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With great sadness we share the news that music and the city of Memphis have this week lost two of its great citizens—John Fry, music producer and founder of Ardent Studios, and John Hampton, music producer and engineer. Mr. Hampton engineered the mixes of both the White Stripes' Get Behind Me Satan and The Raconteurs’ Broken Boy Soldiers. The breadth and depth of the work and impact these two gentlemen have had on music and the lives of others is immeasurable. Their families and friends are in our thoughts. For more about Mr. Hampton and Mr. Fry, please read 40 Years of Ardent, an interview chronicling the story of Ardent Studios and their work with such groups as Big Star, Staple Singers, The Cramps, Bob Dylan, Three Six Mafia, ZZ Top and more. (pictured from top to bottom: John Fry and John Hampton).
Recently Third Man Records has been made aware of the discovery of two different copies found by two separate individuals of the 2nd single by the Upholsterers. This duo, comprising of actual upholsterers Jack White and Brian Muldoon, pressed 100 copies of this single and proceeded to hide them in furniture being reupholstered by Muldoon in 2004, in celebration of his 25th year in the business. In celebration of these discoveries, Third Man would like to share with everyone the cover art for this single, done by noted Detroit artist Gordon Newton.
The LA Times showed our best gal and newest addition to the Blue Series family some love today! The songs from Lillie Mae's "Nobody's" 7" are there for the listenin', and Lillie Mae shared some insight about how she came to be involved with Third Man and Jack White's recording style. Read the article and hear the tracks here. And, if you haven't yet picked up a copy of the 7" for yourself, well, you know what to do.
The Third Man Record Booth is the machine responsible for the gorgeous recording you hear in the heart-wrenching new Apple ad. If you haven't checked out some of the many recordings fans have made in the booth over the past year and a half, head to the Record Booth page and have a listen...
Also, Apple has made a companion "The Story Behind the Song" video explaining the ad and interviewing some familiar faces about the Record Booth. Watch it below!
Greetings, all you music-makers and dreamers of dreams. We've got a small recap just for you, JUST in case you missed any of the tantalizing details surrounding a certain Wonder Cabinet these past couple weeks. Foremost, we are thrilled to announce that Third Man Records and Jack White, along with Revenant Records, have also been nominated for our efforts in releasing The Rise & Fall Of Paramount Records, Volume One (1917-27) in the categories of "Best Boxed Or Special Limited Edition Package" and “Best Album Notes” (written by Scott Blackwood).
Secondly, a quick glimpse offered by Nate Chinen at the New York Times calling The Rise & Fall of Paramount Records, Vol. 2, a work of "gleaming Art Devo valise, teeming with a democratic profusion of American blues, rustic folk, and hot jazz." Then, as you know, CBS This Morning sat down for quick word regarding our hopes for the survival of American blues. Up next, Barry Mazor writing for the Wall Street Journal said that, "A hands-on, eyes-on, ears-on examination of the new set underscores that behind the singularly grand presentation lurks an immense appreciation…of the musical performances and visual presentation style of the original Paramount producers."
Beyond that, the kind folks at Spin, Stereogum, Billboard, and the Boston Globe showed us a little bit of love too, plus Pitchfork just named the box set the "Best New Reissue," saying "...this music still moves." So, what's the hubbub all about? Spanning the years 1928-1932, and following the label on its furious run for the ages, Paramount Records effectively birthed an entire genre of Mississippi Delta blues and issuing some of the most coveted records in the history of wax. Of course, we present it to you, all this, in an even sexier package than the 1st! The Rise and Fall of Paramount Records, Vol. 2, features a polished aluminum and stainless steel "Machine Age" cabinet containing another 800 tracks, two books, ads, USB drive with app and 6 180 gram LP's pressed on alabaster vinyl with hand etched numerals and holographic images. It is a sight to behold and an object that can make its owner an expert and a connoisseur of American music. From the weird to the winsome, this is a definitive look at the history of America music that went on to impact cultures beyond our boarders, which came back to us all tenfold. Watch our new unboxing video below, and purchase The Rise and Fall of Paramount Records, Volume 2 here.
Co-presented by The Belcourt Theatre & Third Man Records
THURSDAY, DECEMBER 18th
DJ's at 6pm / Screening at 8pm
Tickets available HERE.
Produced in 1964, THE T.A.M.I. SHOW (an acronym for Teenage Awards Music International) is a legendary concert film showcasing some of the biggest acts of the period, including Chuck Berry, The Supremes, Marvin Gaye, Lesley Gore, Smokey Robinson, and a “Battle of the Bands” between James Brown with his Famous Flames and The Rolling Stones. Rarely seen for decades due to rights issues, THE T.A.M.I. SHOW was shot live over two days at the Santa Monica Civic Auditorium on videotape, using the then-innovative Electronovision (and then transferred to film).
The Light and Sound Machine screening will be projected on 16 millimeter film and takes place in the Blue Room. Doors open at 6 p.m. with drinks available and Third Man Records’ DJs. The film starts at 8 p.m. Tickets are $10 ($8 for Belcourt members) and can be purchased in advance at www.belcourt.org, or at the door the night of the screening at Third Man. A limited edition print will be available as well for $15.