FORMAT INFORMATION2xColoured LP Info: RSD store exclusive green vinyl edition.
2xLP Info: Black vinyl edition.
The Shins, the acclaimed pop project of songwriter James Mercer, have won the hearts of many, building strongly from the early releases on indie luminaries Sub Pop Records to the recent, deeply intimidate album, Heartworms. They did the unexpected when they re-recorded every song on the album in a completely different style and reversed the running order for The Worm’s Heart, released last month.
“The top-line melody remains intact, but everything else - the instrumentation, tempo - is altered.” - The Guardian
This split 12” titled Los Lobos vs. The Shins features three distinct versions of their song, The Fear; the original booming, sweeping track from Heartworms; the second kinetic “flipped” version from The Worm’s Heart; and the final rendition, heavy on the heartstrings, from buddy-band Los Lobos, which took vital form while the two groups played out together. In Mercer’s words, Los Lobos “just destroyed our version."
Pressed on clear vinyl with pink wisps. Limited copies available for RSD 2018 exclusively.
Originally released on 2xCD in in 2008, the Supremes “Supreme Rarities” from the Motown Lost & Found Series collects from the depths of the label archives to showcase the rarities, the outtakes and the incomparable live recordings from this inimitable group of Rock and Roll Hall of Fame inductees. Listen to the story unfold from the innocent teenaged doo-wop of “You Can Depend On Me” from 1960 all the way through the slick, socially-conscious refinement of “I’m Livin’ in Shame” from 1969. Aside from a handful of forgotten vinyl releases decades ago, the majority of this material has not been released on vinyl. Until now.
Third Man, in a unique partnership with Universal Music, has taken this double-CD and turned it into a glorious 4xLP collection housed in an impeccably-designed slipcase, all watercolor pastel vibrant photos highlight how absolutely impeccable this group is.
Of particular interest is that “Supreme Rarities” are the first Motown records EVER pressed in the city of Detroit. Diana Ross attended high school at Cass Tech, a mere mile away from Third Man Pressing where this title was lovingly pressed, which is also just a mile away from the Brewster-Douglass Housing Projects where Ross and fellow Supremes Mary Wilson and Florence Ballard all grew up.
The 48 tracks included here include the earliest Primettes tracks, invigorating covers of The Rolling Stones “Satisfaction” and the Beatles “I Saw Her Standing There”, along with renditions of hits for OTHER Motown artists like “Mickey’s Monkey” and “Uptight (Everything’s Alright)” in addition to alternate vocal takes of stone cold certified smashes like “You Can’t Hurry Love” and “Someday We’ll Be Together.” And if you want the hits medley, “Come See About Me”, “Baby Love” and “Stop! In the Name of Love” will wonderfully whet your appetite.
The sounds are darkly romantic and rife with an angst that can be traced back the post-punk caterwaul of Bauhaus and The Birthday Party. These songs, with heavy-breathed conflict and desperation fully intact, will be the first live document of Marching Church’s full-audience command of attention.
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.
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"
This live 7” will be their first music since their 2013 single, a 7” split released by Memphis big wigs Goner Records. The tracks featured are “The Painter” and “Falling”, both previously unreleased! A highlight is during the A-side, whose repetitive mantra “I am the painter, not the paint”, channels a damaged, American Mark E. Smith, defi nitely for fans of his work. The B-sde showcases what could be an outtake from Alex Chilton’s addled masterpiece “Like Flies on Sherbet”, a barroom song if there ever was one.
The B-side is her original “La Loose”, showcasing her soaring crystal vocal chops a la Anne Briggs, and the A-side is a powerfully stark cover of Lucinda Williams’ “Greenville” that has been a staple of her live set for years.
The A-side “Afraid of the Mirror" you’ve gotta hear to believe. While the eponymous mantra drills into your head, the equally churning upfront bass line is sewn into an expert-level percussive fracas. Not for beginners. “T.V. Wedding” is an downhill, apocalyptic kraut jam driven forward by pulsating saxophone improvisation taking lead all over the track.
Best known as half of the songwriting team at the heart of the Raconteurs (along with Jack White) Brendan Benson’s career has never slowed across six solo albums, two Raconteurs full-lengths, countless collaborations and placements and a seat as one of the most respected and reliable writer, performers, producer, engineer and musical jack-of-all-trades.
Their live 7” features two intimate yet momentous songs, “Alone at the Party” and “Broken Necks”, both from 2015’s O.K., the bedroom pop tour de force released on Double Double Whammy Records. “Broken Necks” is notably arresting as the fi rst 40 seconds is a fi nger-picked invitation to the audience to join in singing the chorus, only to explode into full band ferocity with Smith’s saccharine, solid vocals uniting naturally with her backing band, Oliver Kalb (synthesizer), Felix Walworth (drums), and Jack Greenleaf (bass).
The album, which Chess originally released in 1968 has not seen a legitimate domestic vinyl release since 2002, despite its enormous influence on generations of blues rockers. It features members of Rotary Connection as Muddy's backing band and was very controversial upon its release for its fusion of electric blues with psychedelic elements. The album is now recognized as a forward-thinking classic, sampled extensively by artists like The Black Keys and Gorillaz.
With Sun Records, Perkins released eight singles and one studio album, but his recording legacy is often undeservedly simplified to this singular, million-selling 7" record. Originally released in February 1956, "Blue Suede Shoes" b/w '"Honey, Don’t" is a rock and roll standard and critically praised as one of the first massive blockbusters of its kind. It walks down the road forged by Sister Rosetta Tharpe, Ike Turner, Bill Haley, Little Richard, Chuck Berry and Elvis Presley to fuse elements of blues, country, pop and gospel in a completely new direction.
Though Elvis Presley’s cover would cement the song’s status as a standard, Carl Perkins owes a good deal to Elvis for his name recognition and success as an artist. With Elvis’s cover of “Blue Suede Shoes” recorded and ready to release at the same time as Perkins’ original version, Presley requested that his major label distribution hold back his cover single until the original single sold one million copies, purely out of loyalty and consideration for his friend Perkins.
While shopping his music down South, he met Sam Phillips and agreed to release his song on Sun Records in the spring of 1954. This bouncing, twangy single would prove to be a cult hit and original pressings still command a lofty price. As the first remotely contemporary country single on the label, Peterson’s single paved the way for Sun to later pivot into the country genre.
From there, Peterson’s story becomes a bit murkier. He recorded the same song for Columbia in the fall of 1954, strangely disregarding his contractual agreements with Sun. He went on to release a couple more singles with Columbia and by the ‘60s, was holed up in rural central Michigan to run a radio station (WPLB) with his family.
His sole release on Sun titled “With Your Love, With Your Kiss” b/w “Be Mine, All Mine” is a highly collectible piece in the Sun catalog. The A-side is powerful and intense, with popping snare, blaring saxophone in the bridge and an impassioned Powers wailing all over the track. The B-side is more of a boogie rocker with an absolutely unforgettable falsetto vocal melody in each post-chorus.
After Fortune and Sun, Powers went on to release records with Motown Records, certainly the only artist to record for all three wildly diverse labels. This nugget of early rock history is not to be missed.
Italy Records was founded to release this single by these knuckleheads before the release of their debut LP on respected German label Crypt Records. For one reason or another, this Dirtys 7" actually ended up being Italy's second release. Regardless, it's as punk as it gets and demands your full time and attention.
It’s hard to disagree. Atsuo, Takeshi and Wata filled the room with foreboding smoke, dark red light reflecting off of the blue walls and, to this date, was our loudest performance yet. This is almost certainly the only time that we’ve handed out and required earplugs for every single audience member upon entry. And now you can keep the celebration of PINK going with the choicest tracks of the night – get this record!
STAFF COMMENTSBarry says: They really are branching out now aren't they? It used to be the staple of a lot of great indie bands to do a stint for third Man but on their latest run (along with Earth), we get the drone-rock scuzz of Japanese noise-deities Boris.
The band built their reputation on widely respected albums, starting with Sub Pop and moving to current home Southern Lord. Using the device of repetition, the band disarms and transforms first impressions with a performance so plodding and insistent that each song is stretched to its limits. The set spanned their catalog with four first-class compositions, employing powerful guitar drones and Davies’ precise, slow-motion percussion swirling throughout.
STAFF COMMENTSBarry says: There is nothing quite as hypnotic as an Earth live show, the slo-mo heft of alt-drone-country rock taking hold of the atmosphere in the room, and taking everyone along on their hypnotic trip is beguiling, and here we get four of their live classics on the ever-reliable third man.
This spring, their new critically-acclaimed LP A Hairshirt of Purpose was given a rare 10/10 by The AV Club, citing the record is “still pushing the (rock music) form to its outermost limits," and fortunately, our live LP was recorded right after its release, capturing them at a distinctly creative peak and unparalleled energy. This record is somehow chilling and explosive - kicking off with their total jam “Baby Boy” and including a surprise Blonde Redhead cover. It stands shoulder to shoulder with the rest of their catalog and will no doubt remain a shining example of our live series for years to come.
STAFF COMMENTSBarry says: A dynamic and fierce combination of soaring post-rock melodies a-la Lift To Experience, and clashing post-hardcore drive. Complex and ever-changing melodies interwoven with gloomy introspective glimmers and scathing vocal outbursts.
"The Blackout" was revealed this summer via a surprise live video, filmed during U2's blockbuster Joshua Tree Tour 2017. Third Man co-founder Ben Blackwell said, "The sound quality of this incredibly special record is a perfect example of the caliber of product Third Man Pressing is capable of producing. We couldn't be more proud." TMR's "The Blackout" 12" will be extremely limited, with just one single pressing at Third Man Pressing, the label's state-of-the-art vinyl production facility in Detroit. Black vinyl editions will be available at all participating Record Store Day shops.
Delivering on the promise of her debut and then some, the record find Price planting her flag firmly in the soil as a songwriter who’s here for the long haul, one with the chops to hang with the greats she so often finnds herself sharing stages with these days. A prolific writer with a knack for candid self-reflection, Price has never had to look too far for inspiration, and on 'All American Made', she and her songwriting partner/ husband, Jeremy Ivey, continue to depict the trials of everyday life with un inching honesty, painting poetically plainspoken portraits of men and women just trying to get by.
Highs and lows, long nights and hard days, wild women and cocaine cowboys, politics and sexism, it’s all in there, singularly filtered through Price’s wry, no-bullshit perspective. Throughout the album, her contemporary take on classic sounds is at once familiar and daring, an infectious blend of Nashville country, Memphis soul, and Texas twang that tips its cap to everyone from Waylon and Willie (who makes a guest appearance) to Loretta and Dolly, all while flipping a middle finger to the cookie-cutter pop that dominates modern country radio. Rich with swirling pedal steel, honky-tonk rhythms, and Price’s stop-you-in-your-tracks vocals, 'All American Made' is deeply reverent of tradition even as it challenges conventions, a nuanced exploration of conflicted emotions for our deeply conflicted times.
STAFF COMMENTSBarry says: All American made indeed! Knee-slapping guitar licks, strutting percussion and plenty of oh-so-slidey guitars. A modern take on the classic genre, and all the better for it. Superb.
This LP captures the raucous yet sagacious social commentary of Svenonius perfectly supplemented by the shaken soulful punk stylings of The Gang. This ain’t 3am party dulled garage rock; this is sharp, socio-political and intelligent critique, as many DC artists have had a rich history of representing. This also must be Chain & the Gang’s decidedly lo-fi sound at its most clear.
A highlight is the fi nal track “Come Over,” kicking off with floor tom detonation, adding chunky power pop guitars and barely-breathing vocals pushing to the point of disintegration with the very last note of the show.
Hedley and Erin Rae’s performance included Hank Williams Jr.s’ “Old Habits” and a thoroughly haunting rendition of Guy Clark’s “My Favorite Picture of You.” Hedley and Rae, both top respected voices in the Nashville local country scene, have never been more in their elements: trad country crooning, tight harmonies, and the most lonesome set of songs Third Man recording equipment has ever captured. Hedley, a mainstay on Nashville’s most respected lower broadway honky tonk Robert’s has recently been signed to Third Man Records.
John Paul White and Rodney Crowell performed Crowell’s “The Girl On The Street” as well as one of three original tunes penned for the Luck Mansion Sessions, “Don’t Think That I Can’t Feel You When You’re Gone.” About the new song, John Paul White says, “It’s the first song we attempted to write.. It gave us both an excuse to sit down and write a song. It was literally the only times we’ve ever played those songs. We didn’t rehearse them ahead of time, we didn’t work out harmony parts and guitar parts… you pretty much captured all of that process.”
“Don’t Think That I Can’t Feel You When You’re Gone” is White and Crowell’s first co-write, but not the first collaboration for the pair. White joined Rosanne Cash on vocals for the song “It Ain’t Over Yet” off Crowell’s 2017 release Close Ties (New West). The song and the record have been nominated by the American Music Association in the categories of Song and Album of the Year.
The title track, “Weakness,” is an upbeat country split-personality confessional that has the biting insight and holy quips Margo fans have come to love. “Just Like Love” offers up a somber folk fix that showcases the band at their most resonant and atmospheric.
“Paper Cowboy” (written by Matt Gardner) is a whip-smart anthem tailor-made for the blistering summer festival circuit that touches cosmic country territory with a four minute jam that hits a listener like heaven. Meanwhile, “Good Luck” (For Ben Eyestone) is a bittersweet farewell that stands as a perfect fit for when the credits start to roll, the sun takes seat and the world signs off...
About 30 seconds into “Christmas Card,” there’s a really special moment where vocalist Barry Johnson steps back from the mic and the hollering crowd jumps up to ﬁ ll in the gaps and turn the chorus inside out. This moment is what live shows are all about and speaks to the greatest skill of the Torrence, CA, four-piece - connecting with their fans on a level other newcomers can only dream about.
While their prior work was recorded almost entirely as a duo, “Gone” sees My Bubba joined in Third Man Studios by a backing combo comprised of bassist Jack Lawrence, keyboardist Dean Fertita, and legendary Nashville drummer Whip Triplet.
“Gone” is the A-side and the ﬁ rst of their songs written on a century-old lap harp, which was procured from an old boyfriend’s attic. After breaking up, My Bubba wrote this song about the old lover on the lap harp.
On the B-Side, a cover of Bob Dylan’s “You’re Gonna Make Me Lonesome When You Go” serves as one of the ﬁrst songs the duo ever sang together in Copenhagen. They still play it most evenings together on the road.
Tracks recorded with producer Jack White III at Third Man Studios
• First Blue Series Release of 2017.
Now together with the Western Playboys, you can hear the dusty technicolor Rio Grande ﬂ owing in the veins of these new recordings. Many of these songs are Greg’s indomitable take on waltz, country swing and golden honky-tonk songwriters like Cowboy Joe Babcock and Hank Mills, but lest we forget the cover of Estrus records’ ﬁnest garage rock nihilists The Makers. This 12” EP plays out from start to ﬁnish like a band in a washed out juke joint at a desert outpost from a Barry Gifford novel - strung out, sharp-witted and never dull.
Square it up and spin it now!
FORMAT INFORMATIONLtd 7" Info: Re-issue on yellow vinyl - quantity 1000ish (750 at TMR shops exclusively).
These 3 live tracks, being their ﬁrst ofﬁcial live release, encapsulates what is so magnetic about the duo - nimble yet mushrooming euphoria in each composition. The A-side single, Decent, is a chugging, arpeggiated and absolutely contagious live sing-along that can also be heard on their 2017 LP Odd Hours on highly respected NYC indie Inﬂ ated Records.
FORMAT INFORMATIONLtd LP Info: Single LP with single pocket tip-on jacket with soft touch finish.
Fast forward to 2017, the crew at Third Man, already huge fans, are presented with an honest-to-God treasure trove of original Monks photos, newspaper clippings, business cards, letterhead, contracts, postcards and, yes, analog tapes, containing trailblazing, wild compositions completely unheard by public ears.
“I’m Watching You” would have been recorded on February 28th, 1967 at the same sessions that would produce the Monks’ final single “Love Can Tame the Wild” b/w “He Went Down to the Sea.” The remaining four songs were recorded after hours in the Top Ten Club later that year, just prior to the break-up of the band.
These songs have been unreleased for 50 years and are quite possibly the last music left to be heard by this legendary band.
STAFF COMMENTSBarry says: Rock and Roll! Swinging from muted guitars and slamming kick drums into multi-vocal harmonies and back again. Minimalistic psychedelic breaks suddenly explode out into jangly love-in summer of love groovers. Brilliant.
Fucked Up got their start as many often do, making the rounds on punk and DIY circuits in Toronto, around Canada and later into the USA. Punk is a genre known for its velocity, brevity and politics, although here we have an almost complete inversion of those core traits: songs don’t race the clock, mythology and storytelling weaving fully realized narratives, and a bipartisan set with a 100% approval rating.
Blue Series Book by Ben Blackwell signed by Blackwell plus a 7” of unreleased Blue Series songs on blue vinyl - quantity 500 (300 at TMR shops exclusively) - £55
Covers the often-hidden inner workings of TMR's Blue Series, a full production process with spontaneous recording sessions in Nashville, TN starting in 2009. 282 pages - full color magic with unseen photos, interviews with Jack, Ben, artists + more.
FORMAT INFORMATIONFREE SHIPPING This item has FREE UK shipping!
It may have been one of the most life-affi rming and heart-wrenching shows we’ve ever had in the Blue Room.
• Fronted by Fred and Toody Cole (Dead Moon, The Rats, Pierced Arrows), legends and veterans of Portland’s independent rock scene.
• Hometown: Portland, Oregon
Self-described “hi-fi organ punk”, the band is two brothers still in high school - one on drums, the other on Farfi sa organ. Although newcomers to some extent, the results are electric and positively explosive, some say reminiscent of The Cramps, The Hentchmen, Billy Childish – every incarnation of top-notch rock you can imagine. It’s rare to take an organ and make it the centerpiece of a rock ‘n’ roll band and have it make so much sense.
Clearly musicians to keep your eyes on for years to come.
• Hi-fi organ punk from the depths of Dirty Water Records.
• Hometown: Cleveland, OH
The momentum here is impeccable and the cold North is no doubt alive with the sound of music.
• Previous releases through Castle Face Records, Goner Records, Slovenly Records, Amphetamine Reptile Records.
• Hometown: Minneapolis, MN
Craig Brown is a Detroit hero and the closest thing to a proper mayor the city has had in years. He’s one part blue collar and no parts ivory tower. He is a dude. He makes music. He is essential to the fabric of the scene.
When he isn’t constantly touring with Terrible Twos, Liquor Store, King Tuff, or running the merch table for Natural Child, you can find him behind the counter at El Club or Lager House or just around.
Jeff Gold, Johan Kugelberg and editor/contributor Jon Savage are among the most respected music authors and historians working today. Their efforts include numerous acclaimed and best-selling books and a Grammy Award. TOTAL CHAOS stands as a work for all fans of the band and rock music to draw inspiration. Including an absolute treasure-trove of rare and unseen photographs, TOTAL CHAOS is a book that show AND tells the story of The Stooges. A metallic k.o. of only the best kind.
With over ten years and nine studio records under their belt, Woods joined us for a meditative masterclass of a live taping in our Nashville Blue Room this past May, performing to a packed house of loyal fans, happy to go on whatever journey the band had planned for them. (View photos from the show.) Frontman Jeremy Earl’s soul-quieting falsetto stylings are the center of Woods’ sound, in the studio and on this live record. But, the shamanic folk vibes of their earlier records gain an urgency and anxiety here, as they have on their newest release City Sun Eater In The River of Light, thanks to a horn section, African jazz influence, and the clear inspiration of the increasingly chaotic world in which we find ourselves living.
The journey we all took with Woods at the helm on May 2nd, 2016 has been immortalized now as part of Third Man Records’ Live LP series, and it’s a journey we highly recommend taking in the comfort of your own home — with a glass of your favorite beverage in hand, fire roaring, and mind malleable.
STAFF COMMENTSAndy says: An expertly delivered, beautifully recorded live set from one of the best bands around at the moment.
The album – which sees Redbone accompanied by such studio luminaries as drummer Steve Gadd, percussionist Ralph MacDonald, and the great double bassist Milt Hinton – was an across-the-board success, reaching #83 on Billboard’s overall “Top LPs & Tape” chart amidst widespread critical acclaim. TMR’s exclusive vinyl reissue of ON THE TRACK comes in a 12” single pocket, direct-to-board replica of the original Warner Bros. Records release, with classic cover art featuring a Chuck Jones illustration of Merrie Melodies star Michigan J. Frog.
A true champion of early American ragtime, blues and jazz, Leon Redbone has spent a lifetime preserving that musical tradition while exposing successive generations to a rich musical heritage of which they might not otherwise have become aware. Recorded in 1972 by Dave Benders for WBFO Radio at the University of Buffalo and features some of the first Leon Redbone recordings.
Long Way From Home was never released commercially and will finally be available in CD, LP and digital formats for all to enjoy.
• Hometown: Detroit
• Features the previously unreleased “This Old Heart” (originally by James Brown) an outtake from the Life, Love and Leaving sessions, unheard for over 15 years.
• “Hey Sah-Lo-Ney” (originally listed under the incorrect title “Hey Sailor”) was featuring on the seminal Rough Trade Shops Rock and Roll compilation in 2002.
• Features Eddie Hawrsh (the Black Crowes) on bass.
We invited them back to record Side B in October with a full orchestra of nine friends and musicians, and it turned out to be a very special piece exploring the nether-regions where the organic collides with the electronic. However, this wasn’t our typical TMR show. We kept it a relatively intimate affair and only sold a handful of tickets to those interested in seeing a recording process become a performance making this our first installment in The Blue Room Sessions series.
STAFF COMMENTSLaura says: While most Third Man releases are influenced by rock'n'roll and country legends of the past, Essential Tremors sound has more in common with the dark, brooding synth pop coming out of Sheffield in the early 80s.
For those unfamiliar with William Tyler, his story is Nashville legend... born into a songwriting family, Tyler was tapped by Kurt Wagner to become a member of Lambchop at age 19 (two decades younger than the other members), and quickly became the “architect of the band’s sound.” From there, Tyler went on to back up the Silver Jews, Bonnie “Prince” Billy, Charlie Louvin, and others... all the while writing songs for his configuration of choice: fingerpicking solo guitar. The daring simplicity and winsome melodies of his first two albums remains in his most recent effort (which he describes as “a love letter to what we’re losing in America. To what we’ve already lost”), and on this live LP, but Tyler is bringing more depth and more experimentation to his compositions of late. “Gone Clear,” which appears on both records, is a melting pot of ideas: a drone reminiscent of Hindustani classical music, a central melody that sounds distinctly Appalachian, a devolution into a kaleidoscope of colors and ideas that it’s hard to believe is being produced by a single musician. This layering of textures is Tyler’s trademark, and even more awe-inspiring live.
We like to think that with the purposeful lack of smart phones, bars to saddle up to, and, of course, corners, concert-goers in the Blue Room tend to be more in-the-moment than in most performance venues. But it’s a rare artist who can take the already focused atmosphere in the room and quiet every last busy mind — Tyler did just that. This immortalization of the performance in all its transmundane glory will entrance you from first note.
Needle to vinyl is the only way to hear this comedy gold, and we’re proud to be the ones to bring an LP of this caliber into existence. Backed by friends-of-Third-Man-and-anyone-with-ears “Willy and the Mason Jars” (William Tyler, Ryan Norris, Jem Cohen, and Jacob Edwards), Scharpling & Wurster not only witty repartee your face off over and over again on this seminal offering, they also sing their asses off, and interview a very special guest.
Jack White And The Electric Mayhem (The Muppets)
You Are The Sunshine Of My Life (Stevie Wonder)
Jack’s cover of the Stevie Wonder classic performed by White on the season finale of ABC’s hit series, The Muppets. This 7" single includes White’s cover with the legendary Muppets house band, the Electric Mayhem, on the a-side, plus the special TV rendition featuring the Electric Mayhem along with the rest of the Muppets singing along as the b-side.
Why? Well, I thought it might be nice to impart a little of the leftovers to those who might appreciate it most. It just wouldn’t be right to hide these beautiful records—BLUE WITH BLACK WISPS—in our HQ warehouse forever and ever.
Recorded direct-to-tape in the Blue Room at Third Man Records on Devil's Night 2015, this is a three-day lead on a limited edition live record and previously unavailable, tour exclusive. The LP features the psychotic squall from Timmy's Organism, the fire and vitriol of Texas punkers VIDEO, and, notably, an otherwise unreleased Wolf Eyes song, “Devil’s Knights Inn Blues,” which ranks as one of the most profound expressions of American avant-spew.
Here’s your chance, America. Prove you love the freedom to feel what we're layin’ down.
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.
FORMAT INFORMATION2xColoured LP Info: *** LAST COPY ***
Packaged in an old style tip-on gatefold sleeve, coloured vinyl: with one record red, one record white vinyl.
2xLtd LP Info: Old-style tip on gatefold jacket, printed inner sleeves, 180 gram black vinyl.
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 COMMENTSBarry 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.
Why The Mountains Are Black: Primeval Greek Village Music: 1907-1960
Remastered from the original 78 rpm discs, this set contains 28 previously unissued recordings made in the cramped, primitive studios of Athens, Greece, New York, NY, and Chicago, IL. Crazed Macedonian bagpipes, keening violins, shiver-inducing zournas and shepherd-pipes are found throughout the two discs. Cover artwork is by legendary underground artist R. Crumb and designed by Grammy winning Susan Archie. A beautifully thought-provoking if not radical essay on this music by King accompanies the lavish package. Not simply for historians or collectors of long gone sounds, this compilation is intended to push the limits of what we have come to expect of music, its purpose and indeed its origin. You will experience a profound musical transformation immediately upon listening.
Produced by Christopher King who has been profiled recently in the New York Times Magazine, Oxford American Magazine, and on NPR.
It is a tour-de-force performance that is vivid, deeply moving and all true. The exclusive non album B-side “Desperate and Depressed” was recorded live in Third Man Records’ infamous Blue Room, and features classic country staples such as slide guitar and whiskey driven sadness. With a full-length release, Midwest Farmer’s Daughter, in the works for 2016 from Third Man Records, this is just the start of good things to come from Margo Price.
• “Hurtin’ (On the Bottle)” recorded at Sun Studios in Memphis.
• Full-length Debut Solo LP Midwest Farmer’s Daughter arriving March 2016.
My Happiness / That's When Your Heartaches Begin
This is the their first new single / album release since 2013’s “Album of the year” (The Wire) “Lower Floors”, released on De Stijl. Michigan’s finest, with an uncompromising return.
They've toured with the likes of Bob Dylan and Queens of the Stone Age, which, one way or another, led them to Nashville in 2013 to record a 7'' vinyl single for our Blue Series. The result was one of the finest guitar explosions we've ever pressed on wax and a pivotal entry in their discography. Their latest effort, 'Gone Baby Gone', was recorded with QOTSA's Josh Homme producing, and their swampy new swagger fully realized. It's the work of band that, after all this time and effort, understands their place in the American rock scene.
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.
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.
Roger Ebert has called them "the best in the world at accompanying silent films," and we can't disagree. "The Man with the Movie Camera," directed by Dziga Vertov and edited by his wife Elizaveta Svilova, is a documentary with no specific cast or narrative. In the film, a man carries out his day in the city as a member of the proud proletariat, capturing invention and the relationship between man and machine in Lenin's Soviet Union.
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)
Jack White: vocals, electric guitar
Daru Jones: drums
Dominic Davis: bass, electric bass
Fats Kaplin: fiddle, pedal steel
Key Owens: Moog synth (track A)
Cory Younts: Korg synth (track A); background vocals, harmonica (track B)
Dean Fertita: Moog synth (track B)
Olivia Jean: tic tac bass (track B)
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!
Summertime is the right time for Pokey’s sun-blessed riverboat style, and this August will mark our release of his next full length LP / CD titled simply Pokey LaFarge (produced by Old Crow Medicine Show frontman Ketch Secor).
• Lafarge previously released a 7-inch single on Third Man in 2011, titled “Chitlin Cookin’ Time in Cheatham County”
• Critical acclaim and dedicated following in the UK where a performance on Later…with Jools Holland reached a nation-wide audience.. the Hootenanny nonetheless!
• In addition to his featured vocal performance on the Jack White’s song “I Guess I Should Go To Sleep” Lafarge also opened select dates for White on his Blunderbuss tour.
All orders will be the Bolt-A-Trope magic moving vinyl!
Basically, this is a picture disc, that when you facilitate its zoetrope properties, you can see the Tempest Dance performed by Tempest Storm…sounds complicated, but it isn’t, its incredible… more magic from the Third Man Label…
Both tracks were recorded in 2011 while Beck was in Nashville working on new material for his long awaited next album. The songs spontaneously came together at the Third Man studio on Beck's final day in Nashville.
The jacket is a special double-sided, tri-fold sleeve.
FORMAT INFORMATIONLtd 7" Info: Black vinyl re-issue edition.
Songwriter Wallace Cochran is the author of the novel The Moon For Its Citizens (2009) and the director of the picture The Blood Feud (2003) in which multi-instrumentalist Jeff Stolz had a featured role and composed much of the score. For their Blue 45 Drakkar Sauna perform the original compositions "Leave That Hole Alone" which questions the existence of anything beyond the self, even the suffering of saints; and "Brundlefly, My Chariot" which drinks deep, so as to taste of the plasma spring. They are joined on this recording by frequent collaborator Jason Groth of the Bloomington, IN bands The Coke Dares and Magnolia Electric Co. Cochran and Stolz live and work in Lawrence, KS.
17 NEW ITEMS
192 NEW ITEMS
MorrisseyAll The Young People Must Fall In Love (Bob Clearmountain Mix) / Rose Garden (Live At The Grand Ole Opry, Nashville)
Various ArtistsA Disco Fantasy - Inc. Sylvester, Louie Vega, Amp Fiddler, Sweet Tooth T & Greg Wilson
Various ArtistsSpider-Jazz - KPM Cues Used In The Amazing Animated Series - That We Are Not Allowed To Mention For Legal Reasons
Mon 21st - 3:23
Mon 21st - 2:41
Sun 20th - 11:47