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viewing 1 To 25 of 48 items
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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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4LP BOX
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TME 239-40
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"Ann Arbor Blues Festival 1969: Deluxe Edition features two single-color (one blue, one red) printed jackets with complementary colored vinyl, a 58-page perfect bound book with transparent vellum inserts and a short recollection from festival organizer John Fishel, die-cut reproductions of his original festival booking notes, a full-size reproduction of Jim Fishel's festival program on newsprint paper that includes nearly every artists' signature, a reproduction of the original festival tickets on various colored papers and a reprint of the original festival poster on silver metallic paper. The package will also include 13 reproductions of original news articles and ads on newsprint paper housed in a hand-stamped envelope. All of this will be packaged in a telescoping box printed on the same silver metallic paper as the poster reproduction with poster art on the cover."
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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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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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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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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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LP
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TMR 533LP
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2018 release. "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."
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7"
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TMR 616EP
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"Bush Tetras formed in 1979 out of NYCs No Wave/Post Punk/Art Funk/Dance Junk scene. The band's debut release Too Many Creeps on the legendary 99 Records is one of that scenes defining moments, capturing perfectly the vibe of that very particular moment in NYC. Bush Tetras was one of the supporting acts for The Clash's mythical 17-show run at Bond International Casino in the spring of 81. Topper Headon also produced their Rituals EP for Stiff Records. In 1983, the members of Bush Tetras went their own ways and the band remained relatively quiet and elusive for the next several decades. Original members Cynthia Sley, Dee Pop, and Pat Place now joined by Val Opielski taking over bass duties for the late Laura Kennedy. 2018 saw the release of Take The Fall EP on Wharf Cat Records the band's first new music in 10+ years and the welcome return of Bush Tetras!"
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LP
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TMR 518LP
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"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 sold-out 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."
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7"
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TMR 626EP
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"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.' Packaging: Full-color foldover sleeve, standard weight vinyl."
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LP
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TMR 611LP
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"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 finally 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. The energy explodes on the scene with the title track's opening 1-2 bass-snare piston-fire 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."
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2LP
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TMR 538LP
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"Third Man is ecstatic to induct into the standard catalog Consolers Of The Lonely, the critically-lauded, fan-adored, Grammy Award-winning sophomore LP from the beloved quartet known as the Raconteurs. Before surprise releases were common, the Raconteurs ambushed the world with the sudden, unannounced release of Consolers Of The Lonely on March 25th, 2008, a time when coordinating a worldwide physical and digital surprise release was even less easily accomplished than it is today. Consolers finds the Raconteurs at their mightiest, exploring what it means to be a contemporary rock band in a classic sense, full-on bombastic horn arrangements and gut-wrenching murder ballads sit side-by-side while the swagger and confidence of riffs and licks for days firmly establish this album as one of the pre-eminent releases of the 2000s. Stoughton gatefold LP jacket, 180g vinyl."
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2LP
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TMR 546LP
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Repressed again. "Trout Mask Replica is a touchstone in the history of recorded music. The mix of dada absurdist blues and previously unexplored experimental avenues has long been praised as one of the greatest albums of all time. As so eloquently put by John Peel, 'If there has been anything in the history of popular music which could be described as a work of art in a way that people who are involved in other areas of art would understand, then Trout Mask Replica is probably that work.' In full partnership with the Zappa Family Trust and to celebrate the relaunch of the seminal Bizarre label imprint, Third Man Records is proud to announce Captain Beefheart and the Magic Band's Trout Mask Replica. Out of print on vinyl for nearly ten years, this remaster was helmed by industry legend Bob Ludwig and cut by the estimable Chris Bellman at Bernie Grundman Mastering. Utilizing crystalline-quality safety masters kept in the Zappa family vault for decades by the trustworthy Joe Travers, the audio here is positively glorious. Every last skronk breathes full life into the room. Every twisted guitar figure uncurls onto paths previously unpaved. Every last bark and howl shines resolute through the vast emptiness of your mind. Previous countless Trout Mask Replica repressings used scans of scans of scans of the cover image, but the original Cal Schenkel cover photo has been tracked down and reproduced here at its clearest -- its resolution from the original release in 1969. If you've only ever seen a jpg online or fuzzy, smeared-looking CD issues from the 90's, be prepared to be wowed by the fully engaging spectrum this iconic image casts. This 2xLP is pressed on heavyweight 180-gram black vinyl for that full-on frenetic feeling. 180g vinyl, gatefold Stoughton tip-on jacket, booklet insert."
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LP
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TMR 532LP
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"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. Matte direct-to-board LP jacket, standard weight black vinyl."
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TMR 554LP
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"Lightnin' Hopkins is a true folk singer. His songs are the heart of the South, the very essence of his people, their joys, their triumphs, their difficulties, their oppression. Lightnin's music, like that of any great artist, has a universal quality. When you hear it, it might be your sadness or your ecstasy that is being told -- the feeling of all people, the qualities of all living, good and bad, lie in the easy cadences and pathos of Lightnin's expression. So long as folk music endures, so long will Lightnin' Hopkins be played. Strums The Blues is a compilation that was originally released in 1958 on the Score label. It is a collection of his legendary early Aladdin 78" sides. These songs have been carefully remastered for this release and cut by Warren Defever and Bill Skibbe. The cover art has been reimagined by modern-day folk artist Tim Kerr."
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7"
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TMR 598EP
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"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."
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7"
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TMR 585EP
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"Luckily for us, Teddy and the Rough Riders have been burning up the Nashville underground over the past few years. With roots deep in psychedelia, the group stripped back all the trimmings to a Velvets rhythm section and steeped it in a Music Row dive bar for their own brand of country rock that is poppy, precise, well-educated and completely self-aware. What, then, would be the point of an exaggerated drawl or a convenient new interest in roping cattle? The Teddys' sound is country that, somewhat paradoxically, lives and breathes in the city. So, it is fitting that their A-side single 'I Found Somethin'' throws down a strong psych card, with bassist Ryan Jennings' vocals leading us through a vibrant and playfully painted scene filled with a can of worms, desk drugs and big wet dogs. The second track 'Neon Cowboy', guided this time by guitarist Jack Quiggins, dives down a rabbit hole of self-reflection and social questioning, with Luke Schneider's atmospheric pedal steel and Nick Swafford's always-tasteful drums giving it real backbone. For fans of The Byrds, Link Wray and CCR. This one's not to be missed. For fans of The Byrds, Link Wray and CCR. This one's not to be missed."
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7"
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TMR 599EP
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"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. With 4 songs averaging 2 minutes, the When I Left EP feels like a whirlwind experience from its opening distortion to final feedback. The title track 'When I Left' is a garage punk banger a la Gun Club meets the Oblivians that tremors and nearly buckles under its own weight before it ends. American Convertible Stools 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'. Give this a spin and you won't need to care about what anyone has to say about anything anymore."
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2LP
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TMR 473-4LP
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"By the time the Hyenas went back into the studio, Kevin Strickland and Jim Kimball had left to form Mule and had left John and Larissa without a rhythm section. Many people thought this marked the end of the band. Not the case. Todd Swalla (founding member of Necros) stepped in on drums and Kevin Ries on bass. Todd is a much more subtle timekeeper than Jim and Ries had no problem locking in with him, but stayed in the background a little more than Strickland leaving Larissa to take up a little more of the slack. She rises to the occasion, her leads a bit more melodic than before, although still blanketed in a sheet of noise. Brannon's anguished vocals will still peel the paint of the walls and over the new slightly toned-down direction, somehow seem even more extreme. Crawl is notably the only of the Hyenas records recorded in Detroit at White Room Studios. Liner notes by Bob Bert (Sonic Youth, Pussy Galore, Chrome Cranks) and Allyson Baker (Dirty Ghosts, Teen Crud Combo). Hard Times saw one more line-up change: Kevin Ries left and one time Necros Ron Sakowski stepped in, the Hyenas went down to Memphis to the legendary Easley Studios to record their final LP with the one and only Doug Easley. On Hard Times, we see the Hyenas influences are more Howlin' Wolf/Muddy Waters than they are Nick Cave/Iggy Pop. The full-on sonic assault of the first three records has given way to a hard-hitting groove that has a graceful Exile-era Stones vibe. Larissa's simple and one-of-a-kind guitar playing has never been better. Brannon does more crooning than screaming on this one, giving us their most 'musical' offering yet. Every bit as emotionally ruthless as their previous releases, the Laughing Hyenas went out on a high note with Hard Times. Released in partnership with Touch and Go Records. Liner notes by Bob Bert (Sonic Youth, Pussy Galore, Chrome Cranks) and Allyson Baker (Dirty Ghosts, Teen Crud Combo). Includes unseen photos and flyer reprints."
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LP
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TMR 472LP
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"With their roots firmly planted in Detroit's Cass Corridor punk rock and hardcore scene of the early 80s, John Brannon (Negative Approach) and Larissa Strickland (L-Seven), along with the locked in rhythm section of Kevin Strickland and Jim Kimball, the Laughing Hyenas took it to a completely different plane. Taking pointers from The Birthday Party and Funhouse era Stooges as well as early blues and jazz artists, the Laughing Hyenas were a fierce, sulfuric blast of noise. While their style didn't change much over the course of their first three albums, they kept improving on the formula and on Life Of Crime, they reached their peak! Kevin's thick and agile basslines and Jim's bone-breaking drumming make a rhythm section that is incomparable. Larissa's blistering guitar somehow builds haunting melodies out of the sonic chaos. Brannon is a punk rock whirlwind with the conviction of an old bluesman, his relentless howl makes this one of his finest vocal performances to date and make this a truly disturbing and terrifying listen. This is the last record of the 'Butch Vig Trilogy' -- a beautiful, creative partnership that resulted in three untouchable records and helped point bands like Nirvana and Sonic Youth in Butch Vig's direction. Released in partnership with Touch and Go Records. Liner notes by Mark Arm (Mudhoney) and Julia Cafritz (Pussy Galore and Free Kitten). Includes unseen photos and flyer reprints."
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7"
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TMR 528EP
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"Recorded at Sam Phillips' Memphis Recording Service at the recommendation of Ike Turner in July 1951, this incredibly influential single is the first ever 7" from legendary bluesman Howlin' Wolf. Interestingly enough, the A-side 'How Many More Years' was cited by T. Bone Burnett as 'in some ways...the first rock and roll song'. The single was later referenced by British blues pioneers Led Zeppelin, both in the title and in Plant's vocals, on their debut album track 'How Many More Years.' The B-side 'Moaning At Midnight' is as heavy as it gets, described by Phillips as 'the most different record I ever heard'. Die cut Chess Record company sleeve, standard weight vinyl." Black Friday RSD 2018 release.
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