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THIRD MAN + REVENANT PARTNER TO RELEASE HISTORIC TWO-VOLUME WONDER-CABINET ‘THE RISE & FALL OF PARAMOUNT RECORDS 1917-1932’
!!! UPDATE: Available now at thirdmanstore.com !!!
How did a Wisconsin chair company, producing records on the cheap and run by men with little knowledge of their audience or the music business, build one of the greatest musical rosters ever assembled under one roof? The answer lies in ‘The Rise and Fall of Paramount Records 1917-1932,’ an epic, two-volume omnibus of art, words and music housed in a limited-edition, hand-sculpted cabinet-of-wonder, to be jointly released by Jack White’s Third Man Records and John Fahey’s Revenant Records.
‘Volume One,’ which covers the label’s improbable rise from 1917-1927, will be released exclusively through Third Man on October 29, and worldwide on November 19. The project is co-produced by leading Paramount authority Alex van der Tuuk, and ‘Volume 2’ will be released in November 2014.
Paramount Records was founded on a modest proposition: produce records as cheaply as possible, recording whatever talent was available. Over its lifetime, the label would become a “race records” powerhouse, its sound and fortunes directly linked to the Great Migration.
By the time Paramount ceased operations in 1932, it had compiled a dizzying array of performers still unrivaled to this day, spanning early jazz titans (Louis Armstrong, King Oliver, Jelly Roll Morton, Fats Waller), blues masters (Charley Patton, Blind Lemon Jefferson, Son House, Skip James), American divas (Ma Rainey, Alberta Hunter, Ethel Waters), gospel (Norfolk Jubilee Quartette), vaudeville (Papa Charlie Jackson), and the indefinable “other” (Geeshie Wiley, Elvie Thomas). Paramount would also directly influence the style of Robert Crumb and countless other 20th century artists and illustrators, through a series of hand-drawn ads promoting its releases in the pages of the Chicago Defender.
The ‘Rise and Fall’ wonder-cabinet gives equal status to page-turning narrative and new scholarship; original and newly created graphic art; industrial design; and compelling analog and digital music experiences. ‘Volume One’ contains the following:
* 800 newly-remastered digital tracks, representing 172 artists
* 200+ fully-restored original 1920s ads and images
* 6x 180g vinyl LPs pressed on burled chestnut colored vinyl w/ hand-engraved, blind-embossed gold-leaf labels, housed in a laser-etched white birch LP folio
* 250 page deluxe large-format clothbound hardcover art book
* 360 page encyclopedia-style softcover field guide containing artist portraits and full Paramount discography
* Handcrafted quarter-sawn oak cabinet with lush sage velvet upholstery and custom-forged metal hardware
* First-of-its-kind music and image player app, allowing user mgmt of all tracks and ads, housed on custom-designed USB drive
The day has finally arrived. We are so pleased to share Kelley Stoltz's new release Double Exposure with the masses. The record has already received high praise from Mojo Magazine and Uncut — both of whom have called it his best album yet. Check out the reviews below. If you haven't already ordered your copy, do sohere, and if you're on the West Coast, be sure to catch one of Kelley's upcoming shows in your neck of the woods. Here's to synthesizers, fusion cuisine, oil-stained garages, wine buzzes, tape machines and delay pedals…. Ladies and gentlemen, Kelley Stoltz!
Recorded Direct-To-Acetate by the double-drummer quartet on May 30th, 2013 in our Blue Room, this show shook pictures off the walls of Third Man headquarters and had the crowd begging for two things: a pair of earplugs, and for the night to never end. Buy it and spin at maximum volume to experience for yourself...
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1. It's Shoved (available to stream below)/ 2. Anaconda / 3. At The Stake / 4. Queen / 5. Cow / 6. Your Blessend
Wielding his Morris Minor guitar fashioned out of two hubcaps and garden hoe, Seasick Steve will release his second full length studio album for Third Man Records--titled (what else?) Hubcap Music--on October 8.
Seasick Steve is indisputably a living legend, and is recognized as such the world over--particularly in the UK where he has received four gold and one platinum records, sold out the likes of the Royal Albert Hall and and the Manchester and Hammersmith Apollo theaters, appeared on national TV, been nominated for multiple Brit Awards, played the Glastonbury and V Festivals, and shared the stage with the likes of John Paul Jones and Dave Grohl. In 2011, Steve released You Can’t Teach An Old Dog New Tricks, his first full length album for Third Man Records.
Hubcap Music kicks off with "Down On The Farm," which Steve debuted live at last year's Pinkpop Festival in the Netherlands and is one of several tracks on the record to feature John Paul Jones on bass. Jones also contributes mandolin, Hammond organ and more to the record, while other Hubcap players include Jack White on "The Way I Do" Luther Dickinson on "Home," and Dan Magnusson holding down the beat as he does for Steve's live shows.
Attempting the summarize SPEAKING DIRECTLY, the first feature by the defiantly independent American auteur Jon Jost, is a bit of a feat. Like nearly all his subsequent films, it was produced on a pauper’s ransom, in this case a meager $2500 loan from Jost’s wealthy ex-lover. Yet, having been produced shortly after Jost’s release from prison for draft resistance, the culmination of two-plus years worth of ideas on cinema and society explode off the screen as though they were conceived in a pressure cooker. Its collage of kitsch Americana, socio-political essays, home movies, and interpersonal interviews opens itself to a myriad of interpretations. Self-described as a “State of the Nation address, from the perspective of someone other than the President”, it also serves as exploration into the complexities communication, an audit of one’s own existence, and can even be seen as a precursor to the sort of reporting by way of personal experience popularized today in outlets like NPR’s THIS AMERICAN LIFE. However you choose to read Jost’s impressive and complicated debut, one thing is for certain, as critic Jonathan Rosenbaum noted, you can think of no other film quite like it.
Preceded by Owen Land's NEW IMPROVED INSTITUTIONAL QUALITY: IN THE ENVIRONMENT OF LIQUIDS AND NASALS, A PARASITIC VOWEL SOMETIMES DEVELOPS (1976, USA, 16mm, 10min), in which a routine psychological test becomes, well…anything but routine.
This Light + Sound Machine Screening, co-hosted by Third Man Records and the Belcourt, will take place Thursday, September 19th at 7pm. Tickets are available for $10 online (or $8 via the Belcourt website for Belcourt members) and beginning at 6pm at will call the evening of the event.