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LP
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TMR 033LP
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$20.00
PREORDER
RELEASE DATE: 11/6/2020
2020 repress. "For this one Jack and Meg decamped to Memphis to record at the legendary Easley-McCain Studio and walked away with a bonafide classic. Unique for a White Stripes album as it contains no covers, no guest musicians, no blues and no guitar solos, this album would be most of the world's introduction to the band. While the video for 'Fell In Love With A Girl' could've single-handedly raised the price of LEGO stock three bucks a share (IF it was a publicly traded company) the other jams on here are momentous, from the fuzz distorted clarion call of album opener 'Dead Leaves and the Dirty Ground' to the finger-pointing accusations of 'I Think I Smell A Rat' this album has everything you could ever want from the Detroit duo. Cut directly from the original 1/4" master tapes, pressed on HEAVY 180-gram vinyl and lovingly ensconced in a beauteous Stoughton tip-on jacket... this album has never looked better, and perhaps, has looked markedly worse."
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LP
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TMR 593LP
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"L-Seven were a short-lived but foundational post-punk band from Detroit, MI. Active between 1980-83, L-Seven only ever officially released one 7" on Touch And Go's Special Forces, a division of Touch And Go Records designated for releases that were not just straight-ahead punk and hardcore, the L-Seven 7'' was the only Special Forces release. L-Seven was formed by members of The Blind, Retro and Algebra Mothers and fiery singer Larissa Stolarchuk and are not to be confused with the similarly named LA grunge group L7 who would form a decade afterward. Following the demise of L-Seven, Larissa (now going by Larissa Strickland), while still donning her bleached blonde hair and tattered floral sundress with combat boots, would put down the mic and pick up a guitar and form the seminal Laughing Hyenas with her partner in (life of) crime John Brannon. During their time together L-Seven was loved and respected by all of the Detroit punk and hardcore bands. Larissa was the surrogate den mother to the hardcore scene and although L-Seven's sound was far from hardcore, their DIY attitude and willingness to bring art into their music was hugely inspiring and influencial to the 'Freezer Theater' crew. They shared stages with Negative Approach, Necros, Meatmen and all of the midwest superstars as well as many legendary touring artists. L-Seven opened for Iggy, The Birthday Party, Bush Tetras, did a small tour with Gun Club and even played U2's first ever Detroit show (proof of this is included on this LP). Third Man Records is beyond proud to be releasing an LP of unreleased studio and live recordings. It has been our honor to work closely with longtime fan and almost-member Steve Shelley of Sonic Youth, all surviving L-Seven members as well as a few other folks from the L-Seven scene. Sadly, Larissa passed away in 2006, but her presence is missed and this record is dedicated to her. The limited colored vinyl exclusive LP includes a bonus 4 song 7" -- three studio tracks and one live, very raw version of L-Seven and John Brannon covering 'You Drive Me Nervous' by Alice Cooper."
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LP
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TMR 597LP
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"Born 1929 in San Antonio, TX, Martin Huron Solis, Jr. and his family came to Michigan in 1942 as migrant farmworkers and soon settled in the Detroit area. The Solis family was part of a wave of migration during the 1940s that brought thousands of Texas-born Mexican-Americans, along with their culture, north. 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. He taught himself to play the bajo sexto and joined up with accordionist Manuel Rivera, playing for tips in bars around Southwest Detroit, the heart of Detroit's Mexican-American community. In the late-1950s, he and his cousin Willy Huron, a saxophonist, formed Conjunto Los Primos ('The Cousins'), at the time one of only a handful of conjuntos in the Midwest. Solis became a favorite in Detroit based on a vast repertoire of songs he compiled by following the latest hits coming up from Texas. Their musical style was more complex than the conjunto label suggests. The inclusion of Solis's cousin Willy on saxophone blurs the line between working class conjunto music and the more middle class orquesta tejana, which includes more sophisticated string or horn sections. Likewise, they played a couple of polcas, the primary song form of the conjunto tradition, but also lean more toward styles like boleros and rancheras, song forms with roots in Cuba and Mexico. Solis's vocal performance, too, showcases a fuller sound more in line with ranchera singers like Vicente Fernandez and Jorge Negrete than the thinner vocal tradition of conjunto style. 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. The power of his live performances and trailblazing creativity in blending styles with educated nuance gave him significant credit among peers and critics alike. This power, coupled with the intrigue of Tejano music thriving so far north of the Rio Grande, has made his 2018 induction into the Tejano ROOTS Hall of Fame. Mr. Solis sadly passed the year after he was inducted into the Hall of Fame, but it was during this time that Solis's son Frank discovered a grocery bag containing forgotten reel-to-reel tapes of his father's home-recorded music while helping declutter his attic. Frank took the tapes to his childhood friend (and production manager at Third Man Pressing) Eddie Gillis. Gillis, who was impressed with the recordings and quality of the preserved tapes, shared them with the team at Third Man."
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LP
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TMR 638LP
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"Albert Ayler's 1969 album New Grass has been misunderstood from the day of its release. The album finds Ayler experimenting with soul music and digging back into his R&B roots (he started his career playing saxophone with Chicago bluesman Little Walter), fusing it with the avant-garde free jazz (the one element of the record which garnered consistent praise) and adding the vocals of Rose Marie McCoy, The Soul Singers and Ayler himself. As if predicting the divisiveness of the record to follow, Ayler speaks directly to the listener and explains that New Grass is nothing like his albums before -- that it is of "a different dimension of his life" -- in the album opener "Message from Albert." New Grass deserves reconsideration, if not for the heavy grooves and surprising arrangements, then for its bravery in challenging norms of the time; by the '60s, jazz was well-accepted as a uniquely American art form, while soul as a genre was very much still seen as primitive. Ayler melds them together and creates something novel, adventurous, and completely his own. At the time of its release, despite its divisive reception, New Grass helped break down the unnecessary walls dividing genres and revealed music's potential freedoms. The album has gone on to influence generations of jazz, R&B, funk, hip hop, post punk, no wave and unshrinking artists like Pharaoh Sanders, Alice Coltrane, Funkadelic, Jungle Brothers, Red Krayola, Sonic Youth and Mark E. Smith. Third Man Records can't recommend this record highly enough. We are confident that it won't take but one listen for you to understand New Grass is an undeniable healing force."
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2LP
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TMR 200LP
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2020 repress. "The White Stripes fourth album and major label debut mastered direct from the original, analog source from the 2002 recordings at Toe Rag Studios. Two 180 gram black vinyl discs, double-gatefold, printed inner sleeves and MP3 download card included. This album is dedicated to the death of the sweetheart. Still as poignant today as when it was originally released in 2003."
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LP
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TMR 618LP
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"Brothers Jeff and Steve McDonald formed Redd Kross (originally Red Cross) in Hawthorne, CA in the late '70s. Rumor has it that the band name was inspired by a prop from the 1973 horror film, The Exorcist. Their first show was opening for Black Flag and they released their debut record the mythical Posh Boy EP in 1980 when they were just 17 and 13 respectively. The Posh Boy EP features Black Flag's 2nd singer, Ron Reyes, on drums and founding member of Circle Jerks, Greg Heston, on guitar. 1982 saw a line up change and the release of Born Innocent, a high water mark of American Punk Rock. Containing nods to Jim and Tammy Faye Baker, Linda Blair, Lita Ford and breakfast cereal as well as a killer cover of Charlie Manson's Cease To Exist. Redd Kross loves pop culture. The brothers have kept Redd Kross going through the decades (and line-up changes), releasing seven studio albums and a slew of EPs and singles. They have also stayed busy with side projects, production gigs and even occasional acting jobs. What are Redd Kross? Punk Rock? Psychedelia? Heavy Metal? Bubblegum? Power Pop? Whatever they are they are 100% Redd Kross, the catchiest of catchy, chock full of hooks, melodies and harmonies, impossible to not smile and sing along...maybe even dance. Their live show just keeps getting better. Redd Kross are one of those rare bands who would be equally at home in a dark punk club and on stage at the Enormodome. 40 years in and hot on the heels of their amazing 2019 album Beyond The Door, Third Man Records is proud to announce the reissue of two of their beloved 1990s albums, Phaseshifter (1993) and Show World (1997). The brothers are joined by drummer Brian Reitzell, guitarist Eddie Kurdziel (R.I.P.) and keyboardist Gene Fennelly on 1993's Phaseshifter. Redd Kross leaves the '60s and '70s pop culture references at the door (well, most of them) and brings their strong melodies, dreamy harmonies, psychedelic punk/bubblegum metal to the front, tearing through 12 new Redd Kross tunes. Every track is a full-on Redd Kross gem, with standouts like Crazy World, Dumb Angel, Pay For Love and After School Special."
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LP
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TMR 619LP
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"Brothers Jeff and Steve McDonald formed Redd Kross (originally Red Cross) in Hawthorne, CA in the late '70s. Rumor has it that the band name was inspired by a prop from the 1973 horror film, The Exorcist. Their first show was opening for Black Flag and they released their debut record the mythical Posh Boy EP in 1980 when they were just 17 and 13 respectively. The Posh Boy EP features Black Flag's 2nd singer, Ron Reyes, on drums and founding member of Circle Jerks, Greg Heston, on guitar. 1982 saw a line up change and the release of Born Innocent, a high water mark of American Punk Rock. Containing nods to Jim and Tammy Faye Baker, Linda Blair, Lita Ford and breakfast cereal as well as a killer cover of Charlie Manson's Cease To Exist. Redd Kross loves pop culture. The brothers have kept Redd Kross going through the decades (and line-up changes), releasing seven studio albums and a slew of EPs and singles. They have also stayed busy with side projects, production gigs and even occasional acting jobs. What are Redd Kross? Punk Rock? Psychedelia? Heavy Metal? Bubblegum? Power Pop? Whatever they are they are 100% Redd Kross, the catchiest of catchy, chock full of hooks, melodies and harmonies, impossible to not smile and sing along...maybe even dance. Their live show just keeps getting better. Redd Kross are one of those rare bands who would be equally at home in a dark punk club and on stage at the Enormodome. 40 years in and hot on the heels of their amazing 2019 album Beyond The Door, Third Man Records is proud to announce the reissue of two of their beloved 1990s albums, Phaseshifter (1993) and Show World (1997). Phaseshifter line-up intact (Gene Fennelly would soon move on, but plays all the keyboards on the recording), Redd Kross came back at us with amps turned up and smiles on their faces on 1997's Show World. The album starts off with a spot on cover of The Quick's L.A. power pop classic, 'Pretty Please Me', and sets the tone for yet another killer album by the thinking person's good time band. Like all RK albums before and since, this one is all killer, no filler, with special highlights Stoned, Vanity Mirror, One Chord Progression and the absolutely sublime Follow The Leader."
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LP
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TMR 625LP
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"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. Third Man Records is proud to announce the first-ever release of The Pathetx - 1981. 45rpm."
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LP
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TMR 637LP
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"France Gall was a prolific French vocalist and performer, remembered as one of the central figures of the 1960s yé-yé pop movement. Aligning catchy, spirited rhythms with lighthearted lyrics and drawing from the beat music a la early Beatles and Hollies, the yé-yé artists promoted a sort of new freedom of expression and breaking down of social barriers in post-WWII France. Third Man Records is beyond honored to bring this music to a larger audience by issuing the first authorized North American vinyl pressings of these titles, some of the most brilliant highlights from Gall's catalog. Without a doubt this is the weirdest France Gall record. 1968 dives further into the psychedelia that she was hinting at on Baby Pop. Even with addition of sitars and echoes of The Beatles, The Stones, The Kinks and Pet Sounds era Beach Boys all over this record it is still 100% French and could only have been made by France Gall. The addition of English expat producer/arranger, David Whitaker, brought a new and welcome airiness to the mix that was lacking on Gall's earlier recordings. The album contains 2 of Serge Gainsbourg's strangest and most out-there arrangements, 'Nefertiti' and 'Teenie Weenie Boppie' about an LSD trip gone horribly wrong. 1968 is an absolutely essential addition to any record collection."
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LP
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TMR 636LP
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"France Gall was a prolific French vocalist and performer, remembered as one of the central figures of the 1960s yé-yé pop movement. Aligning catchy, spirited rhythms with lighthearted lyrics and drawing from the beat music a la early Beatles and Hollies, the yé-yé artists promoted a sort of new freedom of expression and breaking down of social barriers in post-WWII France. Third Man Records is beyond honored to bring this music to a larger audience by issuing the first authorized North American vinyl pressings of these titles, some of the most brilliant highlights from Gall's catalog. Baby Pop is not only an important album for France herself, it is also a hugely important record for the entire yé-yé scene. Baby Pop hinted at the musical direction that yé-yé was headed in much the same way Revolver and Pet Sounds did in the UK and USA. Baby Pop is more mature and varied than her earlier more bubblegum releases. You will still find a wonderfully cheesy tracks like 'L'Amerique' here and there but with the impossibly infectious title track and songs like the Gainsbourg penned 'Nous Ne Sommes Va-T'en' and the groovy Farfisa-driven 'Faut-Il que Je T'Aime' we welcome a new France Gall and say hello to some of the fi nest pop music ever released in French or any language."
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LP
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TMR 635LP
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"France Gall was a prolific French vocalist and performer, remembered as one of the central figures of the 1960s yé-yé pop movement. Aligning catchy, spirited rhythms with lighthearted lyrics and drawing from the beat music a la early Beatles and Hollies, the yé-yé artists promoted a sort of new freedom of expression and breaking down of social barriers in post-WWII France. Third Man Records is beyond honored to bring this music to a larger audience by issuing the first authorized North American vinyl pressings of these titles, some of the most brilliant highlights from Gall's catalog. While France Gall had been releasing music since she was 16 it wasn't until she took the Grand Prix at the 1965 Eurovision Song Contest with her rendition of Serge Gainsbourg's 'Poupée de Cire, Poupée de Son' that she would be catapulted to the top of the swinging yé-yé scene alongside the likes of Francoise Hardy, Sylvie Vartan and Bridgette Bardot. This record contains two of France's most loved tracks, 'Poupée de Cire' and 'Laisse Tomber Les Filles' also penned by Gainsbourg. She recorded versions of the title track in French, German, Italian and Japanese and was now an international pop superstar. At the time France was dismissed by many as making fluffy ultra-commercial pop hits but her music stands the test of time far better than most, as not many were making music of this consistent high quality. Highly recommended."
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LP
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TMR 612LP
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"Jonathan Fire*Eater's acclaimed and long out-of-print influential album is back in print. 'Jonathan Fire*Eater is the reason I moved to NYC and started a band.' --Nick Zinner (Yeah Yeah Yeahs) Remastered 150 gram vinyl."
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LP
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TMR 558LP
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"First ever vinyl pressing of Raconteurs co-leader Brendan Benson's debut album. Melodically crafted power pop that Brendan spent his early years writing, arranging and recording these gems, hunched over his Tascam 4-track in various bedrooms across Detroit and San Francisco. One Mississippi is the first time Brendan went in to a studio to record his very personal songs and present them to us with a full band. A lost masterpiece that gave us a taste of what we had to look forward to. Years before 'Detroit' was the first word on the lips of taste-fakers, hype-stokers, scene-stealers and fame-lords the world over, Brendan Benson's sheep-in-wolves' clothing debut album One Mississippi was the unassuming first shot fired from the city and players that would soon become feted beyond their wildest imagination. From the gallant album-opener 'Tea' (a song which particularly resonated with Japanese fans, of whom hundreds excitedly sent him fan mail containing tea bags) through the propulsive swell of 'Sittin' Pretty' and the undeniable 'hit' of 'Crosseyed' to the quirky 'Insects Rule' (which was jammed on live by Foo Fighters?!?!?)... Benson's craft is fully on display here. With half the songs here cowritten by the estimable Jason Falkner (Jellyfish, Beck), the end result is an unabashed pop album, accentuated by Brendan's brilliant turn of phrase and preternatural ear for a melody. The album also stands out as the first full-length project helmed by venerated super-producer Ethan Johns (Paul McCartney, Kings of Leon) with One Mississippi serving as a unifying point in the careers of Johns, Benson and Falkner that found them all mutually ascendant. Twenty-three years after its initial release, the Third Man Records reissue of One Mississippi is the FIRST-EVER vinyl pressing of this seminal album."
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3LP
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TMR 516LP
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"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. Black Vinyl, first time on vinyl, tri-fold jacket."
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LP
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TMR 576LP
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"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. With the 2019 reissue, Third Man Records is proud to make these seminal songs available digitally and on vinyl for the first time in over two decades. All parties involved are beyond overjoyed to augment the running order of the Japanese version of Tremble Under Boom Lights to include the bonus track 'In the Head.' Touted by the band members as the last song they ever recorded, it is wincingly brilliant, the most artful, dudes-in-their-early-twenties version of a swan song that one may ever hear."
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LP + 7"
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TMR 591LP
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"Alexis Zoumbas was one of the most sublime musicians to ever cast a shadow across the face of the Earth and no one has been able to translate the emotions of despair-of devastation-through an instrument as effectively as Zoumbas. Years of research and obsession have resulted in this, the first collection of recordings by the legendary and masterful Greek folk violinist Alexis Zoumbas. Very few Pre-War musicians have tapped deeper into the human soul than Zoumbas and this volume presents his most profoundly hypnotic and unearthly pieces. A deep set of notes based on Christopher King's pioneering research from 2012 is accompanied by previously-unpublished photographs as well as original artwork by R. Crumb. Originally issued in 2014 for Record Store Day, the limited release of the LP immediately went out of print. Faithfully remastered from the original 78s, Christopher King's original version of the LP has been enhanced for Third Man Records by the inclusion of a 7" EP featuring two previously unissued and unheard alternate takes of the masterpieces Epirotiko Mirologi and Doina."
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CD
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TMR 374CD
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"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 its 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. Fast forward to 2017, the crew at Third Man, already huge fans, are presented with an honest-to-God treasure trove of original Monks photos, newspaper clippings, business cards, letterhead, contracts, postcards and, yes, analog tapes, containing trailblazing, wild compositions completely unheard by public ears. 'I'm Watching You' would have been recorded on February 28th, 1967 at the same sessions that would produce the Monks' final single 'Love Can Tame the Wild' b/w 'He Went Down to the Sea'. The remaining four songs were recorded after hours in the Top Ten Club later that year, just prior to the break-up of the band. These songs have been unreleased for 50 years and are quite possibly the last music left to be heard by this legendary band."
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LP
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TMR 374LP
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LP version. "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 its 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. Fast forward to 2017, the crew at Third Man, already huge fans, are presented with an honest-to-God treasure trove of original Monks photos, newspaper clippings, business cards, letterhead, contracts, postcards and, yes, analog tapes, containing trailblazing, wild compositions completely unheard by public ears. 'I'm Watching You' would have been recorded on February 28th, 1967 at the same sessions that would produce the Monks' final single 'Love Can Tame the Wild' b/w 'He Went Down to the Sea'. The remaining four songs were recorded after hours in the Top Ten Club later that year, just prior to the break-up of the band. These songs have been unreleased for 50 years and are quite possibly the last music left to be heard by this legendary band."
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2CD
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TMR 334CD
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2016 release. "Third Man Records is proud to present a truly rare musical oddity -- a two disc collection of primal and unhinged Greek village music that at times sounds more like free jazz or doom folk, feral and trance-like as it is. After years of research, fieldwork and collecting, Christopher King -- Grammy-winning producer, sound-engineer, curator and writer -- has gathered together from his private 78 rpm archive the most mind expanding and libido inducing song and dance music from the rural hinterlands of mainland Greece and its islands. Recorded between 1907 and 1960, this collection contains the first and the last -- the alpha and the omega - of Greek demotika -- or folk music. And it is not what you would expect. Remastered from the original 78 rpm discs, this set contains 28 previously unissued recordings made in the cramped, primitive studios of Athens, Greece, New York, NY, and Chicago, IL. Crazed Macedonian bagpipes, keening violins, shiver-inducing zournas and shepherd-pipes are found throughout the two discs. Cover artwork is by legendary underground artist R. Crumb and designed by Grammy winning Susan Archie. A beautifully thought-provoking if not radical essay on this music by King accompanies the lavish package. Not simply for historians or collectors of long-gone sounds, this compilation is intended to push the limits of what we have come to expect of music, its purpose and indeed its origin. You will experience a profound musical transformation immediately upon listening."
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2LP
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TMR 334LP
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Double LP version. 2016 release. "Third Man Records is proud to present a truly rare musical oddity -- a two disc collection of primal and unhinged Greek village music that at times sounds more like free jazz or doom folk, feral and trance-like as it is. After years of research, fieldwork and collecting, Christopher King -- Grammy-winning producer, sound-engineer, curator and writer -- has gathered together from his private 78 rpm archive the most mind expanding and libido inducing song and dance music from the rural hinterlands of mainland Greece and its islands. Recorded between 1907 and 1960, this collection contains the first and the last -- the alpha and the omega - of Greek demotika -- or folk music. And it is not what you would expect. Remastered from the original 78 rpm discs, this set contains 28 previously unissued recordings made in the cramped, primitive studios of Athens, Greece, New York, NY, and Chicago, IL. Crazed Macedonian bagpipes, keening violins, shiver-inducing zournas and shepherd-pipes are found throughout the two discs. Cover artwork is by legendary underground artist R. Crumb and designed by Grammy winning Susan Archie. A beautifully thought-provoking if not radical essay on this music by King accompanies the lavish package. Not simply for historians or collectors of long-gone sounds, this compilation is intended to push the limits of what we have come to expect of music, its purpose and indeed its origin. You will experience a profound musical transformation immediately upon listening."
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LP
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TMR 324LP
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2015 release. "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. LP Packaging: 150-gram vinyl, direct-to-board jackets."
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LP
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TMR 548LP
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"The Tropicalia 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 Tropicalia first came from the mind of Brazilian visual artist Helio Oiticica, whose eponymous piece consisted of a sandy maze bordered by tropical Brazilian flora and, at the end, a television set. Through satirizing symbols of their homeland and rejecting a pre-established national culture, the Tropicalists constructed a new form of 'aggressive nationalism' outside of an innately anti-imperialist Left and an unthinkingly patriotic Right. By refusing to accept underdevelopment as their identity and excitedly 'devouring' disparate culture (low and high brow, domestic and foreign, etc.), the Tropicalists carved out a unifying creative space, a universal sound, different from the older, bourgeois bossa nova movement and the newer, undiscerning rock movement. 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 Tropicalia. The songs on this 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 Tropicalia 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. Superbacana (translated as 'Supergroovy') follows a hyperbolic superhero's use of technology to fight a gang of cowboys led by the money-hungry Uncle Scrooge, serving as allusions to American imperialism and greed felt in their country, all in the rapid-fi re structure of a comic book. The subtext in all these songs, which the dictatorship would not immediately catch, were that these repressed but glaring contradictions, not the bountiful sunny paradise that the military regime was pushing, were the true national identity. 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. This is the first authorized North American vinyl issue of Caetano Veloso. 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 Tropicalia movement."
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CD
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TMR 479CD
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2018 release. "Another spellbinding compilation exploring the depths of overlooked Greek folk music from the curatorial genius Christopher King. Highlighting the virtually unknown work of the heartbreakingly haunted hypnotic clarinetist Kitsos Harisiadis. From 1929 through 1931, Harisiadis recorded instrumentals that have endured in the Epirotic repertoire well into the twenty-first century. Kitsos plays all fourteen pieces as if he were a Greek-Shaolin monk conversing with a grasshopper at his feet. Through King's painstakingly thorough research and immersive story-telling, the listener is able to fully absorb the otherworldly aura that radiates throughout the release. Painstakingly remastered directly from ungodly rare original 78 rpm discs and coupled with artwork by R. Crumb and design by Grammy Award-winner Susan Archie, the entire package is delightful in every sense."
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LP
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TMR 479LP
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LP version. 2018 release. "Another spellbinding compilation exploring the depths of overlooked Greek folk music from the curatorial genius Christopher King. Highlighting the virtually unknown work of the heartbreakingly haunted hypnotic clarinetist Kitsos Harisiadis. From 1929 through 1931, Harisiadis recorded instrumentals that have endured in the Epirotic repertoire well into the twenty-first century. Kitsos plays all fourteen pieces as if he were a Greek-Shaolin monk conversing with a grasshopper at his feet. Through King's painstakingly thorough research and immersive story-telling, the listener is able to fully absorb the otherworldly aura that radiates throughout the release. Painstakingly remastered directly from ungodly rare original 78 rpm discs and coupled with artwork by R. Crumb and design by Grammy Award-winner Susan Archie, the entire package is delightful in every sense."
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LP
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TMR 485LP
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2017 release. "As a continuing collaboration with Chess Records/Universal Records and the estate of Muddy Waters, Third Man Records is proud to announce the reissue of Muddy Waters' fifth studio album Electric Mud. Electric Mud, 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 will be available on black vinyl pressed at Third Man Pressing in Detroit, with a beautiful gatefold jacket in its original black-on-white color scheme, and a four-panel foldout poster."
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