Search Results for:
THIRD MAN RECORDS
Third Man Records is very proud to announce Up, the first-ever LP from criminally-unheard Manchester noisemakers Magic Roundabout. Up is due September 24, 2021 and is heralded by dreamy lead single "She's A Waterfall" and its accompanying video.
“I walk in to the studio, Warren [Defever] is working away,” Third Man Records’ Dave Buick says about the label's introduction to the group. “Feedback, hypnotizing bass line, perfect female vocal harmonies and a drummer so minimal you just know they are standing coming out of the speakers. All I could see was stripes and paisleys. I became instantly obsessed with tracking down this mystery band's complete discography. ‘They don’t have a discography you say?’ Just like that my obsession had become dangerous and unhealthy.”
Like so many other disenfranchised kids in the heady days of mid-eighties United Kingdom, Magic Roundabout came armed with leather jackets, charity shop instruments, singles by The Fall and Buzzcocks, good haircuts, a healthy VU obsession and a little psychedelic inspiration. Influenced into existence at early gigs by The Jesus and Mary Chain and Shop Assistants, The Roundies wanted to change the world or at the very least make some noise, shake things up and be a part of the happening.
The gang established a clubhouse in early 1986 and began rehearsing, recording and gigging. Playing a ton of legendary shows with the likes of The Pastels, The Blue Aeroplanes, Spacemen 3, Loop, My Bloody Valentine, Inspiral Carpets and picking up a bunch of fans along the way. Rumor has it that Noel Gallagher roadied their final show.
There was one song released - "She’s a Waterfall" Parts 1 and 2 on Mark Webber’s (Pulp) Oozing Through The Ozone Layer cassette compilation - and that’s it. There were also talks of a flexi-disc that, for whatever reason, never saw the light of day. But by the end of the 80s, the gang had all gone their separate ways and the recordings along with so many other things were thought to be lost forever...
Now, these 1987 recordings recently unearthed by Ian Masters (Pale Saints) and Third Man Records and given the “treatment” by Warren Defever are presented to you lucky ones as the debut album by Magic Roundabout. 34 years too late or perfectly steeped and presented at just the right moment in history? Tune in, turn on and make up your own mind. Enjoy the trip.
"Magic Roundabout: The mysterious missing link between The Velvet Underground and pragVEC. How did the music industry miss these talented teenagers? They were fucking idiots, that's how. From super-catchy pop songs to ambitious 20-minute improvisations, the band had everything but a recording deal. Ambitious live performances where friends were satisfied with spitting out fluff often forgotten in 2 and a half minutes. Finally, the tape that was thought to have been lost was discovered during a search for a lost newborn in Manchester's slums, is now being remastered and presented for everyone to hear. You lucky lucky mofo's..."
-Ian Masters (Pale Saints).
“I walk in to the studio, Warren [Defever] is working away,” Third Man Records’ Dave Buick says about the label's introduction to the group. “Feedback, hypnotizing bass line, perfect female vocal harmonies and a drummer so minimal you just know they are standing coming out of the speakers. All I could see was stripes and paisleys. I became instantly obsessed with tracking down this mystery band's complete discography. ‘They don’t have a discography you say?’ Just like that my obsession had become dangerous and unhealthy.”
Like so many other disenfranchised kids in the heady days of mid-eighties United Kingdom, Magic Roundabout came armed with leather jackets, charity shop instruments, singles by The Fall and Buzzcocks, good haircuts, a healthy VU obsession and a little psychedelic inspiration. Influenced into existence at early gigs by The Jesus and Mary Chain and Shop Assistants, The Roundies wanted to change the world or at the very least make some noise, shake things up and be a part of the happening.
The gang established a clubhouse in early 1986 and began rehearsing, recording and gigging. Playing a ton of legendary shows with the likes of The Pastels, The Blue Aeroplanes, Spacemen 3, Loop, My Bloody Valentine, Inspiral Carpets and picking up a bunch of fans along the way. Rumor has it that Noel Gallagher roadied their final show.
There was one song released - "She’s a Waterfall" Parts 1 and 2 on Mark Webber’s (Pulp) Oozing Through The Ozone Layer cassette compilation - and that’s it. There were also talks of a flexi-disc that, for whatever reason, never saw the light of day. But by the end of the 80s, the gang had all gone their separate ways and the recordings along with so many other things were thought to be lost forever...
Now, these 1987 recordings recently unearthed by Ian Masters (Pale Saints) and Third Man Records and given the “treatment” by Warren Defever are presented to you lucky ones as the debut album by Magic Roundabout. 34 years too late or perfectly steeped and presented at just the right moment in history? Tune in, turn on and make up your own mind. Enjoy the trip.
"Magic Roundabout: The mysterious missing link between The Velvet Underground and pragVEC. How did the music industry miss these talented teenagers? They were fucking idiots, that's how. From super-catchy pop songs to ambitious 20-minute improvisations, the band had everything but a recording deal. Ambitious live performances where friends were satisfied with spitting out fluff often forgotten in 2 and a half minutes. Finally, the tape that was thought to have been lost was discovered during a search for a lost newborn in Manchester's slums, is now being remastered and presented for everyone to hear. You lucky lucky mofo's..."
-Ian Masters (Pale Saints).
TRACK LISTING
Side A
1. Carol In Your Eyes
2. Cast Your Sadness Away
3. She’s A Waterfall
4. Sneaky Feelin’
5. Up
Side B
1. Alice’s Paperplane
Formed in 1992, Boris boldly explores their own vision of heavy music, where words like "explosive" and "thunderous" barely do justice. Using overpowering soundscapes embellished with copious amounts of lighting and billow smoke, Boris has shared with audiences across the planet an experience for all five senses in their concerts, earning legions of zealous fans along the way.
Furiously recorded in the early days of the covid-19 pandemic and surprise-released in July 2020, NO was met with immediate and widespread praise. Meant to serve as a mirror that redirects the negativity of the global lockdown to something more positive, the content on NO can be characterized as “extreme healing music”.
Musically, it draws from influential noise-heavy hardcore group Gudon, even including a cover of their song “Fundamental Error”. NO is a classic hardcore thrash record and is one of the band’s strongest efforts from start to finish. This will also serve as the release of NO on streaming services worldwide.
"Their most compelling album in more than a decade." - Pitchfork
Furiously recorded in the early days of the covid-19 pandemic and surprise-released in July 2020, NO was met with immediate and widespread praise. Meant to serve as a mirror that redirects the negativity of the global lockdown to something more positive, the content on NO can be characterized as “extreme healing music”.
Musically, it draws from influential noise-heavy hardcore group Gudon, even including a cover of their song “Fundamental Error”. NO is a classic hardcore thrash record and is one of the band’s strongest efforts from start to finish. This will also serve as the release of NO on streaming services worldwide.
"Their most compelling album in more than a decade." - Pitchfork
TRACK LISTING
SIDE 1
1. Genesis
2. Anti-Gone
3. Non Blood Lore
4. Temple Of Hatred
5. Zerkalo
SIDE 2
1. HxCxHxC -Perforation Line2. Kikinoue
3. Lust
4. Fundamental Error
5. Loveless
6. Interlude
Formed in 1992, Boris boldly explores their own vision of heavy music, where words like "explosive" and "thunderous" barely do justice. Using overpowering soundscapes embellished with copious amounts of lighting and billow smoke, Boris has shared with audiences across the planet an experience for all five senses in their concerts, earning legions of zealous fans along the way.
This is the first-ever and particularly-anticipated official vinyl release of Boris's essential 2000 album, Flood. The album was originally released in Japan, only on CD. Delivered in four equally important movements, Flood is simultaneously delicate, dense, undulating, devastating, emancipating, hypnotic and triumphant. Each season of the album has its own sense of place, best revealed listen-by-listen.
With the album, Boris broaden their vision of musical possibility, with a notable and imaginative influence from visionary American minimalist Steve Reich, weaving in prog, drone and slowcore into a multifaceted symphony. There simply has never been another piece of music like Flood.
This is the first-ever and particularly-anticipated official vinyl release of Boris's essential 2000 album, Flood. The album was originally released in Japan, only on CD. Delivered in four equally important movements, Flood is simultaneously delicate, dense, undulating, devastating, emancipating, hypnotic and triumphant. Each season of the album has its own sense of place, best revealed listen-by-listen.
With the album, Boris broaden their vision of musical possibility, with a notable and imaginative influence from visionary American minimalist Steve Reich, weaving in prog, drone and slowcore into a multifaceted symphony. There simply has never been another piece of music like Flood.
TRACK LISTING
DISC 1
SIDE 1
1. Part 1
SIDE 2
1. Part 2
DISC 2
SIDE 1
1. Part 3
SIDE 2
1. Part 4
Featuring members of Starcrawler.
Recommended for fans of: 90s alt-country/indie rock, Neko Case, Jenny Lewis, Uncle Tupelo, Lucinda Williams, Waxahatchee.
In 2017, two teenage high school lovebirds who bonded over a love of classic country and rock n roll decided to write and record their own songs for the fun of it. 4 years later, Cash & Skye was officially born, featuring Henri Cash, guitarist and founding member of the L.A. rock band Starcrawler, and the debut of Sophia Skye, daughter of Rilo Kiley bassist Pierre de Reeder. Recorded during 2019 and 2020 at L.A.’s 64Sound, this is their exciting first release.
Recommended for fans of: 90s alt-country/indie rock, Neko Case, Jenny Lewis, Uncle Tupelo, Lucinda Williams, Waxahatchee.
In 2017, two teenage high school lovebirds who bonded over a love of classic country and rock n roll decided to write and record their own songs for the fun of it. 4 years later, Cash & Skye was officially born, featuring Henri Cash, guitarist and founding member of the L.A. rock band Starcrawler, and the debut of Sophia Skye, daughter of Rilo Kiley bassist Pierre de Reeder. Recorded during 2019 and 2020 at L.A.’s 64Sound, this is their exciting first release.
TRACK LISTING
Side A
1. No More Candy
Side B
1. Sweeping Wet Floors
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).
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)
Legendary feminist icon, musician, producer, artist, and "peerless iconoclast" (Elle) Peaches has always been a political figure, with lyrics famous for their focus on social inequality, body image, gender, and age equality. She was called a ‘heroine’ by the New York Times and has spent the past two decades upending stereotypes and challenging social norms while championing issues of gender equality and sexual identity with biting wit and fearless originality. On her latest releases, she's more direct and defiant than ever.
TRACK LISTING
1. Pussy Mask
THIS IS A RECORD STORE DAY 2021 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY JUNE 12TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.
IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 6PM ON THE SAME DAY (SATURDAY JUNE 12TH).
Bobo Jenkins's first recordings came out on the Chess, Fortune and Boxer labels in the 1950s. This 12 song LP compiles his 1970s output of incredibly raw and stripped down blues. The tracks included were recorded using a revolving door of Detroit musicians during late night / all night sessions in Bobo's makeshift Detroit recording studio and record shop and were originally released on his own Big Star Records. It would come as no surprise to find out that bands like The Cramps and The Gories had copies of these singles in their collections.
EXCLUSIVE PURPLE VINYL
IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 6PM ON THE SAME DAY (SATURDAY JUNE 12TH).
Bobo Jenkins's first recordings came out on the Chess, Fortune and Boxer labels in the 1950s. This 12 song LP compiles his 1970s output of incredibly raw and stripped down blues. The tracks included were recorded using a revolving door of Detroit musicians during late night / all night sessions in Bobo's makeshift Detroit recording studio and record shop and were originally released on his own Big Star Records. It would come as no surprise to find out that bands like The Cramps and The Gories had copies of these singles in their collections.
EXCLUSIVE PURPLE VINYL
TRACK LISTING
A1 New 44 Blues
A2 I Love That Woman
A3 First Left Home
A4 Shake Em On Down
A5 Here I Am A Fool In Love Again
A6 Watergate Blues
B1 If You Were The Only Woman
B2 Share Cropper Blues
B3 Trying To Get You Off My Mind
B4 I Sure Got To Leave Your Town
B5 You Will Never Understand
B6 24 Years
While many know Bergman as one half of brother-sister duo Wild Belle, her forthcoming record is a cathartic collection rooted in the hopeful values and traditions of gospel that have helped her through the recent, tragic loss of her father.
On the signing of Natalie Bergman, Third Man Records co-founder Ben Swank adds, “Natalie has a unique vision and has approached this album with a reverence for the sacred and healing nature of the history of this music, but has managed to update it in a way that is distinctly her own. We're very excited to welcome her to the Third Man label and family.”
Alongside her brother Elliot, the island-influenced music Natalie Bergman made in Wild Belle has led to collaborations ranging from Major Lazer to Tom Tom Club, performances at Coachella and Lollapalooza, tours with Beck, Cage The Elephant, Toro y Moi and more.
Helmed by her heavenly voice, Bergman’s solo album is steeped in mystic melodies and time-bending tones of psychedelic rock and soul. Showcasing her multi-instrumental and creative versatility, songs will be accompanied by visuals that blend her own abstract artwork, self-designed wardrobe and beyond. Stay tuned.
RIYL: Wild Belle, Haley Heynderickx, Phoebe Bridgers, Mitski, Meiko, El Perro Del Mar, Sylvan Esso, Overcoats, Weyes Blood, Sharon Van Etten, Maggie Rogers, Angel Olsen.
On the signing of Natalie Bergman, Third Man Records co-founder Ben Swank adds, “Natalie has a unique vision and has approached this album with a reverence for the sacred and healing nature of the history of this music, but has managed to update it in a way that is distinctly her own. We're very excited to welcome her to the Third Man label and family.”
Alongside her brother Elliot, the island-influenced music Natalie Bergman made in Wild Belle has led to collaborations ranging from Major Lazer to Tom Tom Club, performances at Coachella and Lollapalooza, tours with Beck, Cage The Elephant, Toro y Moi and more.
Helmed by her heavenly voice, Bergman’s solo album is steeped in mystic melodies and time-bending tones of psychedelic rock and soul. Showcasing her multi-instrumental and creative versatility, songs will be accompanied by visuals that blend her own abstract artwork, self-designed wardrobe and beyond. Stay tuned.
RIYL: Wild Belle, Haley Heynderickx, Phoebe Bridgers, Mitski, Meiko, El Perro Del Mar, Sylvan Esso, Overcoats, Weyes Blood, Sharon Van Etten, Maggie Rogers, Angel Olsen.
STAFF COMMENTS
Barry says: Bergman's music clearly leans heavily on the vocal-dominant acoustic guitar ballads of the 60's and 70's, joined with gorgeous harmonised girl-group soul aesthetic. It's a wonderfully new take on the tried and tested mellow folk vibe, and Bergman's haunting vocals fit it perfectly.TRACK LISTING
SIDE 1
1. Talk To The Lord
2. Shine Your Light On Me
3. I Will Praise You
4. I'm Going Home
5. Home At Last
6. You Make My World Go Round
SIDE 2
1. Paint The Rain
2. The Gallows
3. Your Love Is My Shelter
4. He Will Lift You Up Higher
5. Sweet Mary
6. Last Farewell
Dinked Edition Exclusive 7"
Side A
A. Paint The Rain (Pachy Remix)
Side B
B. Paint The Rain (Dub Instrumental)
A 4/20 surprise release from stoner rock progenitors SLEEP. This 2x12" single collection features both of Sleep's iconic 12" singles - 2014's The Clarity and 2018's Leagues Beneath - packaged together for maximum monolithic potency.
Each 180g single has music on the A side and a new etching by artist Dave Kloc on the B side, plus all new artwork by Kloc on the gatefold LP jacket.
A must-have for Sleep fans everywhere.
Each 180g single has music on the A side and a new etching by artist Dave Kloc on the B side, plus all new artwork by Kloc on the gatefold LP jacket.
A must-have for Sleep fans everywhere.
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 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.
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.
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!
Third Man Records is proud to announce the reissue of Muddy Waters' fifth studio album Electric Mud, which comes as a continuation of Third Man's partnership with Universal Music Group and the Estate of Muddy Waters.
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.
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.
Olivia Jean is back on the scene with a brand new single "Palladium", teaming up with April March (whose cover of "Chick Habit" was featured in Tarantino's "Death Proof"). The duo focuses their inimitable blend of danceable badass on three "versions" of the same song. Each song is sung in English and in French.
The 7" vinyl release will contain side A en Francais "Allons-y" and side B in English "Let's Go". All 6 versions will be available digitally.
Super fun! Génialissime! Beautiful! C'est magnifique! Get to it!!
The 7" vinyl release will contain side A en Francais "Allons-y" and side B in English "Let's Go". All 6 versions will be available digitally.
Super fun! Génialissime! Beautiful! C'est magnifique! Get to it!!
Like so many other disenfranchised kids in the heady days of mid-eighties United Kingdom, Magic Roundabout came armed with leather jackets, charity shop instruments, singles by The Fall and Buzzcocks, good haircuts, a healthy VU obsession and a little psychedelic inspiration. Influenced into existence at early gigs by The Jesus and Mary Chain and Shop Assistants, The Roundies wanted to change the world or at the very least make some noise, shake things up and be a part of the happening. The gang established a clubhouse in early 1986 and began rehearsing, recording and gigging.
Playing a ton of legendary shows with the likes of The Pastels, The Blue Aeroplanes, Spacemen 3, Loop , My Bloody Valentine, Inspiral Carpets and picking up a bunch of fans along the way. Rumor has it that Noel Gallagher roadied their final show. There was one song released - She’s a Waterfall Parts 1 and 2 on Mark Webber’s (Pulp) Oozing Through The Ozone Layer cassette compilation - and that’s it. There were also talks of a flexi-disc that, for whatever reason, never saw the light of day. But by the end of the 80s, the gang had all gone their separate ways and the recordings along with so many other things were thought to be lost forever…
Now, these 1987 recordings recently unearthed by Ian Masters (Pale Saints) and Third Man Records and given the “treatment” by Warren Defever are presented to you lucky ones as the debut single by Magic Roundabout. 34 years too late or perfectly steeped and presented at just the right moment in history? Tune in, turn on and make up your own mind. Enjoy the trip.
Playing a ton of legendary shows with the likes of The Pastels, The Blue Aeroplanes, Spacemen 3, Loop , My Bloody Valentine, Inspiral Carpets and picking up a bunch of fans along the way. Rumor has it that Noel Gallagher roadied their final show. There was one song released - She’s a Waterfall Parts 1 and 2 on Mark Webber’s (Pulp) Oozing Through The Ozone Layer cassette compilation - and that’s it. There were also talks of a flexi-disc that, for whatever reason, never saw the light of day. But by the end of the 80s, the gang had all gone their separate ways and the recordings along with so many other things were thought to be lost forever…
Now, these 1987 recordings recently unearthed by Ian Masters (Pale Saints) and Third Man Records and given the “treatment” by Warren Defever are presented to you lucky ones as the debut single by Magic Roundabout. 34 years too late or perfectly steeped and presented at just the right moment in history? Tune in, turn on and make up your own mind. Enjoy the trip.
TRACK LISTING
SIDE A
1. Sneaky Feelin
SIDE B
1. Song For Gerard Langley
Miranda Zipse is a force of nature. And were we not in the midst of a paralyzing pandemic touting a flagrant lack of reasons to party, you’d be flocking to the nearest dance floor to watusi your ass off to these brand new tunes.
Demonstrably influenced by soul, yé-yé, surf, and the bands they shared bills with in their early West coast days (Tomb Weavers, Mystery Lights, Shoobies) and undeniably groovy, she and her band - Miranda and the Beat - managed to record a new single before shelter-in-place orders were issued this Spring.
In “Such A Fool,” Zipse's commanding rasp is timeless, her delivery effortless, and her growls and wails masterfully employed. The song traps its narrator in the throws of regret, taunted and tortured. Woozy organ obligato yields to a lilting guitar solo and a confessional spoken third verse. B-side “Chillantro” is a casserole of cool - put it on repeat and eat those leftovers all week.
Demonstrably influenced by soul, yé-yé, surf, and the bands they shared bills with in their early West coast days (Tomb Weavers, Mystery Lights, Shoobies) and undeniably groovy, she and her band - Miranda and the Beat - managed to record a new single before shelter-in-place orders were issued this Spring.
In “Such A Fool,” Zipse's commanding rasp is timeless, her delivery effortless, and her growls and wails masterfully employed. The song traps its narrator in the throws of regret, taunted and tortured. Woozy organ obligato yields to a lilting guitar solo and a confessional spoken third verse. B-side “Chillantro” is a casserole of cool - put it on repeat and eat those leftovers all week.
On a cold, cold night last Halloween, Los Angeles’s angel baby rocker phenoms Starcrawler blasted off in the Blue Room at Third Man Nashville, igniting the stage and pumping the lifeblood back into the room. Formed in 2015 not yet out of high school, the group has released two full-length albums, both to critical acclaim, and toured extensively across the globe. Starcrawler dressed the part for this special night in the Blue Room, fully and appropriately costumed up for maximum spookiness. This live 7” single captures the group ripping through two songs from their most recent album “Devour You”. First is their vicious, nearly double-time version of “Lizzy,” tumbling through swells of mic feedback, fills and riffy distortion as vocalist Arrow de Wilde shouts into the ruckus. On the flipside, “Bet My Brains” (whose 7” label prominently features a rare appearance from one of the more sheepish members of the band) is head-banging, chugging RNR fun incarnate. Must listen!
TRACK LISTING
Side A
1. Lizzy
Side B:
1. Bet My Brains
Pick any genre - rap, rock, pop, folk, country, whatever you like. Can you think of an artist from that genre that was inducted into its hall of fame without any recordings released? And if one were to exist, what would that say about the artist’s impact, influence and importance? Is this scenario even possible? Born 1929 in San Antonio, TX, Martin Huron Solis, Jr. and his family came to Michigan in 1942 as migrant farmworkers. Though he played guitar from an early age, Solis eventually fell in love with conjunto music, a South Texas style defined by the combination of accordion and bajo sexto, a Mexican twelve-string bass guitar. In the late-1950s, he and his cousin Willy Huron, a saxophonist, formed Conjunto Los Primos (“The Cousins”). Fast forward to modern day -- Solis is now part of this seldom seen echelon of artists who released no records in their lifetime and still was inducted into the Tejano Music Hall of Fame. As a natural fit with Third Man’s broad interest in the preservation of music history, Third Man Records is humbled to release the first ever recordings of Tejano pioneer Martin Solis.
TRACK LISTING
Side 1
1. Perdida (3:43)
2. Dos Palomas (1:52)
3. Esta Noche Tu Vendras (4:21)
4. Las Gaviotas (1:31)
5. Debes De Comprenderme (1:51)
6. Amor Brutal (2:38)
7. Renunciacion (4:10)
Side 2
1. Cuando Tu Me Dejaste (2:32)
2. Viva Seguin (3:08)
3. Sufro Ausencia (2:52)
4. Atotonilco (1:59)
5. Cha Cha Cha (2:08)
6. "Flor Del Rio" (4:15)
7. "Sin Ti" (2:41)
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.
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
Conceived as a loosely-based concept album around the idea of crushes and young love, that dog’s sophomore album Totally Crushed Out! is a touchstone underrated classic in line with of-the-era releases like the Breeders Last Splash and Liz Phair’s Exile in Guyville. From the Sweet Valley High reminiscent illustrated album cover, to the A minus rating given by the dean Robert Christgau, to the Jenni Konner songwriting credit (long before she was the showrunner for HBO’s Girls) this album is quirky, smart, well-written and most of all...enjoyable.
That dog’s touring behind Totally Crushed Out! found them sharing stages with Foo Fighters, Weezer and Teenage Fanclub, their songs being covered live by Pearl Jam, collaborating with Beck, and the vid for “He’s Kissing Christian” achieving sub-Buzz Bin status on MTV. This 25th anniversary reissue marks the first EVER vinyl appearance for this album. Showing their attention to detail, Third Man Records sleuths got their hands on the original oil painting used for the front cover art and worked directly from that for all relevant artwork needs.
That dog’s touring behind Totally Crushed Out! found them sharing stages with Foo Fighters, Weezer and Teenage Fanclub, their songs being covered live by Pearl Jam, collaborating with Beck, and the vid for “He’s Kissing Christian” achieving sub-Buzz Bin status on MTV. This 25th anniversary reissue marks the first EVER vinyl appearance for this album. Showing their attention to detail, Third Man Records sleuths got their hands on the original oil painting used for the front cover art and worked directly from that for all relevant artwork needs.
TRACK LISTING
SIDE A
1. Ms. Wrong
2. Silently
3. In The Back Of My Mind
4. He's Kissing Christian
5. Anymore
6. To Keep Me
7. Lip Gloss
SIDE B
1. She Doesn?t Know How
2. Holidays
3. Side Part
4. One Summer Night
5. Michael Jordan
6. Rockstar
Slaying the scene and making it look easy, Jacuzzi Boys are back at it with a new garage glam-punker 7”. You’ve caught them touring the world, playing shows and festivals far and wide, and steadily winning hearts and earning their place as fixtures of the American garage rock scene. These songs? They’re tight. They’re balanced. They’re right on the money. The A-side “The Pits” is a phenomenally fuzzed glittery rocker complete with breathy Bolanesque bits, swooping bass and energetic percussion. Meanwhile, “Offended” is a blistering 1-minute garage rock whirlwind for anyone who has dipped their toes into the rank cesspool of online comments sections.
"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.
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.
The formation of the Pathetx began in 1980 with singer, Mark Leavitt, and guitarist, Greg Kutcher. They had been playing together in their basements for a while and were looking to get out on stage in the punk clubs in and around Detroit. They assembled the rest of the group, drummer Ted Meek, guitarist happy Tom McHenry and 16 year old bass player Mick Nasty, through newspaper ads, local “punk walls” and music stores.
The Pathetx took their inspiration from the West Coast punk scene that was happening at the time, bands like The Germs, Black Flag and Dead Kennedys, as opposed to most of the other punk bands that were kicking around Detroit who were looking to The Stooges and MC5 to show them the way. Nunzio’s was the band’s unoffi cial home away from home but they played every legendary punk club in the area: Bookies Club 870, Freezer Theater, Red Carpet, Windsor’s Coronation Tavern... you name it, The Pathetx played it. They shared the stage with Detroit’s fi rst wave punk bands as well as the superstars of this new hardcore thing that was happening. They played the legendary Endless Summer Skatepark show with Necros, Negative Approach and Meatmen. Their live shows were fi lled with beer, blood and pogos. Third Man Records is proud to announce the fi rst-ever release of The Pathetx - 1981. Clocking in at 18:16 minutes
The Pathetx took their inspiration from the West Coast punk scene that was happening at the time, bands like The Germs, Black Flag and Dead Kennedys, as opposed to most of the other punk bands that were kicking around Detroit who were looking to The Stooges and MC5 to show them the way. Nunzio’s was the band’s unoffi cial home away from home but they played every legendary punk club in the area: Bookies Club 870, Freezer Theater, Red Carpet, Windsor’s Coronation Tavern... you name it, The Pathetx played it. They shared the stage with Detroit’s fi rst wave punk bands as well as the superstars of this new hardcore thing that was happening. They played the legendary Endless Summer Skatepark show with Necros, Negative Approach and Meatmen. Their live shows were fi lled with beer, blood and pogos. Third Man Records is proud to announce the fi rst-ever release of The Pathetx - 1981. Clocking in at 18:16 minutes
A live album recorded at the Third Man Detroit location from Motor City's sweetest psych-folk groovers, Bonny Doon. Hot off the heels of their Woodsist Records album "Longwave," this live LP features beautiful live takes from their full discography.
TRACK LISTING
1. Summertime Friends
2. I Am Here (I Am Alive)
3. Saw A Light
4. Lost My Way
5. Long Wave
6. I See You
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.
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.
Recorded shortly after his solo debut album Half-Light (and about 2 years following his departure from Vampire Weekend), Third Man had the distinct pleasure of hosting Rostam, as he graced the Third Man Blue Room stage in Nashville with a penetratingly thoughtful yet cheery set of whole-hearted indie electronica, fi lled out with bongos and a string section.
The live document is a very special one because it contains only songs from Half-Light, tour-tight and with clever nuances, nods and charm that can only be captured live. Not to say that this was anything but an outstanding live recording, complete with expertly commanded vocals and elegantly crafted strings. For those of us who weren’t able to see live, a standout moment is the playful fourth track “Wood”, which nourishes a lush, dynamic, beautiful little world into The Greater Consciousness. This live album was recorded direct-to-2” tape in the Blue Room.
The live document is a very special one because it contains only songs from Half-Light, tour-tight and with clever nuances, nods and charm that can only be captured live. Not to say that this was anything but an outstanding live recording, complete with expertly commanded vocals and elegantly crafted strings. For those of us who weren’t able to see live, a standout moment is the playful fourth track “Wood”, which nourishes a lush, dynamic, beautiful little world into The Greater Consciousness. This live album was recorded direct-to-2” tape in the Blue Room.
TRACK LISTING
A1. Don't Let It Get To You (Reprise)
A2. Sumer
A3. Never Going To Catch Me
A4. Wood
A5. Bike Dream
A6. Eos
B1. Rudy
B2. Half Light
B3. Gwan
B4. In A River
B5. Don't Let It Get To You
Chandra Oppenheim was a child star like no other. As the daughter of famed conceptual artist Dennis Oppenheim. By age nine, Chandra was staying up late at her parents’ art-world parties, collaborating in her father’s projects, and performing her own plays at downtown hotspots such as The Kitchen and Franklin Furnace.
This set the stage for Chandra’s course-altering collaboration with members of New York no- wave outfit The Dance, who were looking to form yet another project and found their muse/fuse in 10-year-old Chandra. Transportation EP, originally released in 1980 by The Dance’s own label, ON/ GoGo. Balancing on razor- wire guitars, liquid bass lines, and dub-style melodica, the Chandra band unveiled their first four songs: “Opposite”, “Concentration”, “Subways”, and “Kate.”
At age 12, the post-punk pre-teen took the stage with her band for the first time at New York’s legendary Mudd Club. A whirlwind of press coverage ensued from glossy magazines like Vogue and Paris Match to the influential underground zine Non LP B Side and a Soho News cover story.
A second EP was recorded and later shelved as Chandra walked away from the band at age 14 to focus on her education. The EP would not see the light of day for decades.
Chandra’s Transportation EP saw a deluxe reissue that included the unreleased 2nd EP, as well as 2 demos from the same era, on Telephone Explosion Records out of Toronto in 2018. Chandra , now based in Maine, has also reactivated the Chandra Band with the help of a who’s who line-up of Toronto’s independent music scene.
Third Man Records invited Chandra and her band to its Cass Corridor stage last winter. On February 1, 2019, magic was made and luckily for you it was captured direct The songs presented to you on this Blue Stage Sessions 7”, Day Without Success b/w Explosions, are based on the demos and rehearsal tapes of Chandra Oppenheim, Eugenie Diserio and Steven Alexander recorded from 1981-1983. They have never been performed live until their new arrangements by the re-formed Chandra Band
This set the stage for Chandra’s course-altering collaboration with members of New York no- wave outfit The Dance, who were looking to form yet another project and found their muse/fuse in 10-year-old Chandra. Transportation EP, originally released in 1980 by The Dance’s own label, ON/ GoGo. Balancing on razor- wire guitars, liquid bass lines, and dub-style melodica, the Chandra band unveiled their first four songs: “Opposite”, “Concentration”, “Subways”, and “Kate.”
At age 12, the post-punk pre-teen took the stage with her band for the first time at New York’s legendary Mudd Club. A whirlwind of press coverage ensued from glossy magazines like Vogue and Paris Match to the influential underground zine Non LP B Side and a Soho News cover story.
A second EP was recorded and later shelved as Chandra walked away from the band at age 14 to focus on her education. The EP would not see the light of day for decades.
Chandra’s Transportation EP saw a deluxe reissue that included the unreleased 2nd EP, as well as 2 demos from the same era, on Telephone Explosion Records out of Toronto in 2018. Chandra , now based in Maine, has also reactivated the Chandra Band with the help of a who’s who line-up of Toronto’s independent music scene.
Third Man Records invited Chandra and her band to its Cass Corridor stage last winter. On February 1, 2019, magic was made and luckily for you it was captured direct The songs presented to you on this Blue Stage Sessions 7”, Day Without Success b/w Explosions, are based on the demos and rehearsal tapes of Chandra Oppenheim, Eugenie Diserio and Steven Alexander recorded from 1981-1983. They have never been performed live until their new arrangements by the re-formed Chandra Band
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.
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.
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.
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.
Iron & Wine performed and recorded an absolutely captivating live set of songs in the Blue Room venue at Third Man Records in Nashville. Armed with spartan set-up of a guitar, microphone and his minimal backing band in front of a soldout audience, Iron & Wine’s Sam Beam ambled through his discography, on touchstones like Naked As We Came from classic album Our Endless Numbered Days, The Trapeze Swinger from Around the Well and Winter Prayers from Ghost on Ghost. It was a heartfelt experience without sacrificing any charm, personality or gestalt crowd connection.
TRACK LISTING
1. The Trapeze Swinger
2. The Desert Babbler
3. Wolves (Song Of The Shepherd's Dogs)
4. Monkeys Uptown
5. Sodom, South Georgia
6. Southern Anthem
7. Call Your Boys
8. Winter Prayers
9. Song In Stone
10. Naked As We Came
It’s been nearly two decades since the Swedish rock-n-roll heroes The Hives unleashed their debut album on the world and almost 5 years since new music has been released. Now, they will drop TWO intoxicatingly brash new songs I’m Alive and Good Samaritan on a limited edition double A-side 7” via Third Man Records. Both tracks were produced & mixed by Dave Sardy (LCD Soundsystem, Wolfmother) in Los Angeles.
The band explains:
I’m Alive is a song about crawling up from under a rock and obliterating all resistance that sounds like crawling up from under a rock and obliterating all resistance because it is a band crawling up from under a rock and obliterating all resistance. Use it in your own life to help you obliterate your own resistance! Musically slower and with more chords than usual, but heavy man. Real heavy.
Good Samaritan is a song about helping people help themselves by not helping them? Are they sarcastic or do they hate people now? Is this punk? You never know with these Hives and it’s been a while since I saw them so let’s all go see them again and see what they are on about? Musically faster than usual but a surprising dive into the chorus that feels like going into hyperspace. Now it’s not surprising anymore. Oh well.
The band explains:
I’m Alive is a song about crawling up from under a rock and obliterating all resistance that sounds like crawling up from under a rock and obliterating all resistance because it is a band crawling up from under a rock and obliterating all resistance. Use it in your own life to help you obliterate your own resistance! Musically slower and with more chords than usual, but heavy man. Real heavy.
Good Samaritan is a song about helping people help themselves by not helping them? Are they sarcastic or do they hate people now? Is this punk? You never know with these Hives and it’s been a while since I saw them so let’s all go see them again and see what they are on about? Musically faster than usual but a surprising dive into the chorus that feels like going into hyperspace. Now it’s not surprising anymore. Oh well.
TRACK LISTING
A1. I'm Alive
B1. Good Samaritan
Third Man is very excited to release the debut vinyl single from “boogie trance” trio Long Hots. What ink can we spill about this trio of Philadelphian rollers that hasn’t already been hyperbolied in year-end lists worldwide? Their ‘Monday Night Raw’ cassette never left our deck since it’s release and we’re proud as all hell to release their first ever 7” of fried zoner boogie blues.
Long Hots are the true Philly phrenetic, an unpolished combo of fuzzed out & agitated guitar, undercurrent bass choogle and bare bones drums. Theirs are the kind of long-form weighty psych jams that bring to mind heroes like Moe Tucker, Stooges and Dead Moon. Tasteful, smart, fun and fresh for your late summery nights.
A-side song Give and Take is 4 sturdy minutes of drone garage groove capturing the feeling of loose tension in between giving and taking and pushing and pulling. On the flip side, Nickel and Dime is a mucky pop song zeroing in on a dude unfit to pull his own damn weight and, from the sounds of it, not worth the trouble.
Long Hots are the true Philly phrenetic, an unpolished combo of fuzzed out & agitated guitar, undercurrent bass choogle and bare bones drums. Theirs are the kind of long-form weighty psych jams that bring to mind heroes like Moe Tucker, Stooges and Dead Moon. Tasteful, smart, fun and fresh for your late summery nights.
A-side song Give and Take is 4 sturdy minutes of drone garage groove capturing the feeling of loose tension in between giving and taking and pushing and pulling. On the flip side, Nickel and Dime is a mucky pop song zeroing in on a dude unfit to pull his own damn weight and, from the sounds of it, not worth the trouble.
TRACK LISTING
A1. Give And Take
B1. Nickel And Dime
Fresh off releasing their fourth album on beloved independent label Castle Face, POW! performs live at Third Man Detroit with their strangely beautiful merging of synthpunk and garage from the middle of the swamp. Truly, this synthesis should not make this much sense but it does completely. Think Screamers meets The Scientists. It’s dark but uplifting; catchy without losing a hanging gloominess.
The first song Connecting is a distorted, swarming electropunk hit. Second song Switchboard Scientist buzzes and quakes into a steadily expanding, head-bobbing beat that guides us into an unfamiliar bizarro territory.
The first song Connecting is a distorted, swarming electropunk hit. Second song Switchboard Scientist buzzes and quakes into a steadily expanding, head-bobbing beat that guides us into an unfamiliar bizarro territory.
TRACK LISTING
A1. Connecting
B1. Switchboard Scientist
Los Angeles supergroup Oozelles play weirdo punk rock with delightful saxophone and bongo accents, reminiscent of the Birthday Party boiling in a Death Valley heat or the Flesh Eaters experimenting with DC go-go tunes. Their live show is droll and nervy and danceable, and an essential sight to see.
The A-side of their debut single “Every Night They Hack Off A Limb” starts off like the opening overture theme to a forgotten spy film, then surges into the percussion and sax-led, wired up titular refrain. The B-side “Human Trafficking” is a keyboard-driven soul-punk number made especially delightful with bizarro gremlin backing vocals and contagious singalong post-chorus.
The A-side of their debut single “Every Night They Hack Off A Limb” starts off like the opening overture theme to a forgotten spy film, then surges into the percussion and sax-led, wired up titular refrain. The B-side “Human Trafficking” is a keyboard-driven soul-punk number made especially delightful with bizarro gremlin backing vocals and contagious singalong post-chorus.
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.
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
Griot Galaxy is a “secret” jewel of Detroit’s avant-garde jazz history – until now. That is to say, they will always be a jewel of Detroit’s avant-garde jazz history, their deeply passionate music a testament to experimentation, freedom, and blackness. But with the long-awaited reissue of their first album, the hard-to-find Kins, the secret is out. Griot Galaxy doesn’t strictly begin with Kins. It begins with visionary bandleader and saxophonist Faruq Z. Bey’s musical and political awakening in the late ‘60s, when the 1967 Detroit Rebellion was tearing Detroit apart and Coltrane’s untimely death was devastating the jazz community. Kins, recorded in 1981 and originally released in 1982, is a masterstroke of creative Detroit jazz. The freeness of the playing is anchored by a serious propensity for rhythm, evident in the way its members layered their collective backgrounds in bebop, funk, reggae, and other styles within the expansive possibility of sonic expression. And all but 200 or so copies of the original 2000 pressed were unintentionally trashed. Griot Galaxy’s willingness to push boundaries was as affectionate as it was fearless. Kins is Detroit's post-Coltrane, high-on-Sun-Ra bridge into the ‘80s. They certainly weren’t the first to experiment with polyrhythms, odd meters, and tonal scales beyond the traditional concepts, but it was in part the combination of Shahid and Tabbal’s previous experience with Sun Ra, as well as Tabbal’s experience with one-time Arkestra trumpeter Phil Cohran, that allowed the group to blossom. Donning silver face paint and spouting poetry on stage, the group gained notoriety for both impressive musicianship and theatrical proto-Afrofuturist flourishes as they played all over town, including Cobb’s Corner, a jazz bar in the Cass Corridor. We’re lucky that lead engineer Ron DeCorte saved the original master tapes, from which these recordings came. Although most of the wider world didn’t get a chance to experience the wonder of Griot Galaxy at the time, we will gloriously, happily, gratefully take what we can get now.
Jesus Christ! The Stools! This is the kind of mangled barking terrifyingly manic garage that the Midwest pumps out better and more consistently than anybody and the Stools seem to be challenging every one of us to a frenetic fistfight for top spot.
The title track When I Left is a modern garage punk banger a la Gun Club meets the Oblivians that tremors and nearly buckles under its own weight before it ends. American Convertible chugs almost entirely on the same infectious blues riff, which could be repetitive with another group at the helm, but here is just incredibly fun and vital. The B-side? You’ve got the desperate and evil blown-out blues of Black Fly Stew butted up with the gone-before-it-was-here urgency wrapped up in a Bo Shitley beat of Don’t Need Nothing.
The title track When I Left is a modern garage punk banger a la Gun Club meets the Oblivians that tremors and nearly buckles under its own weight before it ends. American Convertible chugs almost entirely on the same infectious blues riff, which could be repetitive with another group at the helm, but here is just incredibly fun and vital. The B-side? You’ve got the desperate and evil blown-out blues of Black Fly Stew butted up with the gone-before-it-was-here urgency wrapped up in a Bo Shitley beat of Don’t Need Nothing.
Founded in 1951 by independent record store owner and radio show promoter Ernie Young, Nashville, TN’s Nashboro Records recorded some of the most potent and forceful gospel music of the time period. Although initially begun in response to overwhelming demand for gospel locally, Nashboro quickly became nationally applauded for its curatorial prowess (under the guidance of Rev. Dr. Morgan Babb of the gospel group, The Radio Four) and signature production style. The lightly-reverbed, clear sound of a Nashboro record is unmistakable. The Morning Echoes, led by Willie “Slim” Ayers, formed in the late ‘40s, released their first record in 1951 and moved to Detroit in 1952. They started regularly broadcasting over radio station WJLB and became a part of the Nashboro Records family several years later. Echoes Of The Gospel was originally released in 1967 and was the first Long Playing record from these Motor City favorites. The Morning Echoes remained active in and around Detroit throughout the 1960s, ‘70s and ‘80s. The project officially came to a close when leader Willie “Slim” Ayers passed on September 17, 2013. This Third Man re-issue came into our world when TMR artist and friend Kelley Stoltz sent a well loved copy of Echoes Of The Gospel in gratitude for having him play the Third Man Pressing Grand Opening Party. His note read “Thanks for the fantastic experience! This one is a spirit lifter, In The Garden Of Eden does it for me. XO Kelley”. Third Man is now proud to cast a broader light on the beautiful Echoes of the Gospel and the Detroit-Nashville connection that it embodies. It is transferred with reverence directly from the original 1967 stereo mixes and remastered by Warren Defever.
TRACK LISTING
A1. Jesus Showed Us The Way
A2. The Lord Will Make A Way
A3. In The Garden Of Eden
A4. Spare Me Over Another Year
A5. Fire One Day
A6. The Lord Will Provide
B1. I'll See You Home Again
B2. Misunderstanding Of A Friday
B3. Servants Prayer
B4. People Turning Away From God
B5. I've Got Jesus
B6. God's A Wonderful Lawyer
The Algebra Mothers/A-Moms were formed by four like-minded misfits/artists/musicians/friends (Gerald Collins, Ralph Valdez, Diana Balton and Kirsten Rogoff) from Detroit’s Cass Tech High School. They made their professional debut in 1977 and in 1979 they released the weirdly incredible Strawberry Cheesecake b/w Modern Noise 7” on their own Aftertaste Records (TMR re-issue imminent). They played around Detroit and the country with everyone from Destroy All Monsters and Sonic’s Rendezvous Band to Pere Ubu until 1984.
Several decades later, Third Man Records contacted head Mothers Gerald Collins (Jeecy and The Jungle) and Ralph Valdez (former WDET Disc Jockey) and discovered they were sitting on at least an album’s worth of home studio demos and live recordings. Now we proudly present to you “A-Moms = Algebra Mothers” LP, 14 never before heard tracks recorded between 1977-1984 in various home studios and clubs. It will be their first release in nearly 40 years and only their second release ever.
Several decades later, Third Man Records contacted head Mothers Gerald Collins (Jeecy and The Jungle) and Ralph Valdez (former WDET Disc Jockey) and discovered they were sitting on at least an album’s worth of home studio demos and live recordings. Now we proudly present to you “A-Moms = Algebra Mothers” LP, 14 never before heard tracks recorded between 1977-1984 in various home studios and clubs. It will be their first release in nearly 40 years and only their second release ever.
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.
“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.
Ian F. Svenonius and the philosopher of fuzz, black-jacket beat-bopper, bandstand bolshevik, single note savant, tear-stained tape deck, last refuge of ineptitude, sin is in group ESCAPE-ISM stopped by our Detroit location one afternoon last spring and recorded this pan-sonic polymorphously perverse plastic platter live on the Blue Stage.
Tanzania Albinism Collective
White African Power (We Live In Danger) / Stigma Everywhere
Third Man Records
Ukerewe is the largest inland island in Africa and can only be reached by an overpacked four-hour ferry ride on Lake Victoria. It is a place so remote that historically people often traveled there to abandon their albino children, based on the regional belief that they are in some way “demonic.”
Eighteen members of the Standing Voice community volunteered for their first ever songwriting workshop, ranging in age from 24 to 57. But even among the willing, singing-out proved difficult, considering the group routinely avoided eye contact, rarely spoke above a whisper, and were unaccustomed to dancing.
Produced by Grammy-winner Ian Brennan (Tinariwen, Zomba Prison Project, Ramblin’ Jack Elliott), the Tanzania Albinism Collective actively pushes the boundaries of what is considered Eastern African and “world music,” while continuing to attract greater awareness and confront the dangers that the collective face daily due to prejudice and persecution at home.
For fans of: Francis Bebey, Uyghur Folk Music.
Eighteen members of the Standing Voice community volunteered for their first ever songwriting workshop, ranging in age from 24 to 57. But even among the willing, singing-out proved difficult, considering the group routinely avoided eye contact, rarely spoke above a whisper, and were unaccustomed to dancing.
Produced by Grammy-winner Ian Brennan (Tinariwen, Zomba Prison Project, Ramblin’ Jack Elliott), the Tanzania Albinism Collective actively pushes the boundaries of what is considered Eastern African and “world music,” while continuing to attract greater awareness and confront the dangers that the collective face daily due to prejudice and persecution at home.
For fans of: Francis Bebey, Uyghur Folk Music.
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.
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
Michigan’s own Brad Wenzel is best known for his offbeat, one-liners. His unassuming presence and dry delivery set him apart from other comedians. Now residing in Los Angeles, he has recently made 2 stand-up appearances on CONAN to wide acclaim.
After winning first place at the Great American Comedy Festival, Brad was a finalist in Funny or Die’s “Road 2 Oddball”, performed at RIOT LA, and was selected to be one of the “New Faces” at the prestigious Just For Laughs Festival in Montreal, among many other festival appearances. Brad headlines around the country and has worked with comedians like Brian Posehn, Kathleen Madigan, Pete Holmes, Jerrod Carmichael, Gilbert Gottfried, and Patton Oswalt. He co-hosts Pod Seger, a Bob Seger podcast along with fellow comic, Trevor Smith.
This hilarious recording, titled “Sweet Nothings”, is from his live set in October 2017 at the Comedy Club in Madison, WI. It will join the robust ranks of Third Man’s comedy record repertoire, including Reggie Watts, Rory Scovel, Scharpling & Wurster, Conan O’Brien, Billy Wayne Davis, Neil Hamburger and more.
Brad Wenzel’s “Sweet Nothings” LP comes with a download code for the audio of this set, plus 11 minutes of bonus material.
After winning first place at the Great American Comedy Festival, Brad was a finalist in Funny or Die’s “Road 2 Oddball”, performed at RIOT LA, and was selected to be one of the “New Faces” at the prestigious Just For Laughs Festival in Montreal, among many other festival appearances. Brad headlines around the country and has worked with comedians like Brian Posehn, Kathleen Madigan, Pete Holmes, Jerrod Carmichael, Gilbert Gottfried, and Patton Oswalt. He co-hosts Pod Seger, a Bob Seger podcast along with fellow comic, Trevor Smith.
This hilarious recording, titled “Sweet Nothings”, is from his live set in October 2017 at the Comedy Club in Madison, WI. It will join the robust ranks of Third Man’s comedy record repertoire, including Reggie Watts, Rory Scovel, Scharpling & Wurster, Conan O’Brien, Billy Wayne Davis, Neil Hamburger and more.
Brad Wenzel’s “Sweet Nothings” LP comes with a download code for the audio of this set, plus 11 minutes of bonus material.
Hitting the streets exactly one year following its recording, Third Man is proud to present a full length document of the August 21, 2017 total solar eclipse in Nashville, TN as interpreted by Quintron’s Weather Warlock, a handmade weather-sensitive analog synthesizer.
The A side, Microburst Hail Storm, kicks off with a recording of a microburst hail storm smack dab in the middle of American desert country - Las Vegas, NM. What begins with light, hypnotic drone shifts into percussive tapping as the hail seizes control, then to conclude with ovular sonic raindrops. It is an absolutely fascinating listen and serves as a proper appetizer for the uncanny flip side.
The B side, Path of Complete Totality, starts with a steady whirr, then nosedives slower and slower and slower with a pinging, dragging heartbeat to the point of cold quiet. It is both an extraordinary taste of the experience of totality and a striking metaphor for the cycle of life.
Also worth noting is the label art, made to emulate the stark image created by the eerie “totality” of a full solar eclipse.
This release is a must for fans of truly cutting edge ambient music as well as anyone who has experienced the peculiarly thrilling experience of a total solar eclipse.
The A side, Microburst Hail Storm, kicks off with a recording of a microburst hail storm smack dab in the middle of American desert country - Las Vegas, NM. What begins with light, hypnotic drone shifts into percussive tapping as the hail seizes control, then to conclude with ovular sonic raindrops. It is an absolutely fascinating listen and serves as a proper appetizer for the uncanny flip side.
The B side, Path of Complete Totality, starts with a steady whirr, then nosedives slower and slower and slower with a pinging, dragging heartbeat to the point of cold quiet. It is both an extraordinary taste of the experience of totality and a striking metaphor for the cycle of life.
Also worth noting is the label art, made to emulate the stark image created by the eerie “totality” of a full solar eclipse.
This release is a must for fans of truly cutting edge ambient music as well as anyone who has experienced the peculiarly thrilling experience of a total solar eclipse.
TRACK LISTING
A1. Microburst Hail Storm 6-25-2017 Las Vegas, New Mexico
B1. Path Of Complete Totality 8-21-17 Nashville, Tennessee
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.
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
Founded in 1951 by independent record store owner and radio show promoter Ernie Young, Nashville, TN’s Nashboro Records recorded some of the most potent and forceful gospel music of the time period. Although initially begun in response to overwhelming demand for gospel locally, Nashboro quickly became nationally applauded for its curatorial prowess (under the guidance of Rev. Dr. Morgan Babb of the Radio Four) and signature production style.
The lightly-reverbed, clear sound of a Nashboro record is unmistakable. Give Me My Flowers is a compilation of some of the finest cuts released by Nashboro Records, many of which have not been previously reissued. It kicks off with a total banger, The Hightower Brothers’ “Until He Comes,” which would have made an amazing cover song for Spacemen 3.
Iola and Sullivan Pugh, also known as The Consolers, top off the A-side of the compilation with the intensely potent namesake track, “Give Me My Flowers”. A final highlight is “Almighty God” from Sister Pope and the Pearly Gates; dare you to get it out of your head after you hear the chorus even once. Not only are the featured artists endlessly skilled at their craft, their songs are absolutely explosive. This is the opposite of indifference or irony; there is a mission here, steeped in a full-heartedness that can only be derived from selfless devotion. Additionally, the songs featured on Give Me My Flowers are representative of a far too overlooked and important chapter in Nashville’s music history.
These musicians, store employees and businesspeople played a critical role in building the infrastructure for independent music to flourish in their city. Naturally, it is a cornerstone in Third Man’s long-term mission to support and highlight the complete music histories of Tennessee and Michigan, from the most rightfully revered to the most critically under-represented. All of these tracks were assembled with producer and journalist Mike McGonigal (Detroit Gospel Reissue Project, Temperature’s Rising: An Oral History of Galaxie 500) and transferred directly from the 45 collection of Kevin Nutt (Case Quarter Records, Sinner’s Crossroads radio program).
The lightly-reverbed, clear sound of a Nashboro record is unmistakable. Give Me My Flowers is a compilation of some of the finest cuts released by Nashboro Records, many of which have not been previously reissued. It kicks off with a total banger, The Hightower Brothers’ “Until He Comes,” which would have made an amazing cover song for Spacemen 3.
Iola and Sullivan Pugh, also known as The Consolers, top off the A-side of the compilation with the intensely potent namesake track, “Give Me My Flowers”. A final highlight is “Almighty God” from Sister Pope and the Pearly Gates; dare you to get it out of your head after you hear the chorus even once. Not only are the featured artists endlessly skilled at their craft, their songs are absolutely explosive. This is the opposite of indifference or irony; there is a mission here, steeped in a full-heartedness that can only be derived from selfless devotion. Additionally, the songs featured on Give Me My Flowers are representative of a far too overlooked and important chapter in Nashville’s music history.
These musicians, store employees and businesspeople played a critical role in building the infrastructure for independent music to flourish in their city. Naturally, it is a cornerstone in Third Man’s long-term mission to support and highlight the complete music histories of Tennessee and Michigan, from the most rightfully revered to the most critically under-represented. All of these tracks were assembled with producer and journalist Mike McGonigal (Detroit Gospel Reissue Project, Temperature’s Rising: An Oral History of Galaxie 500) and transferred directly from the 45 collection of Kevin Nutt (Case Quarter Records, Sinner’s Crossroads radio program).
TRACK LISTING
A1. The Hightower Brothers - Until He Comes
A2. The Angelic Gospel Singers - Touch Me Lord Jesus
A3. Radio Four - Received My Blessings
A4. Little Johnny Jones And The Little Jones Singers - Just One Step
A5. Bonita Cantrell - Why Not Today
A6. The Trumpeteers - Seven Angels
A7. The Dixie Nightingales - Would Not Be A Sinner
A8. The Consolers - Give Me My Flowers
B1. Edna Gallmon Cooke - Stop Gambler
B2. Swanee Quintet - Sit Down Servant
B3. The Skylarks - Jesus Keeps Me Alive
B4. Sister Pope And The Pearly Gates - Almighty God
B5. Southern Echoes Singers - When Jesus Says Come Home
B6. Supreme Angels - Rest From My Labor
B7. Holmes Sisters - Son Of Man
B8. Gospel Song Birds - When They Ring Them Golden Bells
Reduced
THIS IS A RECORD STORE DAY 2018 EXCLUSIVE, LIMITED TO ONE PER PERSON.
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.
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.
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"
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.
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
Reduced
Formerly the solo project of Iceage frontman Elias Bender Rønnenfelt, Marching Church has since blossomed into a full band, found a home on Brooklyn’s Sacred Bones record label, and cultivated a following all its own.
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.
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.
Reduced
Viva L’American Death Ray Music began in 1999 as “American Death Ray,” the brainchild of Memphis garage scene stalwart Nicholas Ray. Since then, the project has twisted, turned and head-tripped nominally, to its current moniker, and sonically, from Velvets-infl uenced jams into an amalgam of truly exploratory punk, no wave, electronic and psychedelic rock music.
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.
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.
TRACK LISTING
A1. The Painter
B1. Falling
Reduced
Hot on the heels of a groovy and unglued no-wave full-length on well-lauded Mexican Summer, Pill rolled into the illustrious Blue Room in Nashville, TN to play a show and use a couple recorded tracks for a live 7". In fact, sax player Ben Jaffe was celebrating his birthday that night, and, fueled by Third Man hospitality and tequila, he played some of the most out there horn the band had seen in their time together. These recordings fully capture that energy.
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.
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.
TRACK LISTING
"Afraid Of The Mirror"
"T.V. Wedding"
Ó (formerly Eskimeaux) is the recording project of songwriter and producer Gabrielle Smith. In it’s earliest days, the project was markedly experimental, the work of an artist with a knack for ambience and a fascination with sound. The next wave of material, most of what landed on 2011’s Two Mountains, didn’t quite read as a solo project anymore and represented a shift toward traditional song structures, albeit still happily atmospheric, nature-centered musings on how to find one’s place in the world.
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).
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).
TRACK LISTING
A1. Broken Necks
B1. Alone At The Party
Prominent members of the Boston music scene and post-rock specialists, Pile began as the brainchild (and solo project) of Rick Maguire in 2007. In the earliest incarnations, the songs were the broken bones of bigger ideas: the impassioned, ramshackle work of one dude with a momentous sense of riff and mood. In the time between then and now, the band has enjoyed a steady output and expanded to include Kris Kuss, Matt Connery, Matt Becker and, from time to time, Chappy Hull.
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.
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 COMMENTS
Barry 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.TRACK LISTING
1A. Baby Boy
2A. Rope?s Length
3A. The World Is Your Motel (Blonde Redhead Cover)
4A. Mr. Fish
5A. Texas
1B. Prom Song
2B. Falling Man
3B. Fingers
4B. Learning On A Wheel
Reduced
In September 2016, during the Americana high holiday in Nashville, Third Man Records partnered with Luck Reunion (with a little help from YETI Coolers, Lagunitas, and Tito’s Handmade Vodka) to bring together artists of the folk persuasion. For five days, artists set up in the parlor room of the pop-up "Luck Mansion" in East Nashville to perform, record, and in some cases, pen two songs for Third Man Records engineers to record immediately, after just a few hours of preparation, press onto 7”s, and ultimately bring to the masses. Documenting spontaneous creative collaborations before they are put through any sort of industry machine line was the goal.
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.
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.
TRACK LISTING
1.) Old Habits
2.) My Favorite Picture Of You
Greg Ashley has tracked across the States’ metropolises, fringes and sticks for years now, releasing records under his own name and earlier on with black magic psych cult The Gris Gris.
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!
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!
Early champions of Country Music - The Carter Family, Uncle Dave Macon, the Massey Family, Jimmie Rodgers and many more - have been painstakingly remastered using a mix of analog and digital technology for a hybrid sound that is simultaneously contemporary, immediate but still completely true-to-form.
The Memphis Jug Band, most active from 1926 into the 1950s, revolved around guitarist, harmonica player and singer Will Shade and featured a wide variety of instrumentation including harmonica, kazoo, fiddle, mandolin, guitar, piano, washboard and, of course, jug. They recorded more songs than any pre-war jug band and as a result, were key in developing the jug band tradition and format.
Craig Brown Band represents the closer-to-Canada, mostly Midwestern take on a sound that has long belonged to Nashville. Consider this the bastard child of Neil Young and Bob Seger. This is diet twang with a backbone. This is Northern Country.
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.
Go Pistons.
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.
Go Pistons.
TRACK LISTING
SIDE A: Overthinking
SIDE B: Last All Night
Third Man Records is proud to announce the forthcoming releases of Leon Redbone’s Long Way From Home, the never-before-released earliest known recordings of the mysterious performer. Redbone’s career has spanned over four decades and began with his earliest performances on the folk festival and club circuit. His numerous appearances on The Tonight Show with Johnny Carson and Saturday Night Live and other outlets catalyzed his rise to international recognition. Over the ensuing years he has appeared throughout North America, Europe, Australia and Japan and released thirteen albums of his unique music, a panoply of early music styles that he delivered with his singular laconic idiosyncratic style.
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.
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.
TRACK LISTING
1. Looked Down The Road
2. Mother Queen Of My Heart
3. T B Blues
4. Don't Let It Bother You
5. Marie
6. Me And The Devil
7. If I Had A Possession Over Judgement Day
8. Mississippi Blues
9. Kind Hearted Woman
10. Love Letters
11. Hurry Home
12. Jailhouse Blues
13. Walking Stick
14. Catman
15. Gamblin' Barroom Blues
16. My Good Gal's Gone
17. Yodelling Cowboy
18. Bootleg Rum Dum Blues
Third Man Records has a theory: It's impossible not to like Autolux. Because Carla Azar. Because of the soundtrack-of-the-otts symphony of their first two records. Because of their recent release PUSSY'S DEAD, which sounds more like the future than the score to TRON. Because two of the band's members met while composing the music for a Nobel-prize winner's play. Because Danger Mouse's 30th Century Records is their new label home (and we love us some Danger Mouse.) Because this. And this. And this. Following that logic, it’s impossible not to also like Autolux’s first live record, captured direct-to-acetate on Third Man Records’ 1955 Scully lathe on March 26th, 2016.
Eugene Goreshter, Greg Edwards, and Carla Azar made the Blue Room stage feel small that evening, Azar standing atop her drum throne, projections kaleidoscoping on the acoustic tiling behind them. It was one of their first live shows together in the years since their last record, Transit Transit, was released (in 2010), the in between of which saw each band member pursuing other worthy projects. No time to lose, the band’s cohesion was immediate, their sense-of-self solid, and their energy infectious.
Some of the best tracks of PUSSY’S DEAD made it into this live set, to the delight of the ecstatic Nashville audience that Saturday night: “Soft Scene,” “Anonymous,” “Brainwasher,” to name a few. Combine with a few well-placed gems from their previous releases (“Plantlife!” “Blanket!”), and the result is one of the most fun (and one of the more nuanced) records in the Third Man Live catalog.
Eugene Goreshter, Greg Edwards, and Carla Azar made the Blue Room stage feel small that evening, Azar standing atop her drum throne, projections kaleidoscoping on the acoustic tiling behind them. It was one of their first live shows together in the years since their last record, Transit Transit, was released (in 2010), the in between of which saw each band member pursuing other worthy projects. No time to lose, the band’s cohesion was immediate, their sense-of-self solid, and their energy infectious.
Some of the best tracks of PUSSY’S DEAD made it into this live set, to the delight of the ecstatic Nashville audience that Saturday night: “Soft Scene,” “Anonymous,” “Brainwasher,” to name a few. Combine with a few well-placed gems from their previous releases (“Plantlife!” “Blanket!”), and the result is one of the most fun (and one of the more nuanced) records in the Third Man Live catalog.
Essential Tremors is something of an anomaly in a city steeped in twang, bathed in sunshine and besieged with hootenannies. Code Knr, Miller, Read Only Memory, Tan, and Eerie Neighbor make up the group voted most likely to trigger a cold sweat, and we love them for it. In the past year, the band has made the charge away from guitar music with a quiet strategy of sporadic shows of crawly, four-track downer violence. During this metamorphosis, the band cut tracks with former Terrible Two and current Serration Pulse synth-lord and tone-boss Daniel Tomczak, crafting a crisp record that is globally exasperated and groovy against all odds: a nosedive into a cesspool of circuit-bent pollution with all the precision intact, notoriously tense, rife with white-knuckle paranoia and fog. Throw in well-placed pangs of electroclash, swirling synth, waterlogged bass lines, and dark-sided shit, and you have an important reminder that good times are not forever, which we are honored to bring to your turntable. This is music for strays. Do you have a home?
STAFF COMMENTS
Laura 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.
Back in January 2015, we had the pleasure of hosting Coupler in our Blue Room. The event came to life when these local acousticians and purveyors of deliberate ambience took the stage. It was twenty minutes of captivating and unhurried techno that sounded bucolic at first, then violent, then crumbling, but always with a deft momentum. You could feel it in your gut and in your skull. Coupler’s set was a twenty-minutes mega-moment of song, and we decided the live album needed an accompanying piece.
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.
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.
Last May, two of the funniest guys we know decided to stop in the Blue Room while on the road promoting their definitive and comprehensive 16-CD Box Set (yes, you read that right) The Best of The Best Show. What was comprehensive became immediately not so after Tom Scharpling (#31 on Rolling Stone’s Fifty Funniest People List), and Jon Wurster (#51 on said list, plus esteemed indie-rock pioneer, comedy writer, and actor in his own right) recorded an episode of The Best Show here at Third Man Records. But, fear not, completists! As with nearly every event to grace our famous cornerless room, we recorded it, and it’s almost as hilarious on wax as it was in person.
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.
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.
Reduced
The record includes the obvious, future-classic "Africa" from their highly mesmerizing Africa Avenue (TiM) and an as-yet-unreleased track "Little Kid Blues" showcasing the band at their heaviest and most dynamic-shout out to that Farfisa swagger and them excellent drums. A fantastic listen through and through and a perfect compliment to the LP.
Shabazz Palaces is Ishmael Butler (Digible Planets) and Tendai Maraire, and their Lese Majesty was easily the most spun record on the Third Man office turntable in 2014. Our admiration reached new heights when we had the honor of hosting the Seattle-based duo for a live performance and direct-to-acetate recording in our Nashville Blue Room last year. In Third Man consigliere Ben Swank's own words, "Shabazz Palaces' obstinately original oeuvre emanates from a fully formed higher conscious, they plant their flag in the outermost realms of the hip hop global soundscape where vibrations throb into beat-heavy explorations, chrome covered constellations of higher reveries each offering its own sonic boom."
Attention fans of Timmy’s Organism, VIDEO and Wolf Eyes, please, set your eyes/ears to front and center. Seems like only yesterday the AUDIO SOCIAL DISSENT supertroupe was touring this troubled continent in a duo of vans fueled by an unbelievable (but very real) commitment to harsh sonics and nothing else—not even petrochemical. Those were beautiful times but now…it’s disappearing in the rearview. Cut to a shot of a single tear running down my face. Cut to another shot of me smirking like Scut Farkus.
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.
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.
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).
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
Reduced
Third Man Records is delighted to introduce you to the purebred, blue-ribbon, chamber-pop wunderkinds known heretofore and henceforth as Sun Seeker. Native to Nashville and no strangers to musical basements, bars, and busy backyards, Alex Benick, Austin Edwards, Asher Horton and Ben Parks have whipped up one HELL of a debut single and another fresh addition to our catalog and theirs. Produced by the inimitable Buddy Hughen (Tristen) and mastered by Nashville’s best set of ears John Baldwin, the single itself stems not only from recent a studio session across town, but is also the culmination of years of practice and continuous performance since their freshman year of high school.
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.
Reduced
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?
Having eschewed the “noise” moniker to describe their sound in favor of the self-proclaimed “Trip Metal”, Wolf Eyes are at the forefront of a wide-ranging, experimental, impossible-to-categorize world. With over 500 releases since their inception in 1997, the group has been lauded by Thurston Moore, Henry Rollins and countless other stoned basement malcontents. With previous full-lengths on labels like Sub Pop and Troubleman, I Am a Problem: Mind in Pieces is their debut release for Third Man Records and signals an ever-so-slight shift with the appearance of guitar and even drums. I Am a Problem is as much a classic Wolf Eyes record as no one would’ve ever predicted such a pulverizing left-turn at this juncture of their career. This is social audio dissent.
TRACK LISTING
1. Catching The Rich Train
2. Twister Nightfall
3. T.O.D.D.
4. Asbestos Youth
5. Enemy Ladder
6. Cynthia Vortex Aka Trip Memory Illness
Post-industrial/noise group Wolf Eyes and are set to release their new album 'I Am A Problem: Mind In Pieces' on October 30th via Third Man Records. Behold the album's first single "Enemy Ladder" b/w "Dull Murder Two.
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.
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.
Multi-instrumentalist Olivia Jean announces the release of Merry Widow, 7" vinyl for album track "Merry Widow" and album B-Side cover "You Really Got Me," through Third Man Records, in support of her critically acclaimed debut solo record, Bathtub Love Killings. Jean's "You Really Got Me" cover was recently hand selected as the featured song in the newly released YSL Mascara commercial, alongside model Cara Delevingne.
"As a songwriter, she has unerring ear for crafting memorable hooks and deftly blurring genre lines, making her songs sound instantly familiar...but even as a smitten fan, I wasn't quite prepared for the joys of Bathtub Love Killings." - WBEZ.
"In the final estimation, Bathtub Love Killings is Olivia Jean's show. She holds down acoustic and electric guitar duties as well as all the keyboards and vocals, putting her twinned signature stamp of seductress kitten/wronged lover on pretty much every number." - Blurt.
"Her debut LP is dashed with bluesy licks, spooky organs, and girl-group harmonies." - ELLE.
"Dark gritty vocals, fuzz guitars and mix of freak folk '60s psychedelia." - Hollywood Reporter.
"As a songwriter, she has unerring ear for crafting memorable hooks and deftly blurring genre lines, making her songs sound instantly familiar...but even as a smitten fan, I wasn't quite prepared for the joys of Bathtub Love Killings." - WBEZ.
"In the final estimation, Bathtub Love Killings is Olivia Jean's show. She holds down acoustic and electric guitar duties as well as all the keyboards and vocals, putting her twinned signature stamp of seductress kitten/wronged lover on pretty much every number." - Blurt.
"Her debut LP is dashed with bluesy licks, spooky organs, and girl-group harmonies." - ELLE.
"Dark gritty vocals, fuzz guitars and mix of freak folk '60s psychedelia." - Hollywood Reporter.
“I was very reluctant to put this stuff out because there’s a ton of rootsy cornballs out there doing this kind of stuff and all of them play guitar way better than me. But I think I have something here that doesn’t really sound like anything else. The numbers that bounce really bounce. The numbers that drone really drone. I’m excited about this.” - Danny Kroha.
As a mainstay on the Detroit music scene for over thirty years, Danny Kroha has consistently pushed himself to reinvention. As founding member of garage legends the Gories, he’s influenced countless imitators and poseurs. His axe work with Rocket 455 is the most quintessentially “Detroit” rock and roll this side of the MC5. And his turn as a pastied playgirl in the Demolition Doll Rods proved that even in drag, he was undeniably solid.
So with his first full-length release under his own name, it may come as an unexpected turn that he’s dealing in classic gospel and folk songs. Playing every instrument himself, spanning guitar, banjo, baritone dulcimer, diddley bow, washtub bass, jug and mouth organ, the end result is a collection of compelling, timeless traditional songs.
Angels Watching Over Me is the real deal, seeming that it could’ve been recorded at any time over the past 70 years. With this album, Kroha firmly establishes himself as one of the pre-eminent practitioners of a genre in desperate need of someone with his creativity and vision in moving forward the classic American art form.
As a mainstay on the Detroit music scene for over thirty years, Danny Kroha has consistently pushed himself to reinvention. As founding member of garage legends the Gories, he’s influenced countless imitators and poseurs. His axe work with Rocket 455 is the most quintessentially “Detroit” rock and roll this side of the MC5. And his turn as a pastied playgirl in the Demolition Doll Rods proved that even in drag, he was undeniably solid.
So with his first full-length release under his own name, it may come as an unexpected turn that he’s dealing in classic gospel and folk songs. Playing every instrument himself, spanning guitar, banjo, baritone dulcimer, diddley bow, washtub bass, jug and mouth organ, the end result is a collection of compelling, timeless traditional songs.
Angels Watching Over Me is the real deal, seeming that it could’ve been recorded at any time over the past 70 years. With this album, Kroha firmly establishes himself as one of the pre-eminent practitioners of a genre in desperate need of someone with his creativity and vision in moving forward the classic American art form.
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)
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)
Divine Fits comprised of Spoon’s Britt Daniel, Wolf Parade/Handsome Furs' Dan Boeckner, Gaunt/New Bomb Turks' Sam Brown and Alex Fischel, recorded an epic set in July of 2013, ending the performance by bringing a fan up on stage to destroy a piñata and litter the blue room with Snickers and Twix… Rock 'n' roll at its sweetest.
The Gories began in the cultural vacuum of Detroit in 1986. With humble beginnings at a community concert series through a tumultuous end on their 1992 European tour, this is a band whose influence has far outstretched the ground they covered. Rooted in the primal, primitive underpinnings of 50's rhythm and blues and unhinged 60s garage punk, the sound they came to was wholly their own.
Over two years in the making, Third Man collectively feels like a bunch of teenage fanboys with the release of The Shaw Tapes: Live in Detroit 5/27/88. Recorded at a house party in a converted store front, the band captured here is at the height of its powers. Featuring covers of classics by the likes of John Lee Hooker, the Stooges and Willie Dixon, as well as a bevy of their oft-imitated originals, Live in Detroit 5/27/88 is the Gories' first live album, their fourth full-length and their first widespread release since 1992.
While band members Mick Collins and Dan Kroha would go on to wider recognition in the Dirtbombs and Demolition Dolls Rods respectively, the Gories should be viewed in the same influential context as the Velvet Underground and the Cramps. While they may have barely sold any records, the folks that saw and heard these bands were inspired to create. It's high time the Gories get their due and there's no better evidence than this explosive live recording from 25 years ago. We are so pleased to share this record with you today.
"The best garage band in America since the '60s. Very primitive…they made people with Les Pauls and Marshall amps look like idiots." - Jack White.
Over two years in the making, Third Man collectively feels like a bunch of teenage fanboys with the release of The Shaw Tapes: Live in Detroit 5/27/88. Recorded at a house party in a converted store front, the band captured here is at the height of its powers. Featuring covers of classics by the likes of John Lee Hooker, the Stooges and Willie Dixon, as well as a bevy of their oft-imitated originals, Live in Detroit 5/27/88 is the Gories' first live album, their fourth full-length and their first widespread release since 1992.
While band members Mick Collins and Dan Kroha would go on to wider recognition in the Dirtbombs and Demolition Dolls Rods respectively, the Gories should be viewed in the same influential context as the Velvet Underground and the Cramps. While they may have barely sold any records, the folks that saw and heard these bands were inspired to create. It's high time the Gories get their due and there's no better evidence than this explosive live recording from 25 years ago. We are so pleased to share this record with you today.
"The best garage band in America since the '60s. Very primitive…they made people with Les Pauls and Marshall amps look like idiots." - Jack White.
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!
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
Pack up your portable record player and sit by the Ohio River blasting this gem of a tribute to living in the good ol' Midwest. Featuring super snazzy artwork and non-album B Side "St. Louis Crawl." Sitting at the crossroads of early jazz, country blues and western swing, these two homegrown tracks are enough to make any damn yankee, mountain man or California dreamer reconsider their stomping grounds.
Pokey Lafarge and his band bring a focus and energy to the American Roots genre with infectious original material that sits at the crossroads of early jazz, country blues and western swing. With his effortless charisma and distinctive charm, Pokey has crafted a genre all his own--and one that extends well beyond the music alone.
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.
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.
TRACK LISTING
1. Central Time
2. The Devil Ain't Lazy
3. What The Rain Will Bring
4. Won'tcha Please Don?t Do It
5. One Town At A Time
6. Kentucky Mae
7. Bowlegged Woman
8. City Summer Blues
9. Day After Day
10. Let's Get Lost
11. Close The Door
12. Home Away From Home
Third Man is proud to present the first vinyl release from one of our favorite local bands recorded live in our blue room as openers for Seasick Steve this past October. Promised Land are one of the most promising (see what we did there?) bands in Nashville right now. They're all youthful scruff and bluff and they crank out tunes that would be right at home in Link Wray's 3 Track Shack or hanging with the specters of long lost 45s that haunt Nashville's overflowing legend filled cemeteries. Pay attention y'all, there's big things coming from this gang. In Third Man live sleeve.
Recorded at Rock 'n' Roll HDQS Fall 1980. The Underwear Heads were long-rumored to have been a fictional creation. Evidence of their existence over the past 30 plus years had been reliant upon a picture sleeve for a single that never came with a record. Due to the copycat nature of punk collectors' want lists, the legend of the U-Heads extended far-and-wide as "the sleeve without a record." Truth of the matter is that vinyl was pressed for the release, but due to a manufacturing error all copies were defective and were unceremoniously destroyed while some sleeves managed to slip into circulation.
Third Man was able to track down band member John Crenshaw (brother of esteemed Michigan-born songwriter Marshall Crenshaw) who instantly claimed he'd not heard the band's name uttered since 1983. Bandmates Nick Canterucci, Art Lyshak and Bruno Burroni were conferenced in, an early-generation master was located in Australia and the world is finally privileged to hear the Tangmania EP. The six songs on this self-recorded 7" run the gamut from silly drum machine punk, outre experimental tape manipulation and art rock spaciousness.
Third Man was able to track down band member John Crenshaw (brother of esteemed Michigan-born songwriter Marshall Crenshaw) who instantly claimed he'd not heard the band's name uttered since 1983. Bandmates Nick Canterucci, Art Lyshak and Bruno Burroni were conferenced in, an early-generation master was located in Australia and the world is finally privileged to hear the Tangmania EP. The six songs on this self-recorded 7" run the gamut from silly drum machine punk, outre experimental tape manipulation and art rock spaciousness.
While RockFire Funk Express never released any music while they were officially a band, in 1973 they recorded a two-song single at United Sound Systems, a legendary Detroit studio that recorded everyone from John Coltrane, John Lee Hooker, the MC5 and countless others. The a-side "People Save the World" is a propulsive, socially-conscious, exercise in primitive funk rock. The b-side shares its title with the band's name and is a breezy, easy-going instrumental, weirdly at odds with its name. These songs have sat in the can for over 40 years and were all-but-forgotten--until Death, the band that RockFire had morphed into, issued the 2009 set of recordings from 1974 ...For the Whole World to See, becoming a cause-celebre in the punk community as early progenitors of the style. In conjunction with the release of the stellar A Band Called Death documentary film, Third Man is finally unleashing these songs, giving the Hackney Brothers David, Dannis and Bobby their due.
The People's Temple, Lansing MI's finest psych band since Earthen Vessel, bring us searing live versions of "Never More" and "Miles Away" The first of two incredible live 45s, recorded here in our venue direct-to-tape, housed in our distinctive Live series die cut sleeves. People's Temple and Hell Beach are two of the most intriguing and rawkus bands currently blowing up the rock-n-roll underground and these live 45s catch them at full speed.
The Black Lips bring the party to Third Man - a day we'd been waiting for for some time. Recorded live to analog tape on 11th June 2012.
TRACK LISTING
Family Tree
Stuck In My Head
Oh Katrina
Make It
Lock And Key
Modern Art
I Saw A Ghost (Lean)
You Must Be A Witch (F. Cole)
Fad
Dumpster Dive
Drugs
I Got A Knife
Bow Down And Die
Straight outta Detroit comes a new Blue Series 7" from high flying DIY electro genius and self-described weirdo, Duane The Teenage Weirdo. Pop music in Depression-era 2012 doesn't come any more legit then in Duane's capable hands. Both tracks, "Postcard From Hell" and "Bubblegum Encore" are the sound of Detroit pared down to a hard beat, feral vocals, synth stabs and real dance intent which all makes Duane our second favorite Detroiter to call himself a streetwalking cheetah.
Joining the esteemed company of past Green Series participants BP Fallon and Conan O'Brien is Amy Walker. Amy is an actress who has made quite a name for herself as an expert in the field of replicating accents from all over the globe, as evidenced by the over 5 millions views of her "21 Accents" video on YouTube not to mention appearances on the Today Show and Inside Edition.
On the a-side Amy runs through her wide selection of different accents as a improvisational rolling internal dialogue. The a side also contains a reading from a random article in the local newspaper, each sentence in a different accent from around the world performed live.
On the b-side, she's interviewed by White discussing everything from the overuse of the word "like" by modern teenagers, offending people by speaking in their accents and a wide-range of other topical subjects in an exploration of accents and dialects and how they relate to peoples preconceptions, and influence prejudices. In the spirit of the Amy Walker single, Third Man is printing an unprecedented 30 different sleeves, each one depicting Amy as a different persona or character.
On the a-side Amy runs through her wide selection of different accents as a improvisational rolling internal dialogue. The a side also contains a reading from a random article in the local newspaper, each sentence in a different accent from around the world performed live.
On the b-side, she's interviewed by White discussing everything from the overuse of the word "like" by modern teenagers, offending people by speaking in their accents and a wide-range of other topical subjects in an exploration of accents and dialects and how they relate to peoples preconceptions, and influence prejudices. In the spirit of the Amy Walker single, Third Man is printing an unprecedented 30 different sleeves, each one depicting Amy as a different persona or character.
From Indianapolis IN are We Are Hex . Since 2009 We Are Hex has written and recorded on their own frequency from their home and studio, The Hex Hause. Described somewhere between The Stooges and The Cure, We Are Hex is scratching, creeping, dirty slop - refreshingly raw, honest and urgent. Needless to say, we dig it a lot. They've also given us perhaps the best song titles on Third Man so far "Twist The Witch's Titty" and "Through The Doldrums To The Dum Dums".
next 100
We've had a couple of cancellations for the @Tim_Burgess - I Love The New Sky album launch show at… https://t.co/KITLCs7SSq
Tue 21st - 2:53
Tue 21st - 2:53
PRESALE: @dinkededition 145
@stealingsheep & @radiophonicwork 'La Planète Sauvage'
• 2LP Blue / white psychedelic… https://t.co/vfY1wHf54J
Tue 21st - 10:00
Tue 21st - 10:00
New @dinkededition tomorrow at 11am 🚨
https://t.co/zrUabprZi3 https://t.co/ofssHILFhz
Mon 20th - 9:29
Mon 20th - 9:29
Brand new banners up today and looking 👌 from @MildHighClub and Jordan Rakei aka @jordanrakei - both of these recor… https://t.co/ywQm27d5TS
Fri 17th - 3:34
Fri 17th - 3:34
Happy New Music Friday 🥳 A selection of some of the records out today;@MildHighClubUK @ScreamOfficial… https://t.co/irjIKDKG07
Fri 17th - 1:27
Fri 17th - 1:27
Sign up