This site no longer supports Internet Explorer 8 or other older browsers. Please use a modern browser.
Today is the digital release of The Dead Weather's two brand new studio recordings, "Open Up (That's Enough)" and "Rough Detective." Previously available exclusively through Third Man Records' subscription-only Vault series as a limited edition yellow jacket colored vinyl 7" in a custom glue-pocket picture sleeve, these roaring new tracks are now available to the general public digitally via iTunes and all other digital retailers.
In a unique long-term strategy, "Open Up (That's Enough)" and "Rough Detective" are the first of a series of two-song sets The Dead Weather will be releasing up until 2015, at which time the singles--plus numerous other album-only tracks--will be collected into a full album. The songs will be released digitally, but not until TMR Vault packages containing the physical singles have been dispatched to subscribers.
More importantly, the "Open Up (That's Enough)" / "Rough Detective" single is unlike anything else The Dead Weather has ever done before, while both songs serve as ample reminders of the ferocity of this motley collection of low-lifes, grifters and ne'er-do-wells.
We are inching closer towards the debut release from the Haden Triplets, daughters of jazz bass legend Charlie Haden. The record will be available at a record store near you or through your preferred digital retailer February 4th, but you can pre-order the LP or CD beginning today at thirdmanstore.com. If you’re hungry for more information about the sisters and the release, head to RollingStone.com. This morning, they premiered the video below which previews the record and takes a closer look at the triplets. Stay tuned for more Haden Triplets content in the coming weeks, and pre-order the CD or LP here.
Our first Blue Series single of the year (TMR244) is a dark and delirious slice of new American Primitive from the modern master of the form, FRANK FAIRFIELD.
For the uninitiated, Frank is a Fresno, California native (and now Los Angeles resident) and a genius on the fiddle, guitar, banjo who possesses a broken soulful voice that perfectly reflects the tragedy and damnation of the subject matter reflected in the timeless American music that he’s made his stock and trade through his albums on Tompkins Square, and through countless tours from coast to coast.
On side A Frank delivers his unique take on the traditional murder ballad "Duncan & Brady," which details a barroom shooting of police officer James Brady in St. Louis back in 1890. The song has been interpreted a number of times over the years from a wide range of luminaries, including Leadbelly, Bob Dylan, Dave Van Ronk and Judy Henske. The B side finds Frank switching up from the guitar to the fiddle and being accompanied by Zac Sokolow also on fiddle performing "Devil’s Dream Medley." "Devil’s Dream Medley" blends the duo fiddles with vocal elements from the song June Apple, popularized by Wade Ward and Doc Watson.
Frank Fairfield’s Blue Series will be released on 7” vinyl and iTunes on January 21st and will be everywhere fine independent records are sold. It is available for pre-order now.
Lastly, overseas fans can check out Frank’s current tour dates below including UK and Spain with Cass McCombs!
01/08 Bristol, UK Colston Hall w/ Cass McCombs
01/09 Glasgow, UK CCA w/ Cass McCombs
01/10 Manchester, UK Deaf Institute w/ Cass McCombs
01/11 Leeds, UK Howard Assembly Room
01/13 London, UK Queen Elizabeth Hall w/ Cass McCombs
01/14 Cardiff, UK Gwidihw
01/16 Kilkenny, IE Cleere’s
01/17 Dundalk, IE Spirit Store
01/18 Dublin, IE The Grand Social
01/20 Madrid, ES Teatro Lara w/ Cass McCombs
01/21 Cadiz, ES Edifico Constitucion 1812 w/ Cass McCombs
01/23 Barcelona, ES Sala Apolo w/ Cass McCombs
01/24 Marseille, FR Data
01/25 Vendome, FR Chapelle St Jacques
01/26 St Ouen, FR Mains d’Oeuvres
01/27 Nancy, FR Off Kultur
01/28 Rennes, FR Mondo Bizarro
Third Man Records employees consider themselves pretty tough when it comes to chilly weather, but this polar vortex has even the heartiest of Detroit transplants wearing an extra layer and jacking up the heat a few degrees. Turn up the temperature and get your blood flowing with the (minimally layered and maximally gorgeous) Tempest Storm. It's the Record of the Week! Tempest's Green Series 7", pressed on a moving picture disc featuring the temptress herself working her magic, includes an interview with Jack White as well as the burlesque/exotic dancer's advice for young women. Watch the bolt-o-trope in acton here (start at 3:54), and get yours at a NICE PRICE.
Do you like the White Stripes? Do you like experiments? Do you like the Vault? Do you like combining all three? We do. For our 19th installment of the Vault, we're doing something we've never done before. Something that Vault members have been clamoring for…the exclusive, limited, colored vinyl edition of a record. As you probably know, TMR tries to release a limited version of every record we do. That limited edition is usually available only at certain locations or stores, while the black vinyl version is kept in print forever.
This package will consist of limited colored vinyl pressings of all of the White Stripes singles from their album Elephant. These include…
"Seven Nation Army"
"I Just Don't Know What to Do With Myself"
"The Hardest Button to Button"
"There's No Home For You Here"
The b-sides consist of covers of some of Detroit's most pre-eminent artists in 2003…
"Good to Me" written by Brendan Benson and Jason Falkner and originally released on Benson's 2002 album Lapalco.
"Who's to Say…" written by Dan Miller and released by his outfit Blanche in 2003 on their album If We Can't Trust the Doctors…
"St. Ides of March" written by the Soledad Brothers and released on their self-titled album of 2000.
As well as a White Stripes live medley of "I Fought Piranhas / Let's Build a Home" recorded at the legendary Electric Lady Studios in New York.
Each of these tracks has been remastered from the original analog sources, and in the case of "…March" and "Piranhas" where there were no analog masters, we used only the finest digital files that could withstand sitting unused on a hard drive for over ten years.
The artwork on all the singles has been tidied up, spell-checked and given that special Third Man "je ne sais quoi"
"There's No Home For You Here", which was originally coupled with a generic company sleeve, now has stunning new artwork. It looks electrifying!
And these sleeves FEEL amazing. Employing a process called (we're not making this up) "soft touch aqueous coating" each of these glue-pocket sleeves feels like a hybrid between rubber and lambskin. It's difficult to describe, but immediately noticeable and amazing in person. Each record will be pressed on clear vinyl with with an added vinyl highlight color insertion of either red, black or white. For "There's No Home…" all three of those colors will be added to clear vinyl, to make something truly exciting. All of this will be housed in a custom-made telescoping box, so that these singles can forever live together with distinction in your record collection. Later in 2014 each of the singles will be available individually, on black vinyl, with no box, to the general public.
SIGN UP FOR VAULT PACKAGE #19 HERE. DEADLINE TO SIGN UP IS JANUARY 31st @ 7pm CSTVault Package #19
January's Light + Sound Machine, co-presented with the Belcourt Theater features George Kuchar's HOLD ME WHILE I'M NAKED, followed by THE DEVIL'S CLEAVAGE. Both will be screened on 16mm film. Tickets are available now for $10 for the Janary 16th event.
THE DEVIL'S CLEAVAGE d. George Kucher, USA 1973, black and white, 107 min.
"George Kuchar's lovingly farcical re-creation of those (Forties and Fifties) melodramas, THE DEVIL'S CLEAVAGE, is a camp parody that sometimes directly steals from the genre, sometimes burlesques it, and often travesties it. As you might expect, it soon begins to mock all kinds of cinematic references, from Hitchcock to Preminger. But leave the exact details to pedants, laughter's the thing here . Kuchar manages terribly well in terms of imagination and inventiveness, and just plain terribly in terms of such humdrum details of filming as using a light meter and tape recorder. Technical ineptness aside, we end up with a marvelous hybrid, as if Sam Fuller and Sternberg had collaborated in shooting a script by Tennessee Williams and Russ Meyer. Which is to say that excess is the most basic element of Kuchar's method, even when (almost paradoxically) it's an excess of cliche ('Such language! Bite your tongue!' 'Bite it for me!) Douglas Sirk tells us, 'Cinema is blood, tears, violence, hate, death, and love.' Kuchar reminds us that cinema, like life, is also bedpans, earwax, sleazy fantasy, ineptness, compromise, and laughter." -- Chuck Kleinhans, Film Center program