This site no longer supports Internet Explorer 8 or other older browsers. Please use a modern browser.
Third Man Records is happy to announce a new partnership with one of our favorite musicians out there working today, Pokey LaFarge. Pokey and his band bring a focus and energy to the American Roots genre with infectious original material that sits at the crossroads of early jazz, country blues and western swing. With his effortless charisma and distinctive charm, Pokey has crafted a genre all his own--and one that extends well beyond the music alone.
Summertime is the right time for Pokey's sun-blessed riverboat style, and this June will mark our release of his next full length LP / CD titled simply Pokey LaFarge (produced by Old Crow Medicine Show frontman Ketch Secor). Look out for a single from the album, "Central Time", which will be released ahead of the full length in May.
To celebrate (we love to celebrate), we'll be hosting Pokey and his band here at Third Man in our Blue Room live venue for a record release party / direct to acetate recording session on June 1st.
Pokey LaFarge and his band will be hitting the highways and byways this spring and summer, check all the dates here and be sure to see them when they come through your town!
Pre-orders are available today for the second installment of our highly anticipated Document Records reissue series, featuring Volume 2 of the Complete Recorded Works in Chronological Order of Charley Patton, Blind Willie McTelland The Mississippi Sheiks. These three records, officially available April 9th and featuring artwork by Rob Jones, can be purchased together as a bundle here.
Due to the incredible demand this series garnered when we announced the project earlier this year, we are temporarily out of stock of the Volume 1 records. We hope to have these first three records back on shelves within a few weeks.
The pleasure is all ours in announcing a new Blue Series single from Charleston, SC's own Shovels & Rope. Cary Ann Hearst and Michael Trent are definitely our favorite inter-gender rock n roll two piece since... well, you know (somewhere Alison Mosshart yells "WTF?!")... and we're certainly excited to present this Blue Series single featuring two covers of real life titans of the biz. Side A gives us Shovels & Rope's piano heavy take on Bruce Springsteen's "Johnny 99" while the flip is a slinky hip shaking version of Tom Waits' "Bad As Me." This is the perfect soundtrack for two doomed souls dancing in the glow of a jukebox in a greasy spoon diner... We reckon Messrs Springsteen and Waits should be mighty proud.
Pre Sales are available now, and the single will be available on 7" vinyl in finer record stores everywhere and iTunes from April 2nd.
3 of our favorite gals are featured in this week's Nashville Scene, The People Issue. Karen Elson graces the cover with photography by Jo McCaughey, and explains the moment when she knew Nashville was home. There is also a page dedicated to Ruby Amanfu, whose Blue Series single with Alabama Shakes' Brittany Howard was released last week, and who we know and love from The Peacocks.
This month's Light and Sound Machine feature is THE UNSPEAKABLE ACT, directed by Dan Sallitt. The proceeding short is ALL THAT SHE SURVEYS, directed by Gary Mairs and based on a concept by the filmaker James Benning. The screening will take place Thursday, March 21st at 7pm at Third Man Records. Tickets are available for $10 at thirdmanstore.com or for Belcourt members at a discount for $8 via the Belcourt website. All member and non-member tickets will be available via will call, day-of-film, at Third Man beginning at 6pm.
ALL THAT SHE SURVEYS
It begins something like a story - at a café, we see an unnamed girl (Amy Seimetz from TINY FURNITURE (2010), UPSTREAM COLOR (2013) and director of last year’s SUN DON’T SHINE) sitting alone, taking notice of a man, also alone, on the other side of the room. As we watch her, watching him, we anticipate contact between the two - a moment of intersection that that would propel the development of any other film. But ALL THAT SHE SURVEYS is not like any other film. By omitting dialogue and narrative convention, director Gary Mairs suggests that by simply observing the gestures and reactions of Seimetz’s silent voyeur, the audience not only mirrors her heuristic gaze, but joins her in a curious game of speculative empathy. Based on a concept by experimental filmmaker James Benning, ATSS directly channels his distinctive method of meditative cinematic observation, replacing his expansive American landscapes with Seimetz’s equally captivating visage.
THE UNSPEAKABLE ACT
Critic and filmmaker Dan Sallit makes no attempt to shroud or make payoff from the unmentionable deed to which the title of his film alludes - wide-eyed, intelligent teenager Jackie (Tallie Medel) and her brother Matthew (Sky Hirschkron) share an emotional bond that flirts dangerously close with the more-than-platonic realm. As Jackie begins to feel this bond slipping away, she confides to Matthew, with astonishing candor, her desire to breach that physical boundary. Though Jackie’s wayward longings may sound like the edgy premise of some transgressive cinematic provocation, the triumph of THE UNSPEAKABLE ACT is Sallitt’s tender treatment of its subject. Jackie is not a perverse sicko, and her domestic environment isn’t rigged to provide an accusational explanation for her behavior. Instead, we’re given a coming-of-age portrait of a young woman on the verge of major psychological transition. With its lack of soundtrack and austere mise-en-scene, the film eschews high drama in order to make room for the subtle shifts in tone and character interactions through which Jackie’s growth into self-realization unfolds.
Dedicated to the memory of the French master of conversational cinema, Eric Rohmer, Sallitt’s film is intrinsically linked to the spirit of his work - that less is more, and that sometimes to speak is to show. In what would appear to be a watershed moment in Sallitt’s career, THE UNSPEAKABLE ACT was at the center of a recent retrospective of his work, hosted by New York’s Anthology Film Archives.