guided By Voices, and Foo Fighters. In 1996, Deal changed the band's name back to the Breeders, making Pacer the Amps' only album.

Two years after the debut that enthusiased both audience and critics, Modrec has signed with Inner Ear Records and they are back with their brand new album, “Mascaraddiction”. The integral compositions and the mature English lyrics of “Mascaraddiction” reveal that, ten years after its formation, the band keeps working hard and developing. “Mascaraddiction” is an Athens kid. It breathes into the days and nights of the big city, following the crazy rhythms of its everyday life, gets inspired and records its urban landscapes, watches and comments with an almost visible, fierce and penetrating aura and vocals masterly acrobating on a spine of powerful punk-rock guitars that very often flirt with metal.

Alert Today, Alive Tomorrow is the 1999 album by California pop punk funsters The Muffs. This was the band's fourth album and the first independent album after spending four years with Warner Bros./Reprise when it was released by Honest Don's.

Hamburger is a 2000 compilation album by California pop punk band The Muffs. This was assembled after departing Warner/Reprise and became an independent band. The release of their first indie album lead to them putting together songs taken from singles and compilations, including tribute albums. This was released on Sympathy For The Record Industry (SFTRI).

Really Really Happy is the 2004 album by California pop punk band The Muffs. Released by Five Foot Two in association with Oglio Entertainment, this was their fifth full length album.

This is an album discography for when California band The Muffs were signed to Reprise and Warner Bros. Records between 1993 and 1997. They were signed for three albums before they were let go. This consists of the album The Muffs, Blonder And Blonder and Happy Birthday To Me. This also includes two promotional singles ("Big Mouth" and "Everywhere I Go") Reprise Records released for their debut album.

For most intents and purposes, Graham Parker emerged fully formed on his debut album, Howlin' Wind. Sounding like the bastard offspring of Mick Jagger and Van Morrison, Parker sneers his way through a set of stunningly literate pub rockers. Instead of blindly sticking to the traditions of rock & roll, Parker invigorates them with cynicism and anger, turning his songs into distinctively original works. "Back to Schooldays" may be reconstituted rockabilly, "White Honey" may recall Morrison's white R&B bounce, and "Howlin' Wind" is a cross of Van's more mystical moments and the Band, but the songs themselves are original and terrific. Similarly, producer Nick Lowe gives the album a tough, spare feeling, which makes Parker and the Rumour sound like one of the best bar bands you've ever heard. Howlin' Wind remains a thoroughly invigorating fusion of rock tradition, singer/songwriter skill, and punk spirit, making it one of the classic debuts of all time.

Teenage Kicks chronicles one of pop music's most exciting periods–the glory days of punk and new wave. Comprising knockout classics from The Jam, Teenage Kicks, The Clash, Ramones, Velvet Underground, Stranglers, The Buzzcocks, Siouxie & Banshees, Squeeze, Iggy Pop, The Boomtown Rats, B-52's, The Cure, Ian Dury, Graham Parker, Elvis Costello and many more, every single tune is an instant sing-a-long classic, sure to stir up fond memories of when music was vibrant, outspoken, and always refreshing.

Smothered by the indulgence of his rock star ranking, Jack White steps into the eccentricities of the supergroup, and at first glance, this seems to be a band where White's imposing presence could overshadow the rest. Not the case with these Raconteurs. Teaming with fellow Detroit songwriter Brendan Benson and Jack Lawrence and Patrick Keeler, the rhythm section from Cincinnati band the Greenhornes, White exhales a bit, deferring enough to his mates to make Broken Boy Soldiers play like a team effort. Following the Benson blueprint, "Steady as She Goes," which opens as a slice of 1960's radio pop, the record steers away from pigeonholing the rest of the way. White's in a Middle Eastern mood for the title track as he pulls off a wicked Robert Plant howl, while Lawrence and Keeler excel on the chorus-strong "Intimate Secretary" and the optimistic acoustic rocker "Yellow Sun." Like so many all-star bands before them, The Raconteurs could be one and done. But don't place the blame on this fertile and genuine debut.

2013 release, the first studio album to bear the name 'Iggy & The Stooges' since Raw Power was released in 1973! Ready To Die finds Iggy Pop, guitarist James Williamson and drummer Scott "Rock Action" Asheton reunited for a full album of all-new material with Mike Watt filling in for the late Ron Asheton on bass. The results are the closest thing to a time capsule to 1973 - or at least to Iggy's subsequent efforts with Williamson, including 1977's Kill City and 1979's New Values - that rock 'n' roll is likely to proffer in this millennium. The new album's opening one-two of 'Burn' and 'Sex & Money' pair sublimely blunt and self-explanatory subject matter with back alley razor-blade guitars and a troglodytic rhythmic stomp as intensely single-minded as Iggy's lyrical statements of intent. Elsewhere on the album, anthems abound in the form of the most dead-on rallying cry for the lower-working-class dispossessed to date–the succinctly and aptly titled 'Job' - as well as a title track that mixes a signature Iggy Pop mission statement of angry desperation with guitar pyrotechnics that recall those halcyon opening salvos of 'Search & Destroy'.

In the year or so before punk finally emerged on the London scene, the Count Bishops were the kind of band you wished everyone would sound like, without ever guessing that very soon, they would. A mere handful of other groups shared the Bishops' eye for tanked-up, dressed-down, dirty-ass R&B – Eddie & the Hot Rods, Little Bob Story, Dr. Feelgood, and the Hammersmith Gorillas were the closest, and it was a sign of those prime movers' versatility that each of them brought something fresh to the party. In the Bishops' case, it was a laconic sneer, a greaseball grind, and one of the hottest guitarists of the age, Zenon DeFleur. As both writer and performer, he nails even the trickiest riff down flat for the rest of the band to steamroller.

Their First Album is the 2017 album by The Chinchees, which is their first album. This was later released by a label but this project was originally self-released, which means they made this for their fans.