It was the summer of 2005, and I was embarking on a driving holiday around the Scottish coastline with my then-girlfriend—who, rather scandalously, was also my boss at that time. As we departed from Glasgow to explore the misty lochs and beautiful glens, we picked up a CD for company: The White Stripes’ freshly released classic ‘Get Behind Me Satan’. We had no idea that this album would become the unforgettable soundtrack to our rather unconventional adventure.
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After the massive success of ‘Elephant’—which featured the hit single ‘Seven Nation Army’—Jack and Meg White took a dramatic shift in direction. ‘Get Behind Me Satan’ was recorded in Jack's Detroit home, newly named Third Man Studios, over a swift two weeks earlier in 2005. The recording sessions were said to be troubled by technical issues—like malfunctioning tape machines and leaking ceilings—but it appears that, in a positive way, this chaos infused the album’s diverse sound.
For the most part, the White Stripes’ distinctive chunky guitar riffs were absent. Instead, the marimba took the spotlight. Reportedly, Jack discovered the instrument while waiting to rent a piano and decided to weave its soft percussive tones into songs like ‘The Nurse’ (a standout track) and the poignant ‘Forever For Her Is Over For Me’. What emerged was a truly captivating new soundscape, representing art rock at its most powerful.
Of course, he didn’t completely abandon the fuzz pedal. The lead single ‘Blue Orchid’ was added at the last minute. Always a savvy commercial strategist, White wrote and recorded this song just weeks before the album's release. Its distorted guitar and falsetto vocals created a contrast against the piano and marimba-driven tracks, offering a familiar touch for fans.
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‘Little Ghost,’ a bluegrass-inspired number featuring mandolin, was composed in a mere ten minutes. Interestingly, Jack crafted it during a break on the set of the film Cold Mountain, where he crossed paths with actress Renée Zellweger. Their short-lived romance adds yet another layer of intrigue to the album’s story. Those Appalachian harmonies are simply exquisite.
Throughout ‘Get Behind Me Satan’, recurring themes of self-discovery and identity dominate. It’s well known that Jack had a fascination with golden age actress Rita Hayworth, who changed her name and hid her background to conform to Hollywood standards. ‘Take, Take, Take’, a sonically stunning track later in the album, is much more than just another song that suggests Jack White has a penchant for redheads. It offers a surreal depiction of celebrity obsession that reveals Jack’s increasing discomfort following the massive success of ‘Elephant’.
Despite its divergence from The White Stripes’ characteristic sound, the album was received quite well, particularly in my boss’s dark green Mondeo. It won the Grammy for Best Alternative Music Album, yet it remains one of their most misunderstood works—a reflection of the duo’s growing audacity in defying industry norms. Remarkably, Jack chose not to release ‘Get Behind Me Satan’ on vinyl in 2005, as a pointed challenge to fans and the prevailing industry trends. It wasn’t until 2015, for Record Store Day, that it was pressed on vinyl. Furthermore, most tracks were reportedly recorded in just one or two takes, intentionally rough around the edges.
As for that Scottish road trip? The relationship did not endure, but the memories of winding single-track roads, gorse, dramatic peaks, and our endearingly quirky soundtrack of ‘Get Behind Me Satan’ will always be etched in my heart. ‘My Doorbell’ is incredibly fun, and ‘Instinct Blues’ is a timeless shag record. Often, it’s those unexpected detours that leave the most lasting impressions.
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Words: Andy Hill
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