Search Results for:

THIRD MAN

Adult

Live At Third Man Records

    ADULT. have been stalwarts of national independent music for almost two decades, releasing their perfectionist hybrid of darkwave and synth-pop with respected labels Thrill Jockey, Kill Rock Stars, Ghostly International and, most recently, Mute. The soundscapes this Detroit duo sculpts by synthesizer stabs and sparse drum machine rhythm are icy, dense and precise. This release showcases the group in rare form, complete with the totally unexpected and kind of jarring sound of raucous audience laughter in place of typical applause as the intro as well as a light audible fuzz created by the third member of the group that night, their fog machine ;) Best of all, two of the tracks, Misshaped and Does the Body Know?, make their premiere on this release. ADULT. have outlasted any number of micro-electronic music scenes with whom they could have been grouped and, with their live show down to a science, prove that they will be worth a damn for a long time coming.

    Redd Kross

    Phaseshifter

      Brothers Jeff and Steve McDonald formed Redd Kross (originally Red Cross) in Hawthorne, CA in the late ‘70s. Rumor has it that the band name was inspired by a prop from the 1973 horror film, The Exorcist. Their first show was opening for Black Flag and they released their debut record the mythical “Posh Boy” EP in 1980 when they were just 17 and 13 respectively. The “Posh Boy” EP features Black Flag’s 2nd singer, Ron Reyes, on drums and founding member of Circle Jerks, Greg Heston, on guitar.

      1982 saw a line up change and the release of Born Innocent, a high water mark of American Punk Rock. Containing nods to Jim and Tammy Faye Baker, Linda Blair, Lita Ford and breakfast cereal as well as a killer cover of Charlie Manson’s Cease To Exist. Redd Kross loves pop culture. The brothers have kept Redd Kross going through the decades (and line-up changes), releasing 7 studio albums and a slew of EPs and singles. They have also stayed busy with side projects, production gigs and even occasional acting jobs.

      What are Redd Kross? Punk Rock? Psychedelia? Heavy Metal? Bubblegum? Power Pop? Whatever they are they are 100% Redd Kross, the catchiest of catchy, chock full of hooks, melodies and harmonies, impossible to not smile and sing along…..maybe even dance. Their live show just keeps getting better. Redd Kross are one of those rare bands who would be equally at home in a dark punk club and on stage at the Enormodome.

      40 years in and hot on the heels of their amazing 2019 album Beyond The Door, Third Man Records is proud to announce the reissue of two of their beloved 1990s albums, Phaseshifter (1993) and Show World (1997).
      The brothers are joined by drummer Brian Reitzell, guitarist Eddie Kurdziel (R.I.P.) and keyboardist Gene Fennelly on 1993’s Phaseshifter. Redd Kross leaves the ‘60s and ‘70s pop culture references at the door (well, most of them) and brings their strong melodies, dreamy harmonies, psychedelic punk/bubblegum metal to the front, tearing through 12 new Redd Kross tunes. Every track is a full-on Redd Kross gem, with standouts like Crazy World, Dumb Angel, Pay For Love and After School Special.

      Redd Kross

      Show World

        Brothers Jeff and Steve McDonald formed Redd Kross (originally Red Cross) in Hawthorne, CA in the late ‘70s. Rumor has it that the band name was inspired by a prop from the 1973 horror film, The Exorcist. Their first show was opening for Black Flag and they released their debut record the mythical “Posh Boy” EP in 1980 when they were just 17 and 13 respectively. The “Posh Boy” EP features Black Flag’s 2nd singer, Ron Reyes, on drums and founding member of Circle Jerks, Greg Heston, on guitar.

        1982 saw a line up change and the release of Born Innocent, a high water mark of American Punk Rock. Containing nods to Jim and Tammy Faye Baker, Linda Blair, Lita Ford and breakfast cereal as well as a killer cover of Charlie Manson’s Cease To Exist. Redd Kross loves pop culture. The brothers have kept Redd Kross going through the decades (and line-up changes), releasing 7 studio albums and a slew of EPs and singles. They have also stayed busy with side projects, production gigs and even occasional acting jobs.

        What are Redd Kross? Punk Rock? Psychedelia? Heavy Metal? Bubblegum? Power Pop? Whatever they are they are 100% Redd Kross, the catchiest of catchy, chock full of hooks, melodies and harmonies, impossible to not smile and sing along…..maybe even dance. Their live show just keeps getting better. Redd Kross are one of those rare bands who would be equally at home in a dark punk club and on stage at the Enormodome.

        40 years in and hot on the heels of their amazing 2019 album Beyond The Door, Third Man Records is proud to announce the reissue of two of their beloved 1990s albums, Phaseshifter (1993) and Show World (1997).
        Phaseshifter line-up intact (Gene Fennelly would soon move on, but plays all the keyboards on the recording), Redd Kross came back at us with amps turned up and smiles on their faces on 1997’s Show World. The album starts off with a spot on cover of The Quick’s L.A. power pop classic, Pretty Please Me, and sets the tone for yet another killer album by the thinking person’s good time band.

        Like all RK albums before and since, this one is all killer, no filler, with special highlights Stoned, Vanity Mirror, One Chord Progression and the absolutely sublime Follow The Leader.

        Brendan Benson

        Dear Life

          “There's something about this record,” Benson says, describing his Third Man Records debut album Dear Life. “A friend of mine called it ‘life-affirming.’ I thought it was a joke at first but then realized, well, it’s about life and death for sure. I don’t know if that’s positive or optimistic or whatever, but that's what's going on with me.”

          Brendan Benson finds himself in an enviable spot as he enters the third decade of a remarkably creative, consistently idiosyncratic career – an accomplished frontman, musician, songwriter, producer, band member, husband, and dad. Benson’s seventh solo album, and first new LP in almost seven years, Dear Life is this consummate polymath’s most inventive and upbeat work thus far, an 11-track song cycle about life, love, family, fatherhood, and the pure joy of making music. Produced and almost entirely performed by Benson at his own Readymade Studio in Nashville, the album sees the Michigan-born, Nashville-based artist – and co-founder, with Jack White, of The Raconteurs – reveling in a more modernist approach than ever before, fueled by a heady brew of cannabis, hip-hop, and a newly discovered interest in software drum programming. The result is an untapped playfulness that elevates expertly crafted songs like the opener, “I Can If You Want Me To,” and the first single, “Good To Be Alive,” with voluble arrangements, elastic grooves, and incandescent power. Imbued with revitalized ambition and confidence, Dear Life is Brendan Benson at his very best.

          Beginning with his now-classic 1996 major label debut, One Mississippi – recently reissued by Third Man in its first-ever vinyl pressing – and its masterful 2002 follow-up, Lapalco, Benson has always infused classic craftsmanship with contemporary invention. Along with his own critically acclaimed canon, Benson is of course co-founder – with Jack White, Jack Lawrence, and Patrick Keeler – of The Raconteurs. The band first convened in 2006, winning worldwide acclaim, Grammy Award nominations, and a chart-topping smash single in “Steady As She Goes,” with their now-classic debut album, Broken Boy Soldiers The Raconteurs returned two short years later with 2008’s Consolers Of The Lonely. Like its predecessor, the LP proved a popular and critical phenomenon, earning the Grammy Award for “Best Engineered Non-Classical Album” as well as a nomination as “Best Rock Album.”

          Dear Life came about gradually and organically after a self-imposed creative hiatus rooted in the happy arrival of his son and later, a daughter. Having spent the majority of his adult life on the road, Benson decided he’d prefer to stay home for a change and just be a dad. “I just couldn’t bear the thought of leaving,” he says. “I was so enamored with my kids, I just sort of lost touch with my career. I just didn’t want to go back to work.” Instead, Benson directed his musical energies elsewhere and fast proved an in-demand producer/engineer (Robyn Hitchcock, Young The Giant, Trapper Schoepp, The Greenhornes) and collaborative songwriter, with a CV that includes partnerships with Jake Bugg, Iain Archer (Snow Patrol), and The Kooks’ Luke Pritchard, among others. Despite his successes, after a few years in this voluntary wilderness, Benson surprised himself in 2017 by writing and recording the rocker “Half A Boy (And Half A Man).” “It just felt really good,” he says. “I felt like I was like born again. Seriously, it was almost a religious experience, like, oh my God, I love making music. I had forgotten. That’s how it started. It was kind of a spark. A re-ignition.”

          FORMAT INFORMATION

          Coloured LP Info: Transparent pink vinyl.

          Boris

          Love & Evol

            2019's release from Japan's Psych Lords, Boris. In turns dynamic, droney, stoney, dreamy and beautiful, these albums contain multitudes. Boris continues to push their sonic palette into new mind-shreddy directions. Formed in 1992, Boris boldly explores their own vision of heavy music, where words like “explosive” and “thunderous” barely do justice. Using overpowering soundscapes embellished with copious amounts of lighting and billowing smoke, Boris has shared with audiences across the planet an experience for all five senses in their concerts, earning legions of zealous fans along the way. Buy if you dig: Sunn O))), Sonic Youth, shoegaze, shitgaze.

            STAFF COMMENTS

            Barry says: Japanese dronelords Boris return to the unlikely, but 'thinking-about-it,-it-actually-makes-sense' home of Third Man for their latest excursion in hazy psychedelic distortion and arrhythmic cataclysmic heft. They've always been one of the most prolific and productive outfits on the scene, and that clearly shows on this mindblowing new opus.

            Boris

            Akuma No Uta - Reissue

              Official reissue of Boris' 2003 flawless release. Drone waves meet heavy guitar heroics in a satanic pinky violence gang fight at the schoolyard. This ones for the Heads. Buy if you dig: Sabbath Worship, Comets on Fire, acid, leading children astray, Boris.

              Third Man Records

              Record Middle - Yellow

                How cool are these? Third man record middles, for playing dinked 7" singles.
                We've only got a couple of these beauties, so don't snooze!


                FORMAT INFORMATION

                Accessories Info: Yellow with black logo.

                The Raconteurs

                Broken Boy Soldiers - 180g Vinyl Reissue

                  The Raconteurs consist of Jack Lawrence (bass), Patrick Keeler (drums), Brendan Benson (guitars, vocals, keys) and Jack White (guitars, vocals, keys). The seed was sewn in an attic in the middle of a hot summer when friends Jack White and Brendan Benson got together and wrote a song that truly inspired them. This song was ‘Steady, As She Goes’ and the inspiration led to the creation of a full band

                  FORMAT INFORMATION

                  Ltd LP Info: 180gram vinyl with a copper-embossed gatefold tip-on jacket.

                  Boris

                  Feedbacker - Reissue

                    First-ever US issue of this key 2003 release from Japan's shapeshifting heavy lords, Boris. The album title says it all. Immerse yourself in 43 minutes of sonic waves of slow-building fuzz, feedback and layered dimensions where lysergic solos and unintelligible vocals compete for their place deep inside your ID. Buy if you dig: Sun O))), Sleep, Boris.

                    Olivia Jean

                    Night Owl

                      Olivia Jean is back on the beat with her second full-length (and first self-produced) album, Night Owl, due out August 30, 2019 on Third Man Records. The album mines the shared spaces between bubblegum, beach pop undercurrents and fuzzed out garage a la B-52s and Dick Dale, lyrically diving headfirst into the frustrations of perfectionism, mental barriers, obsession and modern heartache. Unlike Bathtub Love Killings on which we found Olivia playing every instrument on the vast majority of the album, Night Owl is decidedly more collaborative, with a studio band of buddies backing up her up. Night Owl is exactly what it sounds like: the wee-hour workings of an artist engrossed in a project, pushing against omnipresent forces of fear and judgment to do exactly what you’ve always wanted to do and be exactly what you’ve known you are. It’s candy-coated and also bittersweet, fully aware and also full-hearted.

                      Various Artists

                      Ann Arbor Blues Festival 1969

                        Ann Arbor Blues Festival 1969, is a 50th anniversary celebration collecting previously unheard songs by such blues legends as Howlin’ Wolf, Muddy Waters, B.B. King, James Cotton, Son House, Magic Sam, T-Bone Walker, Junior Wells, Big Mama Thornton, Clifton Chenier, Son House, Mississippi Fred McDowell, Lightnin’ Hopkins, J. B. Hutto & His Hawks, Roosevelt Sykes, Luther Allison, Otis Rush, Big Joe Williams, Charlie Musselwhite and more. 

                        The historic gathering was presented by a small group of blues-obsessed University of Michigan students determined to give their blues heroes a public spotlight where they might shine before it was too late. Among those enterprising student-promoters was John Fishel, whose teenage brother Jim Fishel, gathered some friends to help record the festival as a personal memento. Taking advantage of their all-access pass and juggling a small Norelco tape recorder from set to set, the friends let the 1⁄4” tape roll. Though field recordings in the literal sense of the term, they capture the brilliance of the musicians, the excitement of the crowd and the loose, convivial nature of the entire festival. Those tapes, long thought to be lost, have now been lovingly restored to capture the electric energy of the landmark concert. Both volumes include never-before-seen photographs, an exclusive reminiscence from Jim Fishel, and extensive liner notes by Parker Fishel, Sophie Abramowitz and David Beal.

                        STAFF COMMENTS

                        Darryl says: Released on Jack White’s Third Man label, this is a 50th anniversary documentation of the historic and legendary blues festival. Sprawling across a double CD and two volumes of vinyl this epic compilation features previously unheard material from the likes of Muddy Waters, Son House, Howlin’ Wolf, Lightnin’ Hopkins and many many more.

                        From the new track’s opening “I Ain’t Your Baby,” the Nashville singer, songwriter, downtown scene slayer, and most-wanted fiddler signals a reclaimed confidence and bold evolution, telling women’s stories - including her own - that build on the strength of her “nervy” (NPR Music), 2017 Jack White-produced debut. Lillie Mae led a sequestered childhood touring in a motorhome with her musician parents, constricted by religious boundaries. In her adolescence she busked from RV parks to the Rio Grande, swept through Nashville clubs, and achieved Top 40 country status in her sibling group Jypsi, but on Other Girls, a new side of herself emerges with more to say than ever before. She embraces personal triumphs on “I Came For The Band (For Show),” breathes new perspective into “Terlingual Girl,” a song she wrote as a 19-year-old in the South-Texan desert, and professes brave truths as heard in “You’ve Got Other Girls for That.” After a vagabond past, crossing paths with hundreds of musicians, she limits the cast of Other Girls to just her brother, sister, and a few trusted collaborators. Lillie Mae will debut songs from Other Girls live this summer, as she supports the Raconteurs across the west coast. She will also join Robert Plant on tour, both opening for him and playing in his band. 

                        STAFF COMMENTS

                        Barry says: Other girls is a brilliantly written mix of classic country chord structures and the slightly gloomy reverb and poignant minor key changes of modern folk, all brought together with deft production and a stunning vocal performance from Lillie Mae. Stunning stuff.

                        'Help Us Stranger' is The Raconteurs' third studio LP and first new album in more than a decade. It sees the mighty combo reassembled, stronger and perhaps even more vital than ever before as they continue to push rock 'n' roll forward into its future, bonding prodigious riffs, blues power, sinewy psychedelia, Detroit funk, and Nashville soul via Benson and White’s uncompromising songcraft and the band’s steadfast musical muscle. With 'Help Us Stranger' The Raconteurs have returned right when they are needed most, unified and invigorated with boundless ambition, infinite energy and a collectivist spirit operating at the peak of its considerable powers, once again creating a sound and fury only possible when all four of its members come together.

                        White and Benson wrote all the songs on 'Help Us Stranger' except one cover, “Hey Gyp (Dig The Slowness),” which was written by Donovan. Recorded at Third Man Studio in Nashville, TN, the album was produced by The Raconteurs and engineered by Joshua V. Smith. Longtime friends and musical collaborators helped make 'Help Us Stranger', including keyboardist/multi-instrumentalist Dean Fertita (The Dead Weather, Queens of the Stone Age) and Lillie Mae Rische and her sister Scarlett Rische. The album was mixed by Vance Powell and The Raconteurs at Blackbird Studios in Nashville.


                        STAFF COMMENTS

                        Mine says: After focusing on his solo career and his label Third Man Records, Jack White is reuniting with his Raconteurs for their first studio album since 2008. They pick up where they left off (ish) and, taking it up a notch, create an album that feels more energetic than its predecessors. Fans of Jack White's latest solo album will probably dig this.

                        Death From Above

                        Heads Up Demos

                          Hot-off-the-Third Man Press, Death From Above’s completely unheard and unreleased demos from their first release, the Heads Up EP, gets the vinyl treatment. This black vinyl 7" comes with three cover art variants — distributed at random.

                          Liza Anne

                          Live At Third Man Records

                            Recorded right before the release of her Arts & Crafts instant-fan-making debut Fine But Dying, both the A-side "Take It Back" and the B-side "Overnight" are from local popster Liza Anne's self-released album Two. "Take It Back" is moving, propulsive indie pop at its finest, somehow better with the strong conviction of their message captured live.

                            "Overnight" starts out as a threadbare folk rock tune and compounds and builds up until, finally, the smoke clears again right before the finale, creating an impactful air around the last words sung.

                            Datenight

                            Bad Times / Not Myself

                              We are proud to release the second ever vinyl release from garage stomping, punk slugging rockers Datenight. Datenight have been playing what feels like every good show in Nashville for the past couple years. Their manner of smearing punk music with extra distortion and a dollop of pop, in the vein of Toy Love and the Oblivians, is incredibly contagious and just fun to see live. Anchored by impenetrable brickwall drumming, their A-side single “Bad Times” is an energetic maelstrom centered around the chorus mantra “can’t do it all by myself!”, which acts as a welcome invitation to the crowd to yell along with them.

                              Spray Paint

                              Cussin'

                                The Third Man team have been fanatics of Spray Paint’s sound for a minute. Their sound hits the sweet spot between the atonal movement of no-wave and nihilistic post-punk, like Mark E. Smith covering MARS. This chronicle of their live set in the Blue Room is excellent evidence. The fi rst track, “Cussin’”, originally released as an A-side in 2014, is even more tense and volatile in this live recording, held together by the loose glue of its hypnotic rhythm section. In light of the noxious political present, these live songs feel very urgent and necessary.

                                Sun Seeker

                                Biddeford

                                  Sun Seeker has carved out a universe all their own in Nashville, TN. Biddeford, their first EP and second release on Third Man Records, is near combustion level with beautiful atmospherics, willful lyricism and a supernatural ear for atypical pop hooks which should ring immediately familiar to fans of their debut 7’’ “Georgia Dust”. Six charming vignettes explore friendship, romance, and the daydreams populating the space between them.

                                  EP highlight and single, “Won’t Keep Me Up At Night”, gives us the best of singer and principal songwriter Alex Benick – his ability to breathe life and a depth of scenery into a song, especially with the clever rhythms of drummer Ben Parks and guitarist Asher Horton’s near-perfect pop instinct.

                                  Sun Seeker has climbed into broad daylight, into blessed dynamics, and every song blossoms as a result of it.

                                  STAFF COMMENTS

                                  Barry says: Sun-soaked guitars and hazy basses roll around the mix, topped with beautifully shining vocal melodies and imbued with vague melancholic leanings. It's a beautiful and endearing outing from Sun Seeker, and one set to endure for a time to come.

                                  Neil Michael Hagerty & The Howling Hex

                                  Live At Third Man Records

                                    Neil Michael Hagerty is best known as the laconic frontman of 90s noiseforward
                                    rockers Royal Trux. Back in September of 2016, NMH and The Howling
                                    Hex showcased an off-kilter garage stomp fused with avant-blues aggression.
                                    The two songs presented here are the surest insight into the mind of someone
                                    who helped redefi ne rock ‘n’ roll by completely destroying it, but has since
                                    settled into more cogent outbursts.
                                    • Hometown: Washington DC / Denver, CO
                                    • Recorded September 23, 2016 in Third Man’s Blue Room

                                    The White Stripes

                                    Get Behind Me Satan

                                      The White Stripes’ 2005, fifth studio album reminds listeners of the fundamental nature of their production. While still maintaining their iconic elements listeners can immediately identify with The White Stripes. Jack White trades in his classic, guitar heavy elements for piano ballads, mandolin, acoustic guitar and even some touches of marimba.

                                      The Rolling Stone declared this album so “wild, it could make you weep over how pitilessly the Stripes keep crushing the other bands out there.”

                                      ‘Get Behind Me Satan’ ranked Number 3 on both US and UK Charts, trumping their preceding albums’ rank on US Charts. The album’s first track and single, ‘Blue Orchid’, became a fast radio hit in the US and UK, making it the band’s second UK Top 10 hit.

                                      The album’s second single, ‘My Doorbell’, boasts a piano and drums charge, reviewed by NME as the “funkiest tune The White Stripes have ever put their name to.”

                                      Slant Magazine invites listeners to “take solace in the unbridled honesty of simple, solid rock n’ roll” of ‘Get Behind Me Satan’, while Pitchfork crowns the album as some of The White Stripes’ best work.

                                      ‘Get Behind Me Satan’ is that raw, foot-stompin’, soulful sound that will take your imagination to that peaceful front porch in some cosy Southern cabin so sit back and stomp your foot to the melodic acoustic guitar, piano, stirring vocals and crickets.

                                      First time commercially available on 180gram black vinyl. Comes with digital download code of the album.


                                      Latest Pre-Sales

                                      118 NEW ITEMS

                                      Honoured to be name checked by the great @johngrantmusic as one of his favourite record stores around the world alo… https://t.co/cuRnUY2qsl
                                      Wed 8th - 2:36
                                      Mailorder info and updates this way https://t.co/xyz2ixzHj8 https://t.co/PFPdfzx59U
                                      Wed 8th - 1:42
                                      Wonderful! Glad they’ve safely arrived, thanks for sharing. Looking great 👌🏻 https://t.co/KL1FeNcZ4F https://t.co/zWVyR7J8aG
                                      Wed 8th - 12:38
                                      We miss you all - especially all our furry friends. Looking forward to welcoming you back some time in the not too… https://t.co/fVNJtMoBEO
                                      Wed 8th - 12:17
                                      Today’s #isolationselection is from shop co owner Laura who has chosen ‘Uneasy Laughter’ from Los Angeles-based ban… https://t.co/5XkyCLgYeG
                                      Wed 8th - 11:45
                                      E-newsletter —
                                      Sign up
                                      Back to top