Third Man

The Pathetx ‎”1981″ (Third Man)

2020-05-14T23:35:44+00:00May 14th, 2020|

Third Man Records is proud to announce the first-ever release of The Pathetx – 1981. Clocking in at 18:16 minutes, available in standard black and limited edition colored vinyl 12” 45rpm versions.

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 unofficial 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 first 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 filled with beer, blood and pogos.

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Redd Kross “Phaseshifter” (Third Man)

2020-05-14T23:35:43+00:00May 14th, 2020|

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

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Redd Kross “Show World” (Third Man)

2020-05-14T23:35:42+00:00May 14th, 2020|

Third Man Records reissue of two of Redd Kross’ beloved 1990s albums, Phaseshifter (1993) and Show World (1997).
Phaseshifter line-up intact (Gene Fennelly would soon move on, but plays all the keyboards on the recording), Redd Kross came back at us with amps turned up and smiles on their faces on 1997’s Show World. The album starts off with a spot on cover of The Quick’s L.A. power pop classic, Pretty Please Me, and sets the tone for yet another killer album by the thinking person’s good time band. Like all Redd Kross albums before and since, this one is all killer, no filler, with special highlights Stoned, Vanity Mirror, One Chord Progression and the absolutely sublime Follow The Leader.

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Coldplay “Everyday Life” (Third Man)

2019-12-06T04:26:13+00:00December 6th, 2019|

Coldplay return with their first new studio album in nearly four years. Everyday Life is a double album, presented in two halves: Sunrise and Sunset, featuring a stunning array of music, that is sure to surprise and delight their massive global fanbase.

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Jonathan Fire Eater “Tremble Under Boom Lights” (Third Man)

2019-11-08T04:43:23+00:00November 8th, 2019|

First reissue since original 1996 release and now includes In the Head (previously unreleased). In a world chock full of flame-outs, coulda-been contenders and great white hopes, the band Jonathan Fire*Eater are among the “almost-est.” Widely praised as the mid-Nineties next-big-thing, they are largely credited with being the earliest purveyors of the “New York City Rock and Roll Revival” circa 2001. Which would be great, if only the band hadn’t imploded by 1998. The quintet employed a fresh, one-of-a-kind blend of sly rock and roll reference and reverence. Their press release at the time name-dropped all the correct and relevant influences…the Stooges, the Modern Lovers, Tom Waits, the Scientists, ? and the Mysterians, the Cramps, Nation of Ulysses, the Stones, Nick Cave and the Bad Seeds…all markers conveying the point that Fire-Eater’s dark, brooding overtones are complemented by springy Farfisa tones and impressionistic, evocative lyrics.
The band was inarguably in top form with the 1996 EP release of Tremble Under Boom Lights. Mean and lean at only five tracks, those songs click together perfectly, enough so to kick-start a major label bidding frenzy which found the band signing a lucrative, seven-figure contract. Showcasing lead singer Stewart Lupton’s redolent exercises in picturesque poetry, coupled with Matt Barrick’s inimitable percussive attack, Paul Maroon’s wide, unadorned guitar blistering throughout while Walter Martin’s choice, deliberate organ accompaniment and Tom Frank’s propulsive, bottom-heavy bass all join together for a full, beautiful, glorious masterpiece. Lead-off track The Search For Cherry Red would not only provide the EP with a title via its lyrics, but would also see a second life as covered by esteemed rock-and-rollers The Kills. Give Me Daughters is enviable for the perspective it foresees, when taking into consideration its narrator was barely 21 years old at the time. Songs flit about cockfights, open caskets, ballroom gowns, switchblades, motorcycle accidents and jewel thieves all to propel the record into a world of juvenile delinquent attitude and vivid cinematic colour.
For the Japanese release of Tremble Under Boom Lights, the five-song running order was accentuated with four bonus tracks…three songs from the band’s 1995 debut single and a spritely cover of the Lee Hazelwood gem The City Never Sleeps. With the 2019 reissue, Third Man Records is proud to make these seminal songs available on vinyl for the first time in over two decades. All parties involved are beyond overjoyed to augment the running order of the Japanese version of Tremble Under Boom Lights to include the bonus track In the Head. Touted by the band members as the last song they ever recorded, it is wincingly brilliant, the most artful, dudes-in-their-early-twenties version of a swan song that one may ever hear. After the break-up, Barrick, Maroon and Martin would go on to form the backbone of the Walkmen and enjoy a solid run with their seven full-length releases. All three are still active in the music business today. Frank went on to a career in journalism, writing for Vanity Fair and acting as contributing editor for Washington Monthly. Despite struggling with addiction for years, Stewart Lupton notched solid efforts with his bands the Child Ballads and the Beatings. Lupton passed away suddenly on May 27th, 2018 at the age of 43.

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Boris “Akuma No Uta” (Third Man)

2019-10-11T03:15:05+00:00October 11th, 2019|

Formed in 1992, Boris boldly explores their own vision of heavy music, where words like “explosive” and “thunderous” barely do justice. Using overpowering soundscapes embellished with copious amounts of lighting and billowing smoke, Boris has shared with audiences across the planet an experience for all five senses in their concerts, earning legions of zealous fans along the way.

Akuma No Uta, released in 2003, will see a reissue out October 4, 2019 on Third Man Records. Akuma No Uta has been recognized as one of the top 200 releases from the 2000s by Pitchfork and one of Boris’ most commercially successful releases of their full-length discography. The reissue will feature the original US cover art, which is a triumphant tribute to Nick Drake’s Bryter Layter. Boris even pinpoints the length of Akuma No Uta to 39 minutes, the same length as Drake’s classic.

Akuma No Uta is a journey through wild drop tunings and fuzz. The introduction to the album slowly builds into noise, settling like the aftermath of an avalanche as it comes to a close. Although mixing many different genres, from drone metal to shoegaze to punk, Akuma No Uta maintains a strong cohesive experiential undercurrent. “Naki Kyoku” begins with sentimental shoegaze riffage leading into a whirlwind of drones and fuzz-heavy enough to tear a whole in space. “Ibitsu” is a thrash punk track at its core, speeding through powerful punchy vocals and layer-upon-layer of screaming guitar. Title track “Akuma No Uta” is an amalgam of tender melodic guitar and heavy noise tracks showing the concussive power and tenacious diversity that Boris does better than any player in the game.

Akuma No Uta will be available online and in-stores via Third Man Records. Limited edition colored vinyl will be exclusively available at Boris shows as they finish off 2019 touring across the world.

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Boris “LφVE & EVφL” (Third Man)

2019-10-04T03:40:29+00:00October 4th, 2019|

The next chapter in Japanese rock legends Boris’ story has arrived; their new double LP LφVE & EVφL is set for release on October 4th via Third Man Records. This double LP exists as two independent works, encapsulating conflicting connotations that interweave and become intricately entangled with one another, gradually eroding before becoming utterly singular. Continuing to tinker and toil with their sound since the 2017 release of DEAR, Boris have pivoted onward a more organic, non-grid literary style that LφVE & EVφL showcases. The album’s first single, ”Love,” is one of the most musically diverse in their career and showcases a snippet of what is to come on LφVE & EVφL.

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Boris “Feedbacker” (Third Man)

2019-10-04T03:40:27+00:00October 4th, 2019|

Formed in 1992, Boris boldly explores their own vision of heavy music, where words like “explosive” and “thunderous” barely do justice. Using overpowering soundscapes embellished with copious amounts of lighting and billowing smoke, Boris has shared with audiences across the planet an experience for all five senses in their concerts, earning legions of zealous fans along the way.

Essential to their catalogue, Boris’ 2003 release Feedbacker will see its first-ever North American issue on October 4, 2019 via Third Man Records. Feedbacker is a constant build that always rewards the listener – making a 10 minute long ambient lead intro to a guitar solo in “Part 2” feel every bit necessary and essential, marrying the heavy and ethereal in a way that only this group has been able to facilitate. “Part 3” begins with a wall of fuzzed-out sound leading into heavy Sabbath riffs and wall-shaking, ominous droning. When vocals hit, the moment feels huge and hallucinogenic, like swimming across an ocean of noise.

Boris’s catalogue spans over 20 full-length releases and has landed them as one of the most important metal bands of the new century. Preceding feedback-driven Sunn O))) and astral stoner rockers Sleep, Boris is a staple in heavy music that masterpieces like Feedbacker only solidify.

Feedbacker will be available online and in-stores via Third Man Records. Limited edition colored vinyl will be exclusively available at Boris shows as they finish off 2019 touring across the world.

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Iron & Wine “Live At Third Man Records” (Third Man)

2019-08-23T02:47:34+00:00August 23rd, 2019|

Third Man Records is excited to release Iron & Wine – Live At Third Man Records, which was recorded during his particularly captivating set at the venue in August of 2017.
Armed with spartan set-up of a guitar, microphone and his minimal backing band in front of a sold-out audience, Iron & Wine’s Sam Beam ambled through his discography during this set, 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.

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Eddy Senay “Hot Thang” (Third Man)

2019-07-18T23:14:44+00:00July 18th, 2019|

1972 Detroit Guitar Groove – Proudly Pressed in Motor City! The Detroit axeman’s debut bursts with soulful, uniquely-styled instrumentals: impossibly-funky workouts from the man who rigged his guitar to burst into flames while playing it– with his teeth! A guitar-led celebration of groove, this LP includes the oft-covered/sampled “Zambezi,” “Rev. Lowdown,” a soulful read of “Ain’t No Sunshine,” and much more!”Hot Thang is a document of its era, crossing the bridge from soul to funk. Eddy’s guitar work is the frontman of this album, played on a Hagstrom acquired on tour in Europe. In Eddy’s own words, ‘We didn’t want to be too technical or overly fancy. We want to keep it simple, funky and plain. We don’t want to overdress it, we don’t want too many horns, too many strings or too many keyboards. We want to keep it as raw as we possibly can get it.’ The album was recorded at Detroit’s Pac 3 Studio with Eddy’s lead guitar backed up by Rudy Robinson on keys, Roderic ‘Peanut’ Chandler on bass, Sam Witcher on second guitar, Curtis Sharp on drums, Eddie ‘Bongo’ Brown on congas, Johnny Clapton and Thomas Hale on tenor sax, and Gordon Camp on trumpet. With stripped down layers and impressive playing, Eddy shows his range with the choice of songs, from the up-tempo blues sounds of the title track to the tranquilly romantic soul that is ‘Message of Love.’ Eddy’s cover of Bill Withers’ ‘Ain’t No Sunshine’ is stridently tough, changing the hauntingly mournful notes of the original version into a tune that takes no prisoners and keeps it moving no matter what emotions are being experienced. Eddy’s style comes through on the trippy tropical funk of his take on ‘Zambezi.’ The blues can be heard again along with the frenetically paced beats which contrast with the slow Southern guitar sound of the aptly named ‘Down Home.’ The laid back and grooving ‘Rev. Lowdown’ and ‘Just Feeling It’ capture the early ’70s Blaxploitation era perfectly, Eddy’s staccato guitar licks telling a story as well as any lyrics. Though he’s undoubtedly the star of this show, Eddy isn’t afraid to give the spotlight to his fellow players. Check out the organ solo in ‘Jubo’ for testament to this fact. In paring down the components, every musical part contributes to the whole picture just enough. Hot Thang stands out as a timely document from a uniquely talented musician with roots in blues, soul and classical music.”

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Raconteurs “Help Us Stranger” (Third Man)

2019-06-21T19:20:50+00:00June 21st, 2019|

We will have the Indie Version “limited edition white vinyl version of Help Us Stranger with an alternate cover and hand-screen-printed LP jacket

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

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Caetano Veloso “Caetano Veloso” (Third Man)

2019-03-28T21:29:41+00:00March 28th, 2019|

Caetano Veloso’s self-titled debut solo album is one of the most important and influential Brazilian (and, dare we say, South American) albums of all time. With the release of this seminal album, Veloso would become the leading voice of the Tropicália art movement, which took place in Brazil in the late 60’s.

The Tropicália art movement of the late 1960s, with flourishes in visual art, poetry, theatre and music, is one of Brazil’s most adored cultural concoctions. It was a movement which began out of necessity, shortly after a repressive military dictatorship seized power after 20 years of peaceful democracy. The term Tropicália first came from the mind of Brazilian visual artist Hélio Oiticica, whose eponymous piece consisted of a sandy maze bordered by tropical Brazilian flora and, at the end, a television set.

The songs on Veloso’s album immediately connected with people. Alegria, Algeria was his breakout hit that gained traction as a hymn for liberty advocates, juxtaposing images of Coca Cola, guerrilla groups, bombs and Brigitte Bardot as part of the everyday experience. The album’s first song Tropicália was an anthem for the whole movement; it’s a fragmented allegory, a structure borrowed from friends in the concrete poetry scene, touching on divergent cultural symbols, events, allusions and idioms, nimbly representing and critiquing the many contradictions in the new Brazilian dictatorship.

Unfortunately, these cleverly veiled jabs in Veloso and his contemporaries’ bodies of work gained greater and greater exposure as the movement became more and more popular, leading to the arrest, imprisonment and forced exile of Veloso and many of his cohort. Despite these difficulties, the Tropicalists continued creating in exile, strongly influencing artists both at home and abroad.

The Third Man vinyl issue has been remastered from original mono mixes by Warren Defever and Bill Skibbe at Third Man Mastering in Detroit, Michigan and sound as warm and rich as the first pressing. Whether you’re a longtime fan or first-time listener, Third Man Records could not be more proud to spread the compelling story of this album, this artist and the Tropicália movement.

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Morning Echoes “Echoes Of the Gospel” (Third Man)

2019-03-07T22:57:20+00:00March 7th, 2019|

Third Man is proud to continue our exploration of powerful gospel music from Nashville’s own Nashboro Records following the enthusiastic reception of 2018’s “Give Me My Flowers” compilation.

The next chapter shines a spotlight on The Morning Echoes of Detroit, an electrifying Detroit-based gospel group who made their way down to Nashville to record for Ernie Young’s Nashboro imprint. And who better to reinforce the musically fruitful connections between these two cities than Third Man?

The Morning Echoes, led by Willie “Slim” Ayers, formed in the late ‘40s, released their first 7″ 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 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 of Third Man Mastering.

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Mdou Moctar “Blue Stage” (Third Man)

2019-02-08T19:22:23+00:00February 8th, 2019|

“Mdou is a member of the Tuareg music community gestating in the remote desert city of Agadez, Niger, “where guitars are king.” His music first came to the attention of Western music-lovers through the essential field recording work being done by the good folks at Sahel Sounds, first on their 2010 compilation Music From Saharan Cellphones.

While much of Tuareg music has become more distorted, faster and bombastic as of late, Mdou’s soundscapes are more traditionally sparse, polyrhythmic and deeply psychedelic, with lyrics sung in the style of Tuareg nomadic poets.

His show on the Blue Stage at Third Man Records Cass Corridor was proof of how special all of this feels, especially in front of a Western audience, most of whom were seeing Mdou live for the first time. When Mdou took the stage with guitarist Ahmoudou Madassane and drummer Mahmoud Ahmed Jabra – only their faces exposed in their tunics and turbans – and began to play, there was a meditative intrigue that loomed heavy and thick in the room. Though hard to see clearly Mdou’s precise and rapid-fire fingerwork on his Fender, the audience was quickly and thoroughly transfixed by his left-handed virtuosity. By the end of the psychedelic-guitar-rock-groove-explosion that was their set, it was clear that this was the show of the year.”

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John Lee Hooker “Early Recordings Detroit and Beyond Vol.1” (Third Man)

2018-12-14T15:52:20+00:00December 14th, 2018|

Third Man is ecstatic to present the first re-issue of John Lee Hooker’s seminal and rare Detroit and Beyond recordings on vinyl since their initial release in 1973. These tracks have been heralded by many fans as his best overall collection of recordings as well as his some of his earliest, apart from the 6 recorded by Bernie Besman in 1961. Split between two double-LP volumes and remastered using original master recordings from Detroit’s legendary United Sound Systems (not even 2 miles from Third Man Detroit!), these collections are a must for blues and music lovers. Volume 1 includes the killer track “Johnny Lee’s Original Boogie (Boogie Chillen)”.

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John Lee Hooker “Early Recordings Detroit and Beyond Vol.2” (Third Man)

2018-12-14T15:52:20+00:00December 14th, 2018|

Third Man is ecstatic to present the first re-issue of John Lee Hooker’s seminal and rare Detroit and Beyond recordings on vinyl since their initial release in 1973. These tracks have been heralded by many fans as his best overall collection of recordings as well as his some of his earliest, apart from the 6 recorded by Bernie Besman in 1961. Split between two double-LP volumes and remastered using original master recordings from Detroit’s legendary United Sound Systems (not even 2 miles from Third Man Detroit!), these collections are a must for blues and music lovers. Volume 2 includes the amazing “Baby Please Don’t Go” as well as “Two Voice Original Mood (I’m In The Mood)”.

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Sleep “Leagues Beneath” (Third Man)

2018-09-07T02:14:24+00:00September 7th, 2018|

Leagues Beneath is the first release immediately following Sleep’s long-prophesied, critically-acclaimed opus The Sciences. Recorded as a part of a series of songs for Adult Swim, this 12” single is a testament to what has made The Sciences such a success: bottomless tone, spacetime-melting riffs and a unparalleled aural experience from start to finish. Leagues Beneath is a full 17 minute plunge, now available to experience on black vinyl.

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Various Artists “Give Me My Flowers: Powerhouse Gospel Music From the 50’s and 60’s” (Third Man)

2018-08-03T15:15:53+00:00August 3rd, 2018|

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.

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.

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Sleep “The Sciences” (Third Man)

2018-05-11T01:28:12+00:00May 11th, 2018|

Massive new album from stoner legends Sleep on Third Man. Limited to 1000 Copies Only with alternate album art and split colour Green / Black Vinyl. Only available in the shops. The Sciences marks their first LP since Dopesmoker, their seminal release which first saw the light in 1998.

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Joshua Hedley “Mr. Jukebox” (Third Man)

2018-05-04T01:26:59+00:00May 4th, 2018|

With the release of his highly anticipated debut album Mr Jukebox via Third Man Records, Joshua Hedley will embrace the role he was born to play: this generation’s classic country champion. An accomplished fiddle player, Hedley felt inexplicably drawn toward the instrument as a child. He got his hands on his own fiddle at age 8, and by 12, he was playing with middle-aged pickers at the VFW. At 19, he moved from his native Florida to Nashville, where he became an in-demand sideman at Robert’s Western World and other bars, and ultimately, a well-respected frontman.
Hedley didn’t start writing his own songs until he was about 28 years-old. So on the backend of his 20s, he finally started writing, eventually unlocking a flood of clarity and creativity. The heartbreaking, distilled, defiantly classic country that poured out of him became Mr. Jukebox, a salve and beacon for 60s honky-tonk devotees everywhere.

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Jack White “Boarding House Reach” (Third Man)

2018-03-23T22:15:46+00:00March 23rd, 2018|

Boarding House Reach is a testament to the breadth of the artist’s creative power and his bold artistic ambition. This new material finds Jack White expanding his musical palate with perhaps his most ambitious work thus far, a collection of songs that are simultaneously timeless and modern. Written and conceived while holed up in a spartan apartment with literally no outside world distractions, White exclusively used the same kind of gear he had when he was 15 years old (a quarter-inch four-track tape recorder, a simple mixer, and the most basic of instrumentation). The album explores a remarkable range of sonic terrain — crunching rock ‘n’ roll, electro and hard funk, proto punk, hip hop, gospel blues, and even country — all remapped and born anew to fit White’s matchless vision and sense of restless experimentation.

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Margo Price “All American Made” (Third Man Records)

2017-10-28T22:59:27+00:00October 28th, 2017|

A lot can change in a year: markets boom and bust, trends come and go, presidents get elected. In 2015, Margo Price was a country underdog just trying to keep enough gas in the tank to get to the next gig, but by the end of 2016, she was one of the genre’s most celebrated new artists and a ubiquitous presence on late night television and at major festivals around the world. It’s the kind of year most musicians can only dream of, and the arrival of Price’s spectacular sophomore album, “All American Made,” proves that she hasn’t taken a moment of it for granted. Delivering on the promise of her debut and then some, the record finds Price planting her flag firmly in the soil as a songwriter who’s here for the long haul, one with the chops to hang with the greats she so often finds herself sharing stages with these days. A prolific writer with a knack for candid self-reflection, Price has never had to look too far for inspiration, and on ‘All American Made,’ she and her songwriting partner/ husband, Jeremy Ivey, continue to depict the trials of everyday life with un inching honesty, painting poetically plainspoken portraits of men and women just trying to get by. Highs and lows, long nights and hard days, wild women and cocaine cowboys, politics and sexism, it’s all in there, singularly filtered through Price’s wry, no-bullshit perspective. Throughout the album, her contemporary take on classic sounds is at once familiar and daring, an infectious blend of Nashville country, Memphis soul, and Texas twang that tips its cap to everyone from Waylon and Willie (who makes a guest appearance) to Loretta and Dolly, all while flipping a middle finger to the cookie-cutter pop that dominates modern country radio. Rich with swirling pedal steel, honky-tonk rhythms, and Price’s stop-you-in-your-tracks vocals, ‘All American Made’ is deeply reverent of tradition even as it challenges conventions, a nuanced exploration of conflicted emotions for our deeply conflicted times.

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The Monks “Hamburg Recordings 1967” (Third Man)

2017-06-24T23:33:10+00:00June 24th, 2017|

The Monks – a strange, rare group with a story that sounds like a drunk friend’s generous hyperbole. A group of American G.I.s stationed in Germany on the precipice of Western cultural revolution starts playing music loosely connected to the rock n’ roll craze, contrastingly incorporating a critical and often offensive avant-garde edge. Nothing was off limits – screeching vocals, dark aesthetics, staccato-strummed banjo, sardonic lyricism, critiques of the Vietnam War and full monk costuming down to the tonsure. When viewed on the whole, it seems like an art school student’s senior thesis on what the craze means and it’s future possibilities. Due in large part to original Polydor vinyl collectability and years in the word-of-mouth hype machine, their legend and cult status has steadily blossomed since their last shows in 1967.

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Melvins “Stag” (Third Man)

2016-07-02T01:42:12+00:00July 2nd, 2016|

Melvins’ albums Houdini (1993), Stoner Witch (1994), and Stag (1996) have been out-of-print on vinyl for over two decades following their initial release on Atlantic Records – until now. Jack White’s Third Man Records have reissued all three albums on vinyl. Each record is pressed on 180-gram vinyl in gatefold sleeves.

The repeating sitar-into-guitar-chord start of the album makes it clear that Stag isn’t going to be quite like anything the Melvins had yet recorded to that point. There’s such a strong and audible emphasis on the band really exploring the possibilities of the studio throughout that the effect is breathtaking — it’s a huge, epic sound that’s also quite varied, a fine indication of where the band would be going in later years. The roots of the Melvins remain clear — direct, deliberate, and focused crunch — but they don’t feel constrained by them, bringing in everything from more stripped-down space in the arrangements to stylistic forays revolving around the central approach.

Hearing horns and scratching helping match the monster riffs on “Bar X the Rocking M” is at once a mind-f*ck and something that makes total sense, as does the mini-prog epic “Buck Owens,” packing in time-signature shifts and a mid-section trip-out and more in three minutes’ time. Short, almost fragmentary songs like “Hide,” with its quiet guitar chime, and the weird, sparkly drones and burbles of “Soup” help to further flesh out the inspired feeling of Stag. Osborne’s vocal delivery and various treatments thereupon are fantastic, ranging from dreamy float and gentle croon to rasping roar, paralleling Stag’s overall emphasis on trying anything at least once to see what works. Check his winsome, light turn on “Black Bock” for a real trip — it’s hard to believe this is the same guy who sang on “Hooch” and “It’s Shoved.” Songs like “Tipping the Lion” and “Goggles” capture the spirit of Stag excellently, able to switch from quieter to louder moments and back again effortlessly. Then there’s the twinkly, Chipmunks-sung “Captain Pungent,” which will leave most listeners paralyzed with fright or with laughter, if not both.

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Melvins “Stoner Witch” (Third Man)

2016-07-02T01:43:00+00:00July 2nd, 2016|

Melvins’ albums Houdini (1993), Stoner Witch (1994), and Stag (1996) have been out-of-print on vinyl for over two decades following their initial release on Atlantic Records – until now. Jack White’s Third Man Records have reissued all three albums on vinyl. Each record is pressed on 180-gram vinyl in gatefold sleeves.

Perhaps the Melvins’ most diverse album, Stoner Witch incorporates elements of blues, experimental rock, punk, and sludge metal. At times it will sound as if you’re listening to compilation of albums. Due to this, the album in its entirety may not appease the listener. In addition, the tracks have a wide margin of duration. You have tracks that span a mere two minutes, leaving you wanting more; then you have trippy tracks that seem to go on forever and tend to get skipped. This album is indeed a mixed bag.

Stoner Witch’s short tracks occasionally show flashes of brilliance. “Magic Pig Detective” clocks in at 5:33, but the actual playing doesn’t begin until 3:33. Hampered, by three and a half minutes of filler, still leaves an interesting track with a thrash-metal feel. “Sweet Willy Rollbar” opens with a hog-like sound..? It continues on with punkish riffs and some wicked drumming, which leads into an outro that feels like a pre-verse. Other short tracks include the instrumental “June Bug” and bass-rooted “Skweetis”. “June Bug” opens with some playful drums behind a heavy bass riff. The guitar then enters with a cheery afternoon atmosphere until distortion crashes in. When the distortion fades the Celtic atmosphere resumes as if it had never stopped.

Of all the albums to choose from, Stoner Witch is a good place to start if you’re new to the Melvins. It’s versatility showcases different aspects of the band. Meanwhile, if you’re a Melvins fan, you should pick-up this up if you haven’t done so already.

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Melvins “Houdini” (Third Man)

2016-07-02T01:29:02+00:00July 2nd, 2016|

Melvins’ albums Houdini (1993), Stoner Witch (1994), and Stag (1996) have been out-of-print on vinyl for over two decades following their initial release on Atlantic Records – until now. Jack White’s Third Man Records have reissued all three albums on vinyl. Each record is pressed on 180-gram vinyl in gatefold sleeves.

The most classic Melvins record will differ potentially a hundred times if you ask different Melvins fans their opinion on the matter. But the most votes would probably go to ‘Houdini’ from 1993, their first major label record. Signed on the crest of the wave of the Seattle sound, ‘Houdini’ has been performed live in its entirety quite a few times. It features a lot of their most famous tracks, too. ‘Honey Bucket’ is a bona fide solid gold riff, maybe their most popular. It’ll always be a total barnburner, a sure way to get any party started.

Other great cuts include album opener ‘Hooch’ (great beat), the Kiss cover ‘Goin’ Blind’, ‘Hag Me’ and one of the most classic Melvins riffs, the mighty ‘Joan of Arc’. This is Sludge before it really had a name or a face. With this record the Melvins pretty much became both. And with some incredible artwork from the master of the concert poster, Mr. Frank Kozik (google that name), ‘Houdini’ excels on all levels. An absolute diamond.

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The White Stripes “Complete Peel Sessions: BBC” (Third Man)

2016-07-01T23:51:14+00:00July 1st, 2016|

The White Stripes’ Peel Sessions were one of the most notable releases from Record Store Day 2016. Twice in support of their 2001 album White Blood Cells, Jack and Meg White hit the studio with legendary radio DJ John Peel. Songs from the sessions were played on BBC Radio and subsequently bootlegged by fans, with many considering it to be one of the band’s definitive live performances.

Out on White’s Label Third Man Records, this release marks the first first time the album has been commercially available.

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