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The time is nigh for yet another exceptional installment of our Jack White-produced Blue Series of singles. Third Man is privileged to work with Melbourne, Australia’s very own Courtney Barnett, a sharp singer-songwriter-guitarist who has quickly made her mark on garage pop fans worldwide with her witty, self-deprecating, and authentic observations turned into raw, stream-of-consciousness lyrics and blunt melodies. The wry-and-dry songstress stopped by Third Man Studios in Nashville over a long weekend this summer to record a couple tracks and damn did she ever deliver. The A-side “Boxing Day Blues Revisited” is the slinky and bittersweet epilogue to “Boxing Day Blues," the somber closer from her album Sometimes I Sit and Think, and Sometimes I Just Sit. It’s a strangely catching, plaintive reflection on the loneliness that blossoms when a person you care about treats you like literal garbage. The track is jaunty yet aloof, with CB’s trademark conversational lyricism in perfect contrast to the B-side, a beautifully dark reboot of the Roland S. Howard-penned “Shivers” back from his days in The Boys Next Door. Barnett's unfastened delivery of an ironic tale of teenage love and mortality brings a new level of feeling to the song, making it a welcome addition to that Sounds of Late Fall mix you’ve been working on.
Keep your eyes open and ears peeled for this one ‘cause you ain’t gonna wanna miss it. It’ll be in the Third Man Store and records stores everywhere on October 16th, 2015, and now you can pre-order the 7” HERE and check out Shivers HERE:
As Third Man prepares for the unveiling of its new storefront location in the Cass Corridor in Detroit, we’ve naturally looked back to our history and roots there. Less than a mile from the new TMR location (441 West Canfield) sat an important bar called the Gold Dollar. This bar not only hosted the first two live performances by the White Stripes (both featured in Vault package #13), but quite a few more legendary early sets by the band. Through their woodshedding Detroit years, the Gold Dollar stage would be where the White Stripes would continue to make their most important progress. After the Stripes finished the tracking of their first album (also taking place just a stone’s throw from the Dollar) in January 1999, they immediately focused attention on a live performance at the Gold Dollar on Saturday February 6th, 1999. Lead singer Jack White designed and printed two striking, distinct flyers to promote the show and the local free weekly Metro Times even did a mini-preview on the band to drum up interest for the show. With good friends They Come in Threes supporting the Stripes' second-ever headlining show, the gig was notable for the first-ever live performances of songs “Astro”, “Suzy Lee” and the Robert Johnson classic “Stop Breaking Down”…all of which would be featured on their self-titled debut album released just three months later. The transitional nature of the setlist of this performance captures the band as they grapple with the impending release of their new album and the best way to showcase that material prior to its release.
As the focal point of Vault package #26, a complete recording from that evening, newly mixed from original multi-track sources, will be pressed on blood red vinyl and made available to subscribers worldwide. The White Stripes Live at the Gold Dollar Vol. III is the third release (Vault 13 comprised both volumes I and II) in an on-going series that will eventually see the release of all extant audio from the band at the Gold Dollar. There are still many unheard treasures to be revealed.
This is the first White Stripes show released from the pivotal year 1999…the year which saw the band unleash their first album, do their first extended run of touring with three shows opening for Pavement in the Southeast and found Jack White buying his soon-to-be trademark Airline guitar…all building blocks to what would eventually turn the band into the international juggernaut they became.
The White Stripes Live at the Gold Dollar Vol. III
Jimmy the Exploder
The Big Three Killed My Baby
Stop Breaking Down (first live performance) (Robert Johnson)
Suzy Lee (first live performance)
Let’s Build a Home
Sugar Never Tasted So Good
One More Cup of Coffee (Bob Dylan)
Astro (first live performance)
Dead Leaves and the Dirty Ground
Wasting My Time
Red Bowling Ball Ruth
Cannon/John the Revelator/Grinnin' in Your Face (Son House)
Let’s Shake Hands
In conjunction with the live album, a reproduction of one of the Jack White-designed flyers for that evening… three black-and-white peppermints, each varying in circumference and oriented on top of each other…will be included in the package as an 10.75” x 14" iron-on transfer. All Vault members will be welcome to submit photos of their use of the transfer and the member who’s submission is considered the “best” by the TMR team will win a rare, limited test pressing of the aforementioned LP.
Additionally, the other flyer from that evening (also a peppermint, this time on a field of red sparkly naugahyde) AND the setlist as written in Jack’s hand will be included as high-quality color reproductions. Fully utilizing everything in the TMR archives to round out the package finds us also printing the news clipping of the show preview and the hand-written price list from the merch table for that night. Third Man is nothing if not thorough.
Completing the Gold Dollar presentation will be two full-color, 8 x 10, glossy prints of photographs taken by the estimable Doug Coombe, featuring Jack and Meg live on stage at the tiny Cass Corridor club in 1999. These are visually arresting to say the least.
The 7” for Vault 26 is a continuation of the Dead Weather single series, pairing the moving torch song “Impossible Winner” and “Mile Markers.” When complete, every song from the Dead Weather’s critically-lauded album Dodge and Burn will appear exclusively in 7” form as a single on captivatingly colored vinyl. Are these two songs a hint as to the next possibly music video to come from this merry band of grifters…it seems only time will tell. In the meantime, enjoy Alison belt this one out complete with string section accompaniment and revel in the inherent beauty in this transcendent album-closer.
Harkening back to where this all started, the bonus item for this vault package will be an impressive 1.25” enamel pin of the new Third Man Records Cass Corridor logo. Soon to be seen on the lapels and collars of bon vivants the world over, this dazzling pin will no doubt impress even the most die-hard skeptics.
For more information about the Gold Dollar, visit www.golddollar.com.
Down the road, South of Witch Mountain and across the pond, there’s an uproar in the distance, a sonic demolition of sorts, and it is—what else?—GLORIOUS rock ’n’ roll. We’re thrilled to introduce the thunderous, bruise-blue, screeching dissonance of YAK to the Church of Third Man, who have already whipped up totally frenetic and drastic yelp all across the UK.
This November we will be releasing their latest EP (produced by Pulp's Steve Mackey) stateside, featuring the sloppy, sludgy, searing single “No” with MASSIVE guitars, cantankerous drums, and a defiant, vox maelstrom. It’s gonna gnarl through your speakers and bludgeon you with pure nihilism fuzz. Following “No” on the A-side is “Alas Salvation” a song so chewed up and spit out it could pass for The Upholsterers covering DNA. The B-side ditches the bulk of the grit and instead keeps things icy, mellow, and lonely with “Out on a Limb.” It’s a stately and necessary respite till you flip the wax and strap back in for the A-side. PLUS noted artist and photographer Nick Waplington has copiously tackled the cover art. It’s beautiful and violent use of color are a welcome and complimentary addition to this package.
So sit tight and take hold. Yak is poised to make noise and it’s in your best interest to get on board early and maybe JUST MAYBE you could be the coolest kid at school.
“No” will be available in the Third Man Records store and online retailers worldwide on Friday, November 13, 2015, and available for PRE-ORDER NOW.
And, check the kids live here, including CMJ Fest dates:
Oct 1 – Manchester Academy 1 w/Peace
Oct 2 – Nottingham Rock City w/Peace
Oct 3 – Cardiff Great Hall w/Peace
Oct 5 – Cambridge The Junction w/Peace
Oct 6 – Leicester 02 Academy w/Peace
Oct 7 – Portsmouth Pyramids Centre w/Peace
Oct 9 – London Brixton Academy w/Peace
Oct 10 – Wolverhampton Civic Hall w/Peace
Oct 15 – US, CMJ/NME Show, Santos Party House
Oct 16 – US, CMJ/High Road Touring Showcase, Mercury Lounge
Oct 17 – US, Philadelphia – Milkboy w/Maccabees
Nov 13 – France, Les Inrocks Festival – Paris Boule Noire
The Dead Weather have released the third of four technique and instrument-based videos. In this third episode, guitarist Dean Fertita divulges the source of his pummeling dive bomber crunch on new song “Let Me Through,” and takes a phone call from an irate neighbor. The video, directed by Jack White, concludes with a propulsive live performance of the track from the new album Dodge And Burn. Stay tuned in the coming weeks for thelast video of the series from The Dead Weather and Third Man Records.
OCTOBER 15, 2015
at THIRD MAN RECORDS
DOORS at 7pm, FILMS at 8pm
Non Belcourt-Member tickets available for $10
*Come early for a collection of interviews and trailers from the course of Harrington's career!
Before directing his first feature (1961's enigmatic horror/fantasy NIGHT TIDE, with Dennis Hopper) Curtis Harrington was already a uniquely positioned figure in the American avant garde. He was a protégé of Maya Deren, a friend and collaborator with Kenneth Anger, and an author of some of the earliest scholarship on the career of Joseph Von Sternberg. His psycho-sexual, death-obsessed short films - pioneering works of the emerging "New Queer Cinema" - suggested he may have been the American answer to Jean Cocteau. Furthermore, he prominently figures into the nebula of Aleister Crowley-associated occultists, having shot Kenneth Anger's PUCE MOMENT and acted in his INAUGURATION OF THE PLEASURE DOME. Indeed, his 1946 short A FRAGMENT OF SEEKING is often considered to be one half of a pair with Anger's seething, queer expressionist film FIREWORKS. Another of his works, THE WORMWOOD STAR, is a profile of artist/actress Marjorie Cameron, another Anger collaborator and the wife of rocket scientist/Thelemite/would-be Antichrist Jack Parsons.
Though his work in the realm of feature-film would find him at the helm of several atmospheric horror and thriller pictures for Roger Corman, AIP, and Universal Pictures, he eventually slipped into obscurity as a television director, shooting episodes of CHARLIE'S ANGELS, DYNASTY, and so on. Today, thanks to preservation efforts by The Academy Film Archive and a recent Blu Ray edition from Flicker Alley & Drag City, Harrington's mysterious and groundbreaking early works are finally ripe for reappraisal.
THE DEAD WEATHER — DODGE AND BURN
" ★★★★" —Rolling Stone Australia
"★★★★" —American Songwriter
"★★★★" —Toronto Sun
"★★★★" —The Scotsman
"★★★★" — Las Vegas Weekly
"★★★★" — Stereoboard
"4.5/5" — The Sun
"4/5" — Total Guitar
"3.5/5" — Rolling Stone
"4/5" — Q
"The Dead Weather, always a hard-rock dynamo, adds even more muscle on its third album, “Dodge and Burn,” stark, relentless, unison riffs and drums that sock steadily between sudden well-timed salvos. As Alison Mosshart and Jack White take turns on lead vocals, yowling and wailing, each song traces a crescendo of hysteria.” — The New York Times
"...a wonderfully unsettled vibe." — NME
...proof once more that if you want killer, bluesy rock, White is your man." — Kerrang
“Dodge and Burn bristles with clarity of riff, hook and tune" — The Observer
“...the first album from his Alison Mosshart-fronted supergroup is outlaw garage-ruckus business as usual for White; but it’s business attacked with fractious vigour and a livid sense of joy in the job" — The Independent
"12 tracks of heavy guitar riffs, heavier grooves, and vivid tales of ne’er do wells.” — Entertainment Weekly
"...the same kind of punishing, black-hearted rock they’ve always made.” — Stereogum
"Theirs is a blues defined not by chord progressions but physical reactions, embodying the music’s storied tradition of howls and moans and demonic possession into a fierce, physical sound. There’s a restlessness to Dodge and Burn, from Mosshart’s seething vocals and Fertita’s spasmodic guitar solos to Lawrence’s corroded basslines to White’s abrupt breakdowns. Even when songs are built around a shopworn sentiment, they’re given a twist: on the opening 'I Feel Love', Mosshart answers the song’s titular declaration with a withering 'every once in a while.' 7.3/10" — Pitchfork