Following the release of their triumphant breakthrough album ‘Cartwheel’, which gained widespread critical acclaim from the likes of Pitchfork (8.4/10 Best New Music) and Stereogum (Top 10 Albums of 2023 - “riveting, restless shoegaze packed with massive hooks”), NYC’s Hotline TNT are back with their best album yet, ‘Raspberry Moon’. The record marks what many are calling 'the next phase in New American Shoegaze'.

Hotline TNT have toured relentlessly, including US-wide tours with Wednesday and Snail Mail, enduring seemingly endless lineup shifts to become a linchpin of several interconnecting DIY scenes. Whilst ‘Cartwheel’ was largely conceived by frontman Will Anderson (previously of cult indie group Weed), ‘Raspberry Moon’ is very much a full-band effort, which is evident in the album’s all-consuming, rip-roaring sound. For fans of Teenage Fanclub, Dinosaur Jr. and My Bloody Valentine.

TRACK LISTING

1. Was I Wrong?
2. Transition Lens
3. The Scene
4. Julia’s War
5. Letter To Heaven
6. Break Right
7. If Time Flies
8. Candle
9. Dance The Night Away
10. Lawnmower
11. Where U Been?

Trout Mask Replica is a touchstone in the history of recorded music. The mix of dada absurdist blues and previously unexplored experimental avenues has long been praised as one of the greatest albums of all time. As so eloquently put by John Peel, "If there has been anything in the history of popular music which could be described as a work of art in a way that people who are involved in other areas of art would understand, then Trout Mask Replica is probably that work.”

In full partnership with the Zappa Family Trust and to celebrate the relaunch of the seminal Bizarre label imprint, Third Man Records is proud to announce Captain Beefheart and the Magic Band's Trout Mask Replica.

Out of print on vinyl for nearly ten years, this remaster was helmed by industry legend Bob Ludwig and cut by the estimable Chris Bellman at Bernie Grundman Mastering. Utilizing crystalline-quality safety masters kept in the Zappa family vault for decades by the trustworthy Joe Travers, the audio here is positively glorious. Every last skronk breathes full life into the room. Every twisted guitar figure uncurls onto paths previously unpaved. Every last bark and howl shines resolute through the vast emptiness of your mind.

Previous countless Trout Mask Replica repressings used scans of scans of scans of the cover image, but the original Cal Schenkel cover photo has been tracked down and reproduced here at its clearest — its resolution from the original release in 1969. If you’ve only ever seen a jpg online or fuzzy, smeared-looking CD issues from the 90’s, be prepared to be wowed by the fully engaging spectrum this iconic image casts.

This 2xLP is pressed on heavyweight 180-gram black vinyl for that full-on frenetic feeling

TRACK LISTING

1. Frownland
2. The Dust Blows Forward 'N The Dust Blows Back
3. Dachau Blues
4. Ella Guru
5. Hair Pie: Bake 1
6. Moonlight On Vermont
7. Pachuco Cadaver
8. Bills Corpse
9. Sweet Sweet Bulbs
10. Neon Meate Dream Of A Octafish
11. China Pig
12. My Human Gets Me Blues
13. Dali's Car
14. Hair Pie: Bake 2
15. Pena
16. Well
17. When Big Joan Sets Up
18. Fallin' Ditch
19. Sugar 'N Spikes
20. Ant Man Bee
21. Orange Claw Hammer
22. Wild Life
23. She's Too Much For My Mirror
24. Hobo Chang Ba
25. The Blimp (Mousetrapreplica)
26. Steal Softly Thru Snow
27. Old Fart At Play
28. Veteran's Day Poppy

The new 7-inch from Jack White, featuring the studio version of “Archbishop Harold Holmes” (Side A) and “Archbishop Harold Holmes (Live) - Recorded at The Blind Pig - Ann Arbor, MI - 9/1/24” (Side B).

TRACK LISTING

Side A: Archbishop Harold Holmes
Side B: Archbishop Harold Holmes (Live)

This self-titled work published album by singer-songwriter and master guitarist Ted Lucas has achieved an almost mystical reputation among aficionados and collectors. Ted Lucas is a seamless marriage of moody odes and raga style instrumentals regarded by many to be, simply put, the greatest private press folk/psych album ever recorded. Lucas was a fixturein the Detroit rock scene of the sixties and seventies. His first band, The Spike Drivers, was one of the very first true psych bands, the Motor City’s answer to Jefferson Airplane and The Byrds. Following that band's collapse, Lucas paid bills doing session work with Motown. And there he recorded, in 1972, the demo for Warner Brothers which would become Ted Lucas, released in two private editions in 1975 and known informally to friends and family as The OM Album, after Lucas' own label. The album was released with artwork by the legendary Stanley Mouse originally created for Jimi Hendrix.

TRACK LISTING

1. Plain & Sane & Simple Melody
2. It's So Easy (When You Know How)
3. Now That I Know
4. I'll Find A Way (To Carry It All)
5. Baby Where You Are
6. It Is So Nice To Get Stoned
7. Robins Ride
8. Sonny Boy Blues
9. Love & Peace Raga

Third Man Records are proud to announce the worldwide signing of Australian four-piece The Belair Lip Bombs and to reissue their 2023 breakthrough album, 'Lush Life'. The debut from the Naarm/Melbourne indie group, arrived as ten tracks of evocative exploration; stories that run a gamut of longing, seeking new horizons and discovering new paths to satisfaction and self-fulfilment.

The record captures widescreen indie songwriting, helmed by Maisie Everett (guitar, keys, vox) and fleshed out by a talented trio of musicians in Mike Bradvica (guitars), Liam De Bruin (drums) and Jimmy Droughton (bass). Featuring previous singles "Stay Or Go", "Gimme Gimme” and "Say My Name", Lush Life is a perfect album for first-time listeners to immerse themselves in, and signals the arrival of The Belair Lip Bombs.

The album was recorded between Naarm/Melbourne spaces Head Gap and Singing Bird studios, and saw The Belair Lip Bombs work with engineer Nao Anzai (Floodlights, Rolling Blackouts Coastal Fever) on mixing and mastering.

RIYL The Strokes, The B-52s, Rolling Blackouts Coastal Fever

TRACK LISTING

1. Say My Name
2. Gimme Gimme
3. World Is The One
4. Stay Or Go
5. Easy On The Heart
6. Look The Part
7. Walking Away
8. Things That You Did
9. Lucky Nine
10. Suck It In

No Name is the sixth studio album from Jack White, founding member of The White Stripes, The Raconteurs, and The Dead Weather. True to his DIY roots, this record was recorded at White's Third Man Studio throughout 2023 and 2024, pressed to vinyl at Third Man Pressing, and released by Third Man Records.

Recalling the true essence of the White Stripes; this is what Jack does best, raw and stripped back bluesy garage rock. Hurrah!!

TRACK LISTING

Side A:
Old Scratch Blues
Bless Yourself
That's How I'm Feeling
It's Rough On Rats
Archbishop Harold Holmes
Bombing Out
What's The Rumpus?

Side B:
Tonight (Was A Long Time Ago)
Underground
Number One With A Bullet
Morning At Midnight
Missionary
Terminal Archenemy Endling

David Nance & Mowed Sound, the first album by Nance to be released on Third Man Records, cuts deep. Memories sprout back, like the sounds of a great rock song blasting from the neighbor’s truck as it revs away into the night. There is a definite connection to the past, but the swinging guitar boogie and snarled blues you might expect from Nance and company sounds leaner and completely hypnotic. What remains are 10 tracks from a well oiled group so rhythmically together that the songs on the album seem as connected as links in a chain.

TRACK LISTING

1. Mock The Hours
2. Side Eyed Sam
3. No Taste Tart Enough
4. Tumbleweed
5. Cut It Off
6. Molly's Loop
7. Credit Line
8. Tergiversation
9. Cure Vs Disease
10. In Orlando

Review from 2009:
"Horehound" is the first album to be recorded and released via Jack White's new Third Man studios and record label in Nashville, TN. Those of you who came along to our screening of their awesome 'From The Basement' show will already know what to expect from this four piece. If you missed out, well, with a line up that consists of Dean Fertita from Queens Of The Stone Age, Greenhornes and Raconteurs fella "Little" Jack Lawrence, vocals courtesy of Alison Mosshart from The Kills and the sickeningly talented Mr Jack White on drums, you can pretty well guess what direction this album is gonna take - cool as f**k bluesy rock'n'roll!

Review from 2010:
Baton down the hatches! The Dead Weather are back. The Nashville-based 4-piece have announced plans for the release of their sophomore album "Sea Of Cowards". The band exploded onto the music scene early last year with a stunning debut that combined the furious talents of members Jack White (vocals/drums), Alison Mosshart (vocals/ guitar), Jack Lawrence (bass/drums) and Dean Fertita (guitar/organ). "Horehound" was an exhilarating and electrifying introduction to the band, a gritty blues-driven dirge rock masterpiece that hit the UK charts at #14 upon its release in July 2009. Now, less than a year later, the follow-up is ready to be unleashed.

Review from 2006:
I'm sure you know the score with these guys anyway, but just incase you don't: The Raconteurs consist of Jack Lawrence and Patrick Keeler from The Greenhornes, Brendan Benson and Jack White. While each of these four individuals have had successful careers with their own bands, the culmination of all of their talents is what truly makes The Raconteurs a force to be reckoned with. The quartet convened at Benson's East Grand Studio to lay down the basic tracks for "Broken Boy Soldiers". Work would continue whenever the boys could get together over the next year - although actual recording only took a couple of weeks in total. The album draws influences from early blues (as you'd expect from the line-up), along classic rock from the 60s to the present day. From the ready-made, radio-friendly quality built into songs like "Steady, As She Goes", to the explosive tenacity of "Store Bought Bones", all the way down to the lullabies that encompass the full length recording, The Raconteurs are more than capable of conquering any genre challenge or tale that they encounter. After all, a raconteur is, by definition, a deft storyteller. And now a new story is unfolding.

Review from 2008:
'With this release, The Raconteurs are forgoing the usual months of lead time for press and radio set up, as well as forgoing the all important 'first week sales'. We wanted to explore the idea of releasing an album everywhere at once and THEN marketing and promoting it thereafter. The Raconteurs would rather this release not be defined by it's first weeks sales, pre-release promotion, or by someone defining it FOR YOU before you get to hear it. Another purpose was to also allow people to have their own choice as to exactly which format they would like to hear the album in IMMEDIATELY, rather than having to wait for their favorite format to become available. The band are also not releasing any version of this record that contains bonus tracks. Musically this album will be the same as the band created it no matter what format it is purchased in (The sound quality of each format however, is a different story. The Raconteurs recommend hearing it on vinyl, but the choice is of course up to the listener).'
Sincerely, The Raconteurs.

The official release of The White Stripes Peel Sessions on one stuffed-to-the-brim disc. Capturing Jack and Meg at the precipice of international renown in the hubbub of "White Blood Cells," their two live sessions with famed BBC DJ John Peel are arguably the best document of the White Stripes at that time.

TRACK LISTING

Vol. I // Maida Vale // July 25th, 2001
1. Let's Shake Hands
2. When I Hear My Name
3. Jolene
4. Death Letter
5. Cannon
6. Astro / Jack The Ripper
7. Hotel Yorba
8. I'm Finding It Hard To Be A Gentleman
9. Screwdriver
10. We're Going To Be Friends
11. You're Pretty Good Looking
12. Boll Weevil
13. Hello Operator
14. Baby Blue

Vol. II // Peel Acres II November 8th, 2001
15. Lord Send Me An Angel
16. Dead Leaves And The Dirty Ground
17. I Think I Smell A Rat
18. Lets Build A Home / Goin’ Back To Memphis
19. Little Room
20. The Union Forever
21. The Same Boy You've Always Known
22. Look Me Over Closely
23. Looking At You
24. St James Infirmary Blues
25. Apple Blossom
26. Rated X
27. Little Girl That Says
28. Jumble, Jumble
29. Little People

Elvin Jones, one of the true great drummers in jazz, recorded this album in 1971 after having led his own band for several years following his immortal work with the John Coltrane Quartet. This unique recording has a spacious feel with plenty of room for the players to work out the melodic compositions created by the members of the group. At times the recording creates an almost cinematic space, yet always propelling forward into unexpected territory. No pandering to contemporary tastes at this date or following the trends of the time, this is simply a great example of mature musicians given the freedom to create their own vision and place in time. Saxophonists Frank Foster and Dave Liebman instruments intertwine in a spellbinding way with opportunities to showcase Jones’ incredible virtuosity as a drummer. An album that reveals itself to the listener slowly with new delights every time it’s removed from the jacket.

Detroit has a long tradition of being the farm team for the Big Apple jazz big leagues, but just as important is the acknowledgement of local legends who left their mark on the city by staying put and releasing amazing music right in Detroit. Kenny Cox and the Contemporary Jazz Quintet is one such group that could have and definitely should have had a wider audience in their day, but their recorded legacy continues to grow in estimation. Truly a comprehensive group with no weak links, the compositions and playing on this record show the incredible talent and innovation that was brewing in Detroit before, during and after Motown locked its doors in the Motor City.

Of note is group member Charles Moore, an important figure in the jazz and arts scene in Detroit and founding member of an underground art and music co-operative called the Detroit Artist Workshop. A talented musician and composer in his own right, Moore and group leader Cox composed all the material on Multidirection. Cox described it as “more of an orchestral-type effort than just a combo per se.” in the original release liner notes by Nat Hentoff. Both were integral in the future DIY jazz universe by co-founding the highly influential Strata Records. But before embarking on that journey, his group recorded two timeless classics for Blue Note Records. Like many of the greatest musical albums, this work shines brightest as a whole with new dimensions to discover with each listen. This new and exciting re-issue is certain to provide the listening experience with the best possible platform.

The Nashville, Tennessee, garage rock group were signed as teenagers to the prestigious XL in the UK and Thurston Moore's Ecstatic Peace label in the US, with whom they released two widely acclaimed albums. They went on to tour with the likes of Arctic Monkeys, Sonic Youth, Le Tigre etc and have been cited as influences for groups such as Paramore and Big Joanie.

STAFF COMMENTS

Barry says: Be Your Own Pet are back! finally closing out a 15 year gap with the brilliant 'Mommy'. If anything, the sort of snarling indie-punk BYOP make is even more relevant now, with the current surge in garage punk and jagged indie-music perfectly aligning with the band's classic sound. A superb LP and a very welcome return.

TRACK LISTING

Side 1:
1. Worship The Whip
2. Goodtime!
3. Erotomania
4. Bad Mood Rising
5. Never Again
6. Pleasure Seeker
Side 2:
1. Rubberist
2. Big Trouble
3. Hand Grenade
4. Drive
5. Teenage Heaven

It would be difficult to overstate the importance of the Jones brothers Thad, Hank and Elvin on the world of jazz. Between the three of them, their performances can be heard on literally thousands of recordings, including some of the most legendary sessions ever recorded with some of the greatest artists.

Post-War Detroit was really taking notes on the new sounds of jazz coming into favor and the group of former Detroiters included on this album include some of its most virtuosic students. Thad Jones, (although he was technically from nearby Pontiac, MI) on trumpet, Kenny Burrell on guitar, Tommy Flanagan on piano and Billy Mitchell on saxophone. Jones’ first for Blue Note from 1956 stands as a fantastic sounding announcement that the Detroiters had landed in New York and were about to take off.

Including legendary players Shadow Wilson on Drums and Oscar Pettiford on Bass; Detroit - New York Junction, a long sought after rarity and a true testament to the importance of Detroit on the evolution of jazz music through Blue Note Records. Recorded at Audio Video Studios - New York, NY 1956 by Alfred Lion and Rudy Van Gelder.

Celebrating its 20th anniversary with remastered audio, an expanded tracklist and a gatefold jacket, The Exploding Hearts' instant-classic debut Guitar Romantic is back. With ten undeniable songs clocking in at just 28 minutes, the Exploding Hearts' album operated as the punk rock equivalent of Ernest Hemingway’s writing: Nothing extraneous, simple, straightforward, to the point, deserving of no additional flourish or accoutrement, with every creative decision pushing forward the work as a whole. Arguably, perfect.

TRACK LISTING

1. Modern Kicks
2. I'm A Pretender
3. Thorns In Roses
4. You're Black And Blue
5. Sleeping Aides And Razorblades
6. Rumors In Town
7. Throwaway Style
8. Boulevard Trash
9. Jailbird
10. Still Crazy
11. Busy Signals
12. I'm A Pretender (King Louie Mix)
13. So Bored

Isokratisses (Greek for "women who sing the "iso" or "drone") is a vocal ensemble comprised of eight women who carry the ancient tradition of polyphonic songs from Epirus: a region in northern Greece and southern Albania. Born and reared in the Greek speaking villages around Deropoli and Politsani in Albania, the women of Isokratisses have sung these songs since childhood. The group ranges in age from 19 to 56 with some sisters in the group as well as an aunt. They were nurtured by this archaic music, listening and singing it with their family and friends. The songs were passed down from generation to generation. The group started its artistic activity in 2015, after the singer Anna Katsi took the initiative to encourage the younger members to perform regularly. The communal nature of polyphonic singing is a way of revitalizing an art that has declined in recent years and to reassert the primacy of female voices in the southern Balkans. Singing these songs builds an invisible bridge that connects the present with the past, the memories of childhood travel with the immediacy of daily life. On Oct 14, 2022, Third Man Records will release a full album of these solo polyphonic songs, with Grammy-winning producer Christopher King. "It is social music, woven into the fabric of poor, marginalized, and disenfranchised communities. Many of the songs are variations of mirologia (songs of fate, songs of morning) that used to be sung throughout the southern Balkans but have largely disappeared on an informal cultural level except for Epirus. Structurally, the songs are pentatonic (five notes with no semitones) and are composed of three or four distinct melodic voices that weave together in an organic yet unexpected way. The remaining members of the group provide the iso or “drone” that is the low tonic note of the melody." - Chris King.

TRACK LISTING

1. You've Put A Spell On Me
2. Between The Three Seas
3. Rina, Katerina
4. On Deropoli's Plain
5. The Ballad Of The Handkerchief
6. All Day Long
7. Little Apple Tree On The Cliff
8. Five Months Married
9. My Basil
10. Bitter Orange
11. Verginada
12. Last Night's Dream
13. Nani Nani

Bobby Weir & Wolf Bros - consisting of Bobby Weir, Don Was, Jay Lane and Jeff Chimenti - are set to release their second batch of live recorded material this year. Bobby Weir & Wolf Bros: Live In Colorado Vol 2 is out October 7 on Third Man Records, a follow-up to the first volume of the critically acclaimed live performance collection.

Bobby Weir & Wolf Bros: Live In Colorado, Vol 2 features more songs recorded at the band’s live performances at the historic Red Rocks Park & Amphitheatre in Morrison, Colorado and the Gerald R. Ford Amphitheater in Vail, Colorado on June 8, 9, 11, 12, 2020, including classic Grateful Dead hits, "Ripple" and "Brokedown Palace" along with covers of Merle Haggard and Marvin Gaye. These shows were the group’s first live audience concerts in over a year and featured Greg Leisz on pedal steel, along with The Wolfpack: Alex Kelly, Brian Switzer, Adam Theis, Mads Tolling and Sheldon Brown. “Been too long,” Weir said of the performances, “but I can’t think of a better place to pick it back up…”

Live in Colorado, Vol 1, received acclaim from LA Times, Forbes, USA Today, Billboard and more. In their review for Volume 1, Pitchfork Says, "Weir's rootsy trio offer a more intimate reimaging of his former group's historic counter cultural songbook."

Weir explains “I’ve been workin’ in my spare time on expanding the sonic coloration of the songs I do. The Wolfpack is basically a step toward full orchestration - and further, I gotta say, these guys are game. We worked on the arrangements a bit but eventually we needed to trot it all out and play it for folks - and right at that moment, the folks in Colorado reached out and told us they were gonna open up. Holy Shit, WTF? Let’s Go.

Third Man Records is proud to announce the 20th anniversary expanded edition of Kelley Stoltz’s defining album Antique Glow. The announcement is heralded by the release of bonus track "Too Beck". Limited-edition "rainy nights" UK exclusive vinyl will be available on release day.

Originally self-released in minuscule vinyl-only quantities in 2001, Antique Glow has served not only as a template for the length of Kelley Stoltz’s twenty-plus year career, but has also served as a compass for other Anglophile, TASCAM 388 home recording acolytes. Original copies featured Stoltz’s clever, wry and fanciful hand-painted adornments overtop reclaimed thrift store LP jackets, Third Man’s release here utilizes some of those original unused images for a die-cut sleeve that ultimately gives the listener six different possible album covers.

The songs are by-and-large masterpieces of bedroom pop magic. From the whispering “Here Comes the Sun”-adjacent acoustic underpinnings of album opener “Perpetual Night” through the fuzz-threaded leads of “Are You Electric?” Stoltz’s inspirations are impeccable and clear. Sixties Davies British Invasion through 80’s British Bunnymen post-punk, with appropriate off-shoots into West Coast American pop-psych, Velvets-indebted hooliganism and Drake/CSNY acoustic attenuations, the end result is pure joy.

On the expanded version, standout tracks previously relegated to an Australian tour-only CD (like the breathlessly cinematic “Old Pictures”) see their first-ever vinyl and digital release while there’s an additional 10 songs from the Antique Glow-era seeing their first ever release in any format. The cutting room floor quality here is second-to-none, Stoltz clearly gifted with the curse of writing too many indelible songs, so the newly released “Too Beck” (originally cast off by Kelley because he thought “it sounded too much like Beck”) and “Umbrella” stand firm as some of the best, most timeless music Stoltz has ever released... a full two decades after he recorded them!



With all instruments and vocals performed by Stoltz, the singularity of vision here is impeccably clear and executed.

TRACK LISTING

LP1
1. Perpetual Night
2. Crystal Ball
3. Jewel Of The Evening
4. Underwater's Where The Action Is
5. One Thousand Rainy Days
6. Tubes In The Moonlight
7. 26th Street Floor
8. Are You Electric
9. Please Visit Soon
10. Listen Darkly
11. Fake Day
12. Mean Marianne
13. Mt. Fuji
14. Silver Lining

LP2
15. Old Pictures (Bonus Track)
16. Immobile Bones (Bonus Track)
17. You'll Find The Truth In The Frying Pan (Bonus Track)
18. You And Me And 100 Others (Bonus Track)
19. You're Making Me Yawn (Bonus Track)
20. Interplanetary Wisdom (Bonus Track)
21. Harmonica Makes The Doggy Go Wild (Bonus Track)
22. Dead John (Bonus Track)
23. Baby's Fingers (Bonus Track)
24. Too Beck (Bonus Track)
25. Discount City VU (Bonus Track)
26. Umbrella (Bonus Track)
27. Spilled Milk (Live On PBS) (Bonus Track)

Vinyl pressing of Dave Chappelle's wildly popular and powerful 846 performance from June 2020.

TRACK LISTING

SIDE 1

1. 8:46

SIDE 2

1. My Insides Out - Amir Sulaiman
2. We Must Win - A

Long before John Brannon of Negative Approach cemented himself as a USHC icon, you would hear rumblings about his pre-NA glam group, STATIC. Only a handful of people were lucky/brave enough to see them live. Scenesters spoke of a tape but never seemed to have one. Their most well-remembered song, Toothpaste and Pills, allegedly featured smashing beer bottles against John’s mom’s basement wall as a percussion instrument. Could this be real?

Fast forward to 2020 and a few months into the covid-19 lockdown, Brannon came across a bunch of tapes he dug out of a box in his Mom’s closet - STATIC “DEMOS ‘78”, STATIC “LIVE AT GROSSE POINTE SOUTH H.S.”, STATIC “LIVE AT PLEWA HALL”. Holy shit! The legend is true! And best of all, STATIC rule!

John Brannon grew up in Grosse Pointe Park just a few blocks from the Detroit border. John was always into music, but as soon as he heard T-Rex, The Stooges and Alice Cooper, he was obsessed (and still is) and had to start a band to channel his obsessions. With the help of neighborhood kid and collaborator Billy Daniels and a local drummer simply known as “Red”, STATIC was born.

Before Negative Approach changed the face of punk and hardcore, before Laughing Hyenas scared the world silly and blew everyone else off the stage and before Easy Action started melting minds all over the world, there was STATIC. STATIC was real. STATIC was real as shit.

Third Man Records is beyond ecstatic to be providing this long-missing piece of the American Underground Music puzzle. We worked closely with John Brannon and Warren Defever, one of Third Man Mastering’s resident wizards, to put together this essential collection of demos and live recordings.

TRACK LISTING

SIDE A
1. Toothpaste And Pills
2. Punk Nation
3. TV Show
4. We're So Cheap We're Divine
SIDE B
1. Ain't No Stranger
2. High School Riot
3. What's This Thing Called Love
4. We're So Cheap We're Divine
5. Video Deficiency
6. If We Had Brains We'd Be Dangerous
7. Ugly Teenager

A long-awaited release, this is the 7” version of the Bob Dylan Classic “Blind Willie McTell”, out exclusively on black vinyl. The record is available only at indie record stores and the Third Man Records online and physical stores.

The 7” features two previously unreleased takes of the song, with the A-side being exclusive to this vinyl release. The B-side (take 5) will be included as part of Spring In New York: The Bootleg Series, Vol. 16 (1980-1985).

The recordings on this single feature a formidable lineup of session musicians, including Mark Knopfler, Mick Taylor, Sly Dunbar and Robbie Shakespeare.

“Blind Willie McTell” was the first track seriously worked on at the Infidels sessions and the last attempted as recording concluded almost a month later. In the end, it did not make the Infidels album, but in 1991, the acoustic piano-guitar version that Bob Dylan and Mark Knopfler recorded the last day was released on The Bootleg Series Volumes 1-3. The full band version from the first day of the sessions will now see the light of day as part of Springtime In New York: The Bootleg Series, Vol. 16 (1980-1985).

TRACK LISTING

SIDE A
1. Blind Willie McTell (take 1)
SIDE B
1. Blind Willie McTell (take 5)

The first official vinyl release of the unforgettable worldwide stadium anthem remix - both editions of the 7" are limited.

This is the first time the White Stripes have ever recorded and mixed an album at a conventional modern studio. It was still, however, recorded to reel-to-reel, and mixed to tape in complete analogue fashion. It was recorded in three weeks - the longest they've ever spent working on a record. Here's some more interesting facts about the album, "Icky Thump" has no piano performances or piano-based songs (unlike it's predecessor which was mostly written and performed on piano). It has the most guitar solos Jack White has ever recorded to tape. It is the first time the band has collaborated with horns and bagpipes. "Icky Thump" contains the first spoken dialogue song to appear on one of their albums; "Rag And Bone". It is the second longest album of the Stripes pantheon thus far. Second to "Elephant" with more than 48 minutes in running time. The album's title is a morphing of the phrase 'Ecky Thump' which is an exclamation of surprise or wonderment in Northern England. The synthesizer used in the title track was also used on the song "Telstar" recorded by Joe Meek.

THE PICCADILLY RECORDS ALBUM OF THE YEAR 2001

The band's commercial break through, this 2001 album went gold, spinning off the Top 20 Modern Rock hits "Fell In Love With A Girl" and "Dead Leaves And The Dirty Ground".

Recorded in ten days flat, in England's own Toe Rag studio (8-track, valve amps, nothing new in fact since 1963!) the White Stripes' fourth album is everything you ever wanted it to be. Same formula, but with a warmer, fuller tone, but... we're in it for the songs, aren't we? Well, NME nailed it when they said this album's like a White Stripes' Greatest Hits, every song's a potential single - it really is that strong. Who'd have thought they could actually go one better?! It feels stupid to write about stuff this pure, real, honest and passionate; I know you'll just buy it, play it, and allow yourselves to be taken over! Analysis ain't necessary, it's rock'n'roll distilled and it's happening right now. We're very lucky girls and boys!

Named after the Dutch art movement and magazine of the same name from the early 20th century, The White Stripes sophomore release finds the band recording in the comfortable confines of Jack White's Third Man Studios, then housed on the ground floor of his house in Southwest Detroit. This is the album that would propel the band into globe-trotting rock and roll prominence. The on-point covers of Son House and Blind Willie McTell pair wonderfully with both the minimal downtempo somber numbers and the maximum energy explosions of unadulterated power.

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.

In 1999, Jack and Meg White released their self-titled debut album, introducing an explosive new mix of punk, blues, and garage rock. Jack has described the album as 'really angry... the most raw, the most powerful, and the most Detroit sounding record we've made.'

Recently uncovered high quality soundboard recording of the Stooges' famous final show with their original lineup and with bassist Dave Alexander, playing Fun House in full just before release. An unearthed gem in Stooges history.

The apocryphal tale of the Stooges performance at the Goose Lake festival has been told countless times over the past five decades. Bassist Dave Alexander, due to nerves or overindulgence or what ever you choose to fill in the blank, absolutely spaces in front of 200,000 attendees. He does not play a single note on stage. He is summarily fired by Iggy Pop immediately following the gig. Here starts the beginning of the end of the Stooges.

But what if that simply...wasn't the case? What if you could prove otherwise? Well, it'd be the proto-punk equivalent of having an immediate, on-the-scene, man on the street report of all those folkies booing Dylan's electric set at Newport in '65. Irrefutable evidence of what ACTUALLY went down.

Found buried in the basement of a Michigan farmhouse amongst other tasty analog artifacts of the same era, the 1/4" stereo two-track tape of the Stooges complete performance at Goose Lake on August 8th, 1970 is the Rosetta Stone for fans of this seminal band.

Not only is this the last ever performance of the original godhead Stooges line-up, but it is the ONLY known soundboard recording of said line-up. Playing the entirety of their canonical 1970 masterpiece Fun House, the sound, the performance, everything about this record is revelatory.

Would you believe that...Alexander actually DID play bass on this occasion? Or that, despite a handful of flubs, he manages to hold his own? Especially on the bass-led songs "Dirt" and "Fun House"? Does Iggy provoke the crowd to tear down festival barriers? Did the powers that be pull the plug on the Stooges? So many questions are answered only to have more arise.

Released to coincide with the 50th anniversary of the performance, Live at Goose Lake: August 8th 1970, is the rare release that literally rewrites the history of these Rock and Roll Hall of Fame inductees.

TRACK LISTING

SIDE 1
1. Intro
2. Loose
3. Down On The Street
4. T.V. Eye
5. Dirt

SIDE 2
1. 1970 (I Feel Alright)
2. Fun House 3. L.A. Blues

"This is the first new music from The Fiery Furnaces in ten years," the band says. "The songs were recorded in New York City and a few hours north of New York City on February 3 and February 10 - 12, 2020. 'Down by the So and So on Somewhere' is a regretful song about having regrets. Now it seems even more sad than we thought it was back then: 'Will you meet me,' etc. Matthew was happy to use a Soviet drum machine. Eleanor was happy to play real drums. 'The Fortune Teller's Revenge' is another sad song. We cut out the lines from the first and third verse: 'with me; just kidding' and 'leave everything to me.' Matthew likes hearing Eleanor sing 'I'm sorry to say I've never made a mistake.' Eleanor likes that you can't quite tell who's singing what, when."

Eleanor and Matthew Friedberger formed The Fiery Furnaces in New York City in 2000. Their debut album Gallowsbird’s Bark (Rough Trade Records) was released to critical acclaim in 2003. In the following seven years, they released eight more albums and toured extensively throughout North America, Europe, Australia and Japan. The band’s last performance was nearly a decade ago at the Primavera Sound Festival in Barcelona.In the meantime, Eleanor and Matthew have released eight solo albums, collectively. They are very pleased to return to the stage in their hometown Chicago, at Pitchfork Music Festival.

Eleanor: Someone comes up to me at every show and asks: “How’s Matt? What’s happening with The Fiery Furnaces?” And I say, “He’s fine” and “Nothing at the moment.” I’m so happy to finally have some news: “He’s fine” and “We’re playing in July at the Pitchfork Festival.” We didn’t break up; this isn’t a reunion. We’re just playing the next show.

Matthew: For the last three and a quarter years I’ve been listening to Fiery Furnaces records every day. I think I finally get it.

Teener is a noise rock band from Detroit, Michigan. Formed in 2016, they set out to make loud music without emulating any style or artist. So far, the result is a sound that walks a line between New Wave, Noise Rock and Hardcore.

The lead A-side song, titled The Ladder, kicks off with perforated, ascending drum and guitar and a vocal shitstorm interspersed with melody-driven guitar solos. Though the kicker and the song’s namesake, is the final 30 seconds, where vocalist Ollie Dodt reenacts what sounds like an all too familiar one-sided conversation - a young person having to push and push and push for the opportunity to have a foot on the professional ladder.

The second song on the first side, Market Value, is a heavier chugging number slamming the effects of Detroit’s fracking and toxic matter “processing”, bubbling down into only vocals and feedback by the end. B-side Flavor begins with frenzied, booming toms and chainsaw guitars, only to break down about a minute in to a post-punky, drony haze. And suddenly, the clap of the toms and guitars return for a hyperkinetic finale.

Released for the first time on vinyl, Sweet Dreams: The Complete Decca Studio Masters (1960 - 1963) is an absolute must for any country music fan. This beautiful collection gathers all 51 tracks that Cline recorded with Owen Bradley after she left a restrictive deal at 4 Star Records and joined on with Decca Records in 1960.

It's hard to believe that these songs were all recorded in such a small time frame; so many of her top hits and fan-favorites were all captured during this very fruitful period with Bradley at Decca. Right off the bat, the new sessions struck gold with the classic "I Fall To Pieces," Cline's first Country #1.

Most notably, working with Bradley led Cline to find her signature, distinctive sound - braiding wistful country music ballads with big-band pop sensibilities that shone a spotlight on her elastic, smooth vocals, forging the path for future country-pop crossovers. With her sound in place, the duo doubled-down on their successes, with sessions that produced chart-toppers "She's Got You," "Crazy" and "Sweet Dreams (of You)."

Featuring absolutely stunning, powerful, full-color photos printed on the interior of the gatefold 3xLP jacket, Sweet Dreams is as just as rewarding for the eyes as the ears. The songs on this 51 track collection form the crown jewels of her discography and cement Patsy Cline's legacy as one of country music's greatest of all time. 

In a world chock full of flame-outs, coulda-been contenders and great white hopes, the band Jonathan Fire*Eater are among the “almost-est.” Widely praised as the mid-Nineties next-big-thing, they are largely credited with being the earliest purveyors of the “New York City Rock and Roll Revival” circa 2001. Which would be great, if only the band hadn’t imploded by 1998. The quintet employed a fresh, one-of-a-kind blend of sly rock and roll reference and reverence. Their press release at the time name-dropped all the correct and relevant influences...the Stooges, the Modern Lovers, Tom Waits, the Scientists, ? and the Mysterians, the Cramps, Nation of Ulysses, the Stones, Nick Cave and the Bad Seeds...all markers conveying the point that Fire-Eater’s dark, brooding overtones are complemented by springy Farfisa tones and impressionistic, evocative lyrics.

The band was inarguably in top form with the 1996 EP release of Tremble Under Boom Lights. Mean and lean at only five tracks, those songs click together perfectly, enough so to kick-start a major label bidding frenzy which found the band signing a lucrative, seven-figure contract. Showcasing lead singer Stewart Lupton’s redolent exercises in picturesque poetry, coupled with Matt Barrick’s inimitable percussive attack, Paul Maroon’s wide, unadorned guitar blistering throughout while Walter Martin’s choice, deliberate organ accompaniment and Tom Frank’s propulsive, bottom-heavy bass all join together for a full, beautiful, glorious masterpiece. Lead-off track “The Search For Cherry Red” would not only provide the EP with a title via its lyrics, but would also see a second life as covered by esteemed rock-and-rollers The Kills. “Give Me Daughters” is enviable for the perspective it foresees, when taking into consideration its narrator was barely 21 years old at the time.

Songs fl it about cockfights, open caskets, ballroom gowns, switchblades, motorcycle accidents and jewel thieves all to propel the record into a world of juvenile delinquent attitude and vivid cinematic color. For the Japanese release of Tremble Under Boom Lights, the five-song running order was accentuated with four bonus tracks...three songs from the band’s 1995 debut single and a spritely cover of the Lee Hazelwood gem “The City Never Sleeps.” With the 2019 reissue, Third Man Records is proud to make these seminal songs available digitally and on vinyl for the first time in over two decades. All parties involved are beyond overjoyed to augment the running order of the Japanese version of Tremble Under Boom Lights to include the bonus track “In the Head.”

Touted by the band members as the last song they ever recorded, it is wincingly brilliant, the most artful, dudes-in-their-early-twenties version of a swan song that one may ever hear. After the break-up, Barrick, Maroon and Martin would go on to form the backbone of the Walkmen and enjoy a solid run with their seven full-length releases. All three are still active in the music business today. Frank went on to a career in journalism, writing for Vanity Fair and acting as contributing editor for Washington Monthly. Despite struggling with addiction for years, Stewart Lupton notched solid efforts with his bands the Child Ballads and the Beatings. Lupton passed away suddenly on May 27th, 2018 at the age of 43.

TRACK LISTING

01. The Search For Cherry Red
02. Make It Precious
03. Give Me Daughters
04. The Beautician
05. Winston Plum: Undertaker
06. The Public Hanging Of A Movie Star
07. The Cakewalk Of Crime
08. When Prince Was A Kid
09. The City Never Sleeps
10. In The Head (previously Unreleased)

Third Man Records is excited to release the newest songs from Austin, TX’s Ghost Wolves. Formed in 2011 and hardly taking time to sit since then, the Ghost Wolves create, record and tour at a rapid clip.

Blending rock n' roll, punk rock, garage and blues with electronic elements, the duo has earned a reputation as one of the hardest working bands in the modern rock n’ roll underground, touring internationally for almost 8 years straight, with nearly 1000 shows between them in 23+ countries including most of western Europe, the USA, U.K. and Japan.

The duo recorded these three new tracks in early 2019 with engineer/producer John Michael Schoepf (bassist for Ray Wylie Hubbard, Night Glitter) in his Austin living room studio. The recording took place during a very dark time for Carley and Jonny, who have been married for 7 years. Jonny’s father received a terminal cancer diagnosis in late 2018. These songs came together while Jonny was tending to his father in Connecticut, with Carley sending demo songs to him from Texas. When his father stabilized somewhat, Jonny returned to Austin to take a break and they both therapeutically recorded these songs. As can be heard, these recordings are darker, more intimate and more pressing than previous material.

Guitar Wolf! They are the keepers of all blasted, hard, spazzed out songs, building a whole life on the bedrock of hyperactive RNR exhilaration. This Japanese power-group has been stupefying audiences at home and on the road since the late ‘80s and fi nally are back to unveil their capital-L loud jams. Third Man is fortunate to be releasing their lucky 13th full-length album LOVE&JETT and to have a hand in supporting Guitar Wolf’s noisy and canonical rise to their rightful place in underground music’s highest hall of fame.

LOVE&JETT is full of Guitar Wolf’s sweet, sweet love songs, all recorded in Japan. While each song’s words (apart from a handful of song titles, 1-2-3-4s plus a clever cover of Spencer Davis Group’s Gimme Some Lovin’) punch out in their native Japanese, the adoring English-speaking public will be granted an insert enclosed in each LP and CD with all lyrics translated to English. (That means NO excuses to not have a haphazard bilingual sing-along on their upcoming US tour.) The energy explodes on the scene with the title track’s opening 1-2 bass-snare piston-fi re and truly does not let up at any point on the full album. Seiji, Toru, and Gotz shine especially bright on Sex Jaguar, barely clocking in just over 2 minutes with chorus catchphrases and feline roars.

TRACK LISTING

1. Love & Jett
2. Sex Jaguar
3. Sci-Fi Brat
4. Austalopithecus Spark
5. Planet Of The Battera
6. Gimme Some Lovin?
7. Girl Boss Of Paris
8. Bowling In Takada-No-Baba
9. Fireball Red Legend
10. Mayumi The Untouchable

The Craig Brown Band is back with a dizzying new garage-country 7”, their first songs since the release of debut album The Lucky Ones Forget. Much has happened for the group since the album’s release, from touring with Dwight Yoakam (based solely on Dwight’s observance of the magnetism of their powerful live show) to opening for Jack White at the huge Little Caesars Arena concert in Detroit. And now, this new single will be accompanying Craig and the band on their first trip overseas to Europe, featuring new bassist and longtime Liquor Store co-conspirator Derek “Block” Warren.

“Big City Small Town” is a little country rock groover that depicts a very familiar scene for anyone who’s lived in a midsize city; word travels quickly, so own who you are and what you do 100%. “Tell Me” is a charmingly concise and heartfelt appeal for a little fulfillment, from answering life’s big questions to enjoying a good song with someone who cares.

At both our Nashville and Detroit locations as well as a record store near you, we present the first-ever official release of The White Stripes Peel Sessions on 2 stuffed-to-the-brim discs.

Capturing Jack and Meg at the precipice of international renown in the hubbub of “White Blood Cells," their two live sessions with famed BBC DJ John Peel are arguably the best document of the White Stripes at that time. Having been widely bootlegged since their initial broadcast in 2001, these recordings are enjoying their first authorized release in celebration of their 15 year anniversary.

TRACK LISTING

VOL 1:
A1 Let's Shake Hands
A2 When I Hear My Name
A3 Jolene
A4 Death Letter
A5 Cannon
A6 Astro / Jack The Ripper
A7 Hotel Yorba

B1 I'm Finding It Hard To Be A Gentleman
B2 Screwdriver
B3 We're Going To Be Friends
B4 You're Pretty Good Looking
B5 Boll Weevil
B6 Hello Operator
B7 Baby Blue

VOL 2:
C1 Lord Send Me An Angel
C2 Dead Leaves And The Dirty Ground
C3 I Think I Smell A Rat
C4 Lets Build A Home / Goin’ Back To Memphis
C5 Little Room
C6 The Union Forever
C7 The Same Boy You've Always Known
D1 Look Me Over Closely
D2 Looking At You
D3 St James Infirmary Blues
D4 Apple Blossom
D5 Rated X
D6 Little Girl That Says
D7 Jumble, Jumble
D8 Little People

Serration Pulse is Daniel Tomczak (Terrible Twos) and Kayla Anderson. Both are Metro Detroit natives who currently live in the city, having recently moved back after some years spent in Nashville. Formed in 2012, their music took shape as they participated in that city’s electronic/noise scene.

The duo’s influences construct an artistic harmony that represents them well. Tomczak cites sounds of machines, things in radios, and vacuum cleaners as a source of inspiration from a young age. Anderson writes the lyrics, but considers herself more visual than verbal. She is creatively driven by that which she sees around her or out in the world. Together, the two strike a serenely somber balance that is systematically executed in their music.
The three songs on their self-titled EP (mastered by Eric Van Wonterghem of Absolute Body Control) are glacial, menacing electro-dirges — the spirit of punk filtered through the angst of electronics. “The Beach” is cascading waves of electro-terror, an icy shore traversed by Anderson’s haunting voice. “Faces Down” is the charred remains of humanity, dust in the wires of shrieking electronics, snakes hissing, crystals popping. “Stockholm” is hypnotic cynicism, devotion to despair, a paean to the gloom.

The music of Serration Pulse avails itself of the full range of the synths’ possibilities, sounding at once both full and grotesque, ethereal and coarse. Yet no life is lost. It is all contained in their instruments, transformed into logarithmic sorrow, and released in grimly spellbinding reverberations upon unsuspecting audiences.

TRACK LISTING

1. The Beach
2. Faces Down
3. Stockholm

Formed in the mid 80s wreckage of American punk and hardcore, Laughing Hyenas were comprised of staples of the Detroit punk scene, including John Brannon (Negative Approach) and Larissa Strickland (L Seven) along with the locked-in rhythm section of Kevin Strickland and Jim Kimball. Groundbreaking, game-changing and some of the scariest records to come out of Detroit...or anywhere.

The Hyenas travelled to Smart Studios in Wisconsin to record Merry Go Round, marking the start of a creative partnership with producer/engineer Butch Vig that would result in three of the most groundbreaking, game changing and scariest records to ever come out of Detroit...or anywhere.

"Soul Kiss" - originally on tape version (first time on vinyl)
"Candy" - 7" b-side
"Dedications to the One I Love" (live)
"Don't Bouge My High" (live)
"Public Animal #9" - from Sub Pop single club 7"

TRACK LISTING

1. Stain
2. Hell’s Kitchen
3. That Girl
4. Gabriel
5. Playground
6. What Tomorrow Brings
7. Soul Kiss
8. Candy
9. Dedications To The One I Love (Live)
10. Don’t Bouge My High
11. Public Animal #9

Formed in the mid 80s wreckage of American punk and hardcore, Laughing Hyenas were comprised of staples of the Detroit punk scene, including John Brannon (Negative Approach) and Larissa Strickland (L Seven) along with the locked-in rhythm section of Kevin Strickland and Jim Kimball. Groundbreaking, game-changing and some of the scariest records to come out of Detroit...or anywhere.

Taking the name from a Mark Twain line, the Laughing Hyenas went back into Smart Studios with Butch Vig to record their debut full-length You Can’t Pray A Lie. The Hyenas further elaborated on the template that Merry Go Round set. Kevin, Jim and Larissa lay down deceptively simple hillbilly voodoo blues that at the same time is so rhythmically complex you’re never quite sure what’s going on. Brannon’s vocals are as frenzied and intense as ever. With the balance and everything just right on YCPAL, our dear Hyenas recorded and released one of the milestone/cornerstone albums of the 1980s American underground music scene.

TRACK LISTING

1. Love’s My Only Crime
2. Seven Come Eleven
3. Black Eyed Susan
4. Lullaby And Goodnight
5. Sister
6. Desolate Son
7. Dedications To The One I Love
8. New Gospel

GRADE A BANGER - before Bob Seger became the windows-down Night Moves heartland king, he played in this ripping garage soul band. This is THE chilling anti-Vietnam anthem and, like all early Seger, has been denied re-issue year after year after year. After almost 10 years of trying, Blackwell finally made it happen.

First impressions matter. Especially on a debut album. Time and attention-strapped listeners size up an artist within a song or two, then move on or delve in further. Fortunately, it only takes Margo Price about twenty-eight seconds to convince you that you’re hearing the arrival of a singular new talent. “Hands of Time,” the opener on Midwest Farmer’s Daughter, is an invitation, a mission statement and a starkly poetic summary of the 32-year old singer’s life, all in one knockout, self-penned punch. Easing in over a groove of sidestick, bass and atmospheric guitar, Price sings, “When I rolled out of town on the unpaved road, I was fifty-seven dollars from bein’ broke . . .” It has the feel of the first line of a great novel or opening scene in a classic film. There’s an expectancy, a brewing excitement. And as the song builds, strings rising around her, Price recalls hardships and heartaches – the loss of her family’s farm, the death of her child, problems with men and the bottle. There is no self-pity or over-emoting. Her voice has that alluring mix of vulnerability and resilience that was once the province of Loretta and Dolly. It is a tour-de-force performance that is vivid, deeply moving and all true.

From the honky tonk comeuppance of “About To Find Out,” to the rockabilly-charged “This Town Gets Around” to the weekend twang of “Hurtin’ (On The Bottle)”, Price adds fresh twists to classic Nashville country, with a sound that could’ve made hits in any decade. Meanwhile, the hard-hitting blues grooves of “Four Years of Chances” and “Tennessee Song” push the boundaries further west to Memphis (the album was recorded at the legendary Sun Studio).

STAFF COMMENTS

Barry says: Margo price's vocals soar above rich and satisfying slide guitars and plucked acoustic, lifting strings and solid bass guitar. Emotive and reflective, but beautifully reminiscent of classic country acts (Parton, Cline etc.) but brought up to date with a production sheen and melodic originality. Country has never steered away from stereotypes of locale and thematic continuity and this is no exception. A stunning example of the modern Nashville sound.

TRACK LISTING

1. Hands Of Time
2. About To Find Out
3. Tennessee Song
4. Since You Put Me Down
5. Four Years Of Chances
6. This Town Gets Around
7. How The Mighty Have Fallen
8. Weekender
9. Hurtin? (On The Bottle)
10. World?s Greatest Loser

In 1959, a former amateur boxer started a record label out of his home in Detroit, Michigan. Employing the colors yellow and black and releasing any genre that could become a hit, Tamla Records and Berry Gordy laid the foundation for what would become a global empire. We are proud to announce an ongoing partnership with Universal Music to bring Tamla’s classic early Motown records back to vinyl. Tamla’s stripes label era (1959-61) produced million-sellers, debut releases from soon-to-be global icons, quasi-doowop anthems, and proto-surf experiments, all just looking for the next big thing. To say that they were successful would be an understatement. These are cornerstones of American popular music and they were all housed on this label that was headquartered at an unassuming home on Detroit’s West Grand Boulevard, which would soon become known to the world as Hitsville USA.

There’s no band that can lay claim to being the true best in the business, except VIDEO. Crawling from the musical wasteland that is Texas, their intentions are simple: they want to own the world. While the band features members of Bad Sports, Wiccans, Radioactivity, and the Wax Museums (just to name a few), VIDEO stands on its own as one of the most powerful and visceral bands active today. Combining equal parts snotty punk, hard rock, and melodic dissonance, VIDEO are pioneers of their own subgenre, Hate Wave. Going well beyond the confines of paint by numbers punk, and generic, flaccid garage rock, VIDEO forges a new cult like movement. So pay attention, consumers, and don’t miss out on the best thing going today. Long Live The New Faith, Long Live VIDEO.

TRACK LISTING

1. Opening
2. The Entertainers
3. New Immortals
4. Drink It In
5. Nothing Lasts Forever
6. Shackles
7. No Art
8. Never Enough
9. Out Of My Hands
10. I Will Wait
11. The End Of It All

Fronting some of the most original, compelling and unpredictable bands (not only in Detroit, but the world) for over two decades, Tim Lampinen’s work with the Epileptix, Clone Defects, and Human Eye has always held a rapturous cult following. Yet his work with his current trio, Timmy’s Organism, presents Lampinen (aka Timmy Vulgar) along with bassist Jeff Giant and drummer Blake Hill, ready for their close-up. With Heartless Heathen the group touches on their artistic and spiritual forbears of Captain Beefheart and Destroy All Monsters, while amply ramping up the slop culture rapture of classic punk ‘n’ roll like Chrome, Crime, and the Damned as well as contemporaries like Thee Oh Sees. There’s a reason why Lampinen won a $25,000 Kresge Grant for his work with his bands...he creates music that borders on art, live shows that border on theater. It’s high time the rest of the world takes notice. Are you ready?

Remember Vault Package #19 with those 4 coveted clear vinyl White Stripes 7" singles from the Elephant era? Surprise! The black vinyl versions are now available! The four singles ("Seven Nation Army," "I Just Don't Know What To Do With Myself," The Hardest Button to Button," and "There's No Home For You Here") feature badass non-album b-sides, 3 of which are covers of songs from some of Detroit's turn-of-the-millenium best and brightest (Brendan Benson, Jason Falkner, Dan Miller (Blanche), Soledad Brothers), and one of which is a live White Stripes medley of "I Fought Piranhas" and "Let's Build a Home," recorded at New York's legendary Electric Lady Studios.

Most of these tracks have been remastered from the original analog sources, and the artwork on all the singles has been improved upon by the Third Man Creative Hive. 

Remember Vault Package #19 with those 4 coveted clear vinyl White Stripes 7" singles from the Elephant era? Surprise! The black vinyl versions are now available! The four singles ("Seven Nation Army," "I Just Don't Know What To Do With Myself," The Hardest Button to Button," and "There's No Home For You Here") feature badass non-album b-sides, 3 of which are covers of songs from some of Detroit's turn-of-the-millenium best and brightest (Brendan Benson, Jason Falkner, Dan Miller (Blanche), Soledad Brothers), and one of which is a live White Stripes medley of "I Fought Piranhas" and "Let's Build a Home," recorded at New York's legendary Electric Lady Studios.

Most of these tracks have been remastered from the original analog sources, and the artwork on all the singles has been improved upon by the Third Man Creative Hive. 

The 7" single "Would You Fight For My Love?," the second single off Jack White's second album Lazaretto with non-album B-Side "Parallel".

Front Cover Photographer: Angelina Castillo; Model: Elle Long

Bathtub Love Killings is the debut solo LP from Olivia Jean, the multi-instrumentalist who cut her teeth in the Third Man stable backing folks as varied as Karen Elson, Wanda Jackson and Jack White in addition to fronting the much-loved Black Belles. Jean has accrued a lifetime of experience in a few short years, from highlight performances on The Colbert Report, Conan, Late Show With David Letterman and the Grand Old Opry stage to having one of her songs used as the theme for the television series Elvira’s Movie Macabre.

Produced by Jack White, Bathtub Love Killings showcases Jean as a songwriting force to be reckoned with. Playing damn-near every instrument she could get her hands on, the result is a well-rounded, catchy record that’s chockfull of ear worm moments.

• Olivia Jean was lead singer, guitarist, main songwriter of the Black Belles (also released by Third Man Records)
• produced by Jack White, who also plays guitar on “Cat Fight”
• drums on “Deadly Hex” and “Cat Fight” by Patrick Keeler (the Raconteurs, the Greenhornes)
• “Green Honeycreeper” features songwriting contribution by Coco Hames (The Ettes, The Parting Gifts)

A few months back we hosted one of our favorite comedians in the Third Man Blue Room, hand selected by Jack White to appear. Rory Scovel came, saw and destroyed any and all bad vibes within a 5 mile radius with an improv set of some of the best live stand up we've seen in years. Seriously, the man far exceeded even our lofty expectations for hilarity. Since then Rory has had a bumper few months, appearing on Conan O' Brien in a tuxedo performing uber-classy comedy with live LIberace-style piano accompaniment, co-starring on new TBS comedy Ground Floor and generally ruling the school and jettisoning jocularity into the universe in every town and festival he visits on tour.

Well if you missed his now legendary Third Man live show, fear not and save your tears, it is now available on LP and available in finer record retailers everywhere.

Oh, and one last thing for our UNUSUAL FORMAT collectors and fans… The sleeves and labels feature the track list all in braille. That's right. Braille. Trust us, it'll all make sense when you hear the album. It's another meta-comedy first from Third Man Records and Rory Scovel!

At long last the Live at Third Man LP from hyper enigmatic rock n roll pop guitar god King Tuff hits the shelves. Recorded back on lucky Friday the13th of July, 2012, we are super excited to have this epic set as a part of our live series of records from Third Man available to and for the people.

Check the shred-tastic groover "Just Strut" right here and now and try and tell us it doesn't make you wanna spray paint "Tuff Enough" on your locker and then kick-flip off the back of an AMC Ambassador and skate off into nighttime oblivion… Get revved up for the mighty King Tuff!

TRACK LISTING

1. Dancing On You
2. Keep On Movin'
3. Wild Desire
4. Just Strut
5. Baby Just Break
6. Bad Thing
7. Connection
8. Anthem
9. Freak When I'm Dead
10. Stranger
11. Kind Of Guy
12. Hit & Run
13. Sun Medallion

Now available on black vinyl. Third single released from their breakthrough album in 2002.

Black vinyl edition of the White Stripes “Hand Springs” and “Red Death at 6:14”, two songs that have been out of print on vinyl for over ten years.

Continuing in the mission of reissuing the nuggets of the White Stripes’ back catalog, Third Man plays Dr. Frankenstein/matchmaker to two stand-alone songs from the high time of the year 2000. “Handsprings” was originally released as a split-single with the Dirtbombs and included free in issue #19 of Multiball magazine. “Red Death at 6:14” was initially released on the Jack White-produced compilation “Sympathetic Sounds of Detroit” and was later made available as a one-sided single from the folks at MOJO magazine. Both songs are quintessential White Stripes jams and finally pairing them together here makes (arguably) one of the best Stripes singles ever.

This is a reissue of the decade-plus out of print only single off the White Stripes self-titled debut album. The A-side is Jack White's tempered screed against the monopoly of American auto companies against the accented thud of Meg's pounding drums. The B-side "Red Bowling Ball Ruth" is exclusive to this single and overflows with AC/DC-inspired rock riffs. Re-mastered direct from the original analog masters!

Another classic single from the White Stripes archives.. originally released as part of the White Stripes Japan-Australia-New Zealand "Three Island Tour" in October 2000, and now these songs are back in print for the first time in over a decade. The A-side is a cover of Blind Willie McTell's "Lord, Send Me an Angel" with parts of his classic "Ticket Agent" thrown into the mix for good measure. Pay attention to Jack White's update of the lyrics to reflect his own geographical location. The flipside is an Auto-Tuned (before they called it that) remix of "You're Pretty Good Looking" that's a peculiar novelty to say the least. Both tracks are re-mastered directly from the original master tape.

Amazingly, these records still blow the roof off, reissues of the first two White Stripes singles, originally released in another millennium, lets hear what Wiki say: '"Let's Shake Hands" is the debut 7" single of Detroit-based American garage rock band The White Stripes. It was released in March 1998, and marks their first recording. A live recording of the song is featured on Under Blackpool Lights as well as Under Great White Northern Lights. "Let's Shake Hands" showcases the early garage punk sound of the band in its infancy. The single is backed with a cover of "Look Me Over Closely," a song written for Marlene Dietrich by folk musician Terry Gilkyson. The first edition was 500 copies on clear red vinyl. A second edition of 1,000 copies was pressed on black vinyl in 2002. The cover for this repressing was a better quality version of the original photo. There was a "secret" third pressing in 2008 with a stenciled version of the original cover art by Dion Fischer. It was pressed on black vinyl and 1,000 hand-numbered copies were produced. Highly coveted among diehard fans, this 7" remains one of the rarest and priciest items in The White Stripes' entire discography.'

Exactly.. a very essential reissue...

TRACK LISTING

Side A:
Let's Shake Hands

Side B:
Look Me Over Closely

"Fly Farm Blues" is a song written on the spot by Jack White at the request of film director Davis Guggenheim while filming the impressive new guitar documentary 'It Might Get Loud'. The film features in-depth looks at Mr. White, The Edge, and Jimmy Page's relationships with the six-stringed instrument. Jack recorded the song immediately to two-track, all while being filmed for the documentary in the attic of the Fly Farm. Some astute viewers may recognize this attic room as the same used by Jim Jarmusch in his video for the Raconteurs' "Steady As She Goes".