Posts Tagged ‘Third Man Records’

Jack White’s been so commonly associated with rock ‘n’ roll over the years that it’s been easy to overlook the fact that he often works similar to how dance producers do. For starters, there’s nothing more explicitly tied to how dance music operates than running your own label to put out releases from yourself and others — and more broadly, since emerging at the turn of the century with his and Meg White’s beloved, now defunct White Stripes, White’s dipped in and out of various projects that more or less function as monikers under which he explores certain sounds.

White unearths or returns to these projects when the mood suits him, and they often bear their own distinct sonic identity. Besides the White Stripes’ arty blues-punk, he’s unleashed jet-black scuzziness with the Kills’ Alison Mosshart as the Dead Weather, embraced an anything-goes mentality with the music released under his own name, and tilted towards country-rock windmills with power-pop whiz Brendan Benson and members of defunct Detroit garage-rock act the Greenhornes as the Raconteurs.

White’s choosing to unearth this month a new Raconteurs’ album the bands third, “Help Us Stranger”. It’s the first album from the group in 11 years and barring the fact that it’s been nigh impossible to predict the machinations behind White’s own creative internal clock, the timing for him to return to more straightforward rock territory is impeccable.

White has effectively split the difference between his last solo album Boarding House Reach’s adventurousness and the band’s past trad-classic rock trappings, the results coming across as appealingly low-stakes. After a series of solo albums that, even at their strongest moments, possessed a nervy atmosphere not unlike grinding one’s teeth, Help Us Stranger is comparatively loose and limber, making for the most collection of songs White’s released in years.

Credit is due to Benson, who  as with 2006’s Broken Boy Soldiers and the 2008 quick-turnaround Consolers of the Lonely shares writing credits with White on almost every Help Me Stranger track. Just like Consolers, the sole song he doesn’t is a cover; this time around it’s a rollicking take on psych-pop shaman Donovan’s “Hey Gyp (Dig The Slowness).” But That’s pretty much the only element that Help Me Stranger shares with Consolers; while the latter sagged from an overlong run time, the Raconteurs’ latest is a comparatively lean and mean 41 minutes, with brisk arrangements and more than a few grin-inducing breakdowns such as the double-time frenzy that closes out the boys-in-the-band opener “Bored And Razed.”

There’s a distinctly stoned silliness to parts of Help Me Stranger, none more evident than on the “Misty Mountain Hop”-ping “Only Child,” in which White sings about a “prodigal son” who’s “come back home again to get his laundry done.” Otherwise, the playfulness streaked across this album is mostly of the musical variety, like the multi-tracked vocals dotting the verse structure on “Don’t Bother Me” or the Tell-tale Heart-esque pulse that courses through “Now That You’re Gone.” There are guitar solos packed into nearly every empty corner of this thing, and plenty of the aggressively hammered piano lines that were so prevalent on Boarding House Reach, the latter playing much more enjoyably to the ears than on that record.

Suffice to say, if none of these sonic elements or the idea of four guys bashing out melodic rock music that nonetheless treads familiar ground — sound appealing to you, then you’re probably better off listening to nearly anything else. But the lack of formal innovation on Help Me Stranger packs its own odd appeal, especially when the old tricks are so capably performed. “Live A Lie” is straight-ahead Motor City garage rock that, ironically, bears some resemblance to once-White nemesis the Von Bondies’ “C’mon C’mon”; the guitar riff that kicks open on “Somedays (I Don’t Feel Like Trying)” recalls Lynyrd Skynyrd’s Happy Gilmore-closing “Tuesday’s Gone,” its midsection breaking into a gooey Beatles-esque breakdown.

Such callbacks to classic rock’s, er, classics inevitably bring to mind Greta Van Fleet, that shaggy-haired band of industry-beloved youngsters who’ve gained equal parts fame and critical consternation for joylessly regurgitating the entire Led Zeppelin catalog But there’s nothing that White and Benson have cooked up on Help Me Stranger that sounds like genre-reliant clock-punching; instead, they make playing around in the classic-rock sandbox sound like so much fun that you have to wonder why it took them eleven years to get back in the habit together. Hopefully, next time around they’ll make a point of getting together again sooner.


Released June 21st, 2019 ,
2019, 2019 Third Man Records, LLC


Jack White and Brendan Benson’s group The Raconteurs are hitting the road for the first time in years, and are dropping their first album in over a decade “Help Us Stranger” this coming June. The Grammy-winning Nashville based powerhouse teased fans in December with two tracks from the record, and have now they have unveiled a third cut ‘Hey Gyp (Dig The Slowness)‘, a punchy reimagining of Scottish psychedelic folk singer Donovan‘s 1965 song. The Raconteurs‘ rendition inserts a heavy dose of garage punk heft into the tune, while retaining the stripped back original’s lusty soul. enjoy their cover of ‘Hey Gyp (Dig The Slowness)’ version below…


released April 10th, 2019
2019, 2019 Third Man Records, LLC

Image may contain: 1 person, guitar

Is this Jack’s White strangest album? Definitely. It’s also his bravest. He’s a known oddball, but there is no stylistic blueprint for this record. Listening to it is an adventure, like a contact sport for one’s ears, and while some find it difficult to digest robot synths, sirens, and shrieks alongside piano dub, there are songs like “Over and Over and Over” that are undeniably fierce rock drenched in scuzzy riffs and pummeling drums. I personally enjoy being sonically assaulted in this way. The track “Corporation” is good point of reference. White emotes a narrative about starting an entrepreneurial endeavor and taking over the world while his guitar schizophrenically fuzzes and freaks in the background. If White’s business is creating a haven to feel free enough to take risks while staying true to his core, then my answer to that shouting chorus line of “Who’s with me?” is a resounding, “I am!”

Music video for “Over and Over and Over” from Jack White’s new album BOARDING HOUSE REACH,  Third Man Records. 

Listen to The Raconteurs' New Songs, "Sunday Driver" and "Now That You're Gone"

The band’s first new singles in over a decade are off an as-of-yet-untitled new album, The Raconteurs have shared two new songs (and accompanying music videos), “Sunday Driver” and “Now That You’re Gone,” off their as-of-yet-unnamed forthcoming album, due out in 2019 through Jack White’s Third Man Records.

The songs mark the first new music from the band in over a decade. Their last album, Consolers of the Lonely, came out in 2008. New music from the band was first teased back in October by Third Man, and today’s new tracks were previously made available in physical form to subscribers of the label’s Vault series as part of a special edition anniversary re-release of Consolers.

“We’re knee deep in the trenches of our first new album in a decade,” White is quoted as telling Mojo Magazine in a press release. “We have a vast amount of genre-pushing songs that bridge the gap between Detroit and Nashville rock and roll. The album sounds like a World War. It’s great to be co-writing songs with Brendan Benson again, the man is a song craftsman.”

“Sunday Driver” was directed by Steven Sebring – acclaimed photographer, filmmaker, inventor, and vanguard in artistic 3D imaging – and captured at the Sebring Revolution Media Lab in New York City.

Music video for “Sunday Driver” by The Raconteurs. New double A-side single also featuring “Now That You’re Gone”

“The video is a very rock and roll approach to the wide range of emotions a person goes through when dealing with a broken heart. Feelings of being weak, angry, vengeful and ultimately the strength to overcome and “crash” through it all. I had such a lovely time collaborating with such wonderful artists and people.”

Image may contain: outdoor

London rock trio Yak have announced the follow-up to 2016’s Alas Salvation. Their second studio album Pursuit of Momentary Happiness is out on February. 8th 2019, via Third Man Records and Virgin EMI. They’ve also shared their latest single, “Fried,” following the release of previous tracks “Bellyache” and “White Male Carnivore.” “Fried” is full of fuzzy punk grumbles as the track ramps up via frontman Oli Burslem’s jagged howls and an epic, distorted cacophony of guitars.

If these three new cuts from their record are a good indication of the album’s overall sound, it appears that the heavy-rock origins of Alas Salvation have been rekindled, as their turbo-charged guitar flamethrowers have been dusted off and wielded with a bold ferocity once again.

Image may contain: outdoor, text, water and nature

Image may contain: 1 person, text

Father John Misty  has announced a new live album, Father John Misty: Live At Third Man Records, out September. 28th through Third Man Records.

Recorded in September of last year, the record features a smattering of tracks that span the career of the psych-pop provocateur, all performed in a stripped-down solo acoustic setting in the tiny Blue Room venue at Jack White’s Third Man Records in Nashville. The performance included a debut performance of the then-unreleased “Mr. Tillman,” as well as an impromptu recording of “Now I’m Learning to Love the War” that was pressed to a 12” and given to a lucky fan in the audience.

Third Man has hosted multiple notable performances in the Blue Room, and the concerts are all recorded direct to acetate for vinyl pressings.

check out FJM’s performance of “Chateau Lobby #4” at Third Man headquarters in Nashville, in which he delivers a stripped-down rendition of I Love You, Honeybear standout track “Chateau Lobby #4 (in C for Two Virgins).”

Stripped of its layered percussion and mariachi horns, the song feels far more somber than celebratory, transforming its spirit of over-the-moon infatuation into something more like sadness. The video, lensed by Dan Newman, intersperses shots of Third Man’s packed Blue Room with close-ups on a scruffy and serious Misty.

Side A:

1. I Love You, Honeybear
2. I’m Writing a Novel
3. Hollywood Forever Cemetery Sings
4. Chateau Lobby #4 (In C for Two Virgins)

Side B:

5. So I’m Growing Old on Magic Mountain
6. Holy Shit
7. Everyman Needs a Companion

Misty also recently shared an outtake from this very same Third Man performance, in which he cuts “I Love You, Honeybear” short after realizing he’s begun his set with the wrong song. The Pure Comedy mastermind continues to tour in support of his magnum opus, sharing numerous live videos from those shows.

Vault37 Webmockup Retina 1300

To celebrate the release of his album Boarding House Reach in March 2018, Jack White embarked on a mini-tour of intimate venues and small clubs. Starting at his hometown go-to stage in the Blue Room at Third Man Records in Nashville, filtering through dreams and dives in NYC and Los Angeles and London and eventually hitting White’s home away from home at Third Man Records Cass Corridor in Detroit, the performances were explosive and commanding. Chronicled in a new triple-album set. Jack White Live in Nashville / Live in Detroit showcases performances in the two cities he’s called home.

In the spirit of the classic baseball “home-and-away” Vault package #37 highlights the momentous, tour-de-force set White unfurled in Nashville on March 16th and augments it with the unhinged Detroit performance a month later. Highlights include the raucous live debut of stadium anthem “Battle Cry,” the frenetic, stinging guitar fight of “Over and Over and Over” and masterful crowd singalongs for White Stripes classics like “Dead Leaves and the Dirty Ground.” As is par for the Vault, releases both of these shows are exemplary entries into the twenty-plus years of epic, life-affirming Jack White live performances.

According to a post on the website for White’s label, Third Man Records, much of the album was recorded at the Blue Room at Third Man’s shop in Nashville, with the rest coming from its Detroit counterpart, Third Man Records Cass Corridor. The news arrived with a preview of “Corporation” from the set,

White has also given attention to the LP’s artwork. “Packaged in a die-cut sleeve with peep-in artwork reminiscent of [Led] Zeppelin’s Physical Graffiti or the [Rolling] Stones’ Some Girls, the interplay between the sleeve and the jacket will provide fans with hours upon hours of flip-flopping fun,” the post notes. “The discs will be pressed on lustrous black, beautiful blue and wonderful white vinyl.”

The album also comes with three glossy 8×10 pictures courtesy of White’s personal photographer, David Swanson, and a flag featuring White’s logo.


Third Man Records is absolutely ecstatic to be releasing the excellent live document of (Sandy) Alex G’s Blue Room performance. Recorded on the 2017 US tour supporting his critically-acclaimed album Rocket (voted among the best albums of that year) and not long after a notable feature on Frank Ocean’s album Blonde, this standalone LP is his first live set to be captured and made widely available for his very loyal fan base to enjoy.

Featuring work from self-released tapes, Lucky Number, Orchid Tapes and Domino Recordings, this daydreamy and intricate retrospective opens a private window into (Sandy) Alex G’s lovely lyrical wordplay and cozy stage persona.


Watch Jack White Perform Two <i>Boarding House Reach</i> Standouts on <i>SNL</i>

Jack White made his third appearance on Saturday Night Live over the weekend, performing two standout tracks from his recently released solo album “Boarding House Reach” and even making a cameo in a sketch.

White brought two songs from his latest to life on the Studio 8H stage, “Over and Over and Over” and “Connected by Love” White’s the performance was a true team effort, as he’s joined by four back-up singers (one of whom plays a mean tambourine), two keyboard players, his longtime bassist and a kickass drummer. The band’s take on “Over and Over and Over” is a rollicking rave-up that stops and starts on a dime, while their rendition of “Connected by Love” develops gradually, building to dueling organ and guitar solos that shred the song into tatters before Jack White and co. bring it all back home.

The former White Stripe and his band kick off their tour in support of Boarding House Reach this coming week, in White’s hometown of Detroit. White recently described their sound as “very heavy,” adding, “I’ve never been in a band this loud before.” If that (and their SNL set) sounds like your cup of tea, you can find their full tour might be coming near you.
We weren’t the only ones who enjoyed White’s performances Annie Clark (aka St. Vincent got a kick out of his “Connected by Love” track with White playing a guitar designed by Vincent-and-ernie-ball announced in-2017-line-of Annie Clark’s signature Ernie Ball line guitars.

As White briefly discussed with Jimmy Fallon during a recent Tonight Show interview, the musician also popped up in a sketch: the cut-for-time “Wedding Toast,” in which White played a wedding guitarist who happens to be sleeping with John Mulaney’s wife. Though White does little more than play guitar (i.e., himself) in the sketch, it’s fun to see him flex his comedic muscles, however gently—he’s rarely done so since his scene-stealing turn as in 2007’s Walk Hard.

“Connected By Love” from Jack White’s new album Boarding House Reach available now.


Since the mysterious clip titled “Servings and Portions from my Boarding House Reach” landed on 12th December last year (directed by none other than Jack White III), we’ve been watching it Over & Over . And even though it sounds like turning the radio dial surfing frequencies, the teaser touched our interest. We were reminded how much we ache for Jack White’s striking blue-and-black colour palette (with flashes of chrome and bursts of colour throughout ). Some believed the words that flashed up onscreen – such as Abulia, Papillon, Vache, Real Hands, Kale (plus some upside down words we’re not quite geeky enough to try and figure out) – were titles of songs from Boarding House Reach,. We’ve always considered Jack White to be a separated-at-birth contender for Johnny Depp’s Willy Wonka and this collection of songs is as phantasmagorical as Roald Dahl’s fictional character.

1. connected by love

The first taste of new Jack White material, the album’s lead single dropped on 10th January and those opening bass booms really do call to mind Muse’s most recent single, Dig Down.

When you’ve already seen a song’s accompanying music video, it’s virtually impossible for it not to play in over in your mind every time you hear the song afterwards. The Connected By Love clip is a collage of scenes featuring seemingly unrelated people in different environments: a woman on her death bed, a group of angry youths kicking the shit out of someone, brothers/twins doing their mum’s head in before stumbling upon a dead deer. And then there’s White himself, inside a room in a house somewhere remote. He beats his chest emphatically while trying to convince himself that humans are inherently good, “’Cause I know!/We’re connected by love,” as the gospel BVs emphasise, “We’re connected/We’re connected”. The circle of life (via death), loss of innocence, interplanetary shifts – hang on, they’re all “connected”! Love is all there is, people.

After a whirling instrumental dervish, there’s a glorious, bare-bones piano breakdown. “Don’t forsake me, woman!/And go and choose somebody else,” (as IF, Jack). Yep, this is punch the air, preacher-man stuff and by the time the organ comes in we’re speaking in tongues.

2. why walk a dog

Opening track two, a lumbering drum pattern calls to mind a dog being dragged along on a lead against its will. White asks all the important questions, such as, “Why does a dog need to be walked?” – except that he over-enunciates the word: dawg. White can definitely be a funny fucker as well: “These cats seem to blow everyone’s mind/But mine.”Indeed the bassline evokes a slinky cat stalking and then sneaking up on a bird. There’s a guitar solo that sounds like the guts are being wrenched out of this instrument and amps crackle under the pressure. Occasional organ stabs intensify to become a main melody and this instrument is already a recurring Boarding House Reach motif. Why Walk A Dog proves what we’ve always suspected: White really is Dr Seuss for grown-ups.

3. corporation

This one sounds like it belongs on The Get Down soundtrack. A skittish beat with hi-hats, an organ melody mimics the guitar riff, insistent egg shakers, drum demolition – “WHO’S WITH ME?” WE ALL are. Already. Corporation changes tack just after the two-minute mark with demented bongos and sounds that fly from one earbud to the other (we almost duck at one point). “I’m thinkin’ about starting a corporation!/Who’s with me?” Then in come White’s piercing squeals, like a toddler protesting while being dragged towards the bath. It’s a freeform instrumental jam. Then White and his travelling band of gypsies march right out the door and off down the street, fading into the distance.

4. abulia and akrasia

Dramatic violin evokes a fortune teller gazing into her crystal ball. “These are my demands…” – hold up, we know that voice! It’s the inimitable CW Stoneking! And his storytelling prowess is undeniable. As is Stoneking’s ability to take us waaaaay back to a land that time forgot. Enter words we need to look up in the Thesaurus such as “abjuration”, “repudiate”, “abdicate” – wouldn’t wanna challenge this character to a game Scrabble! A tambourine shimmers to heighten suspense and honky-tonk piano comes straight from a saloon in Westworld. There’s a cute twist to the tale that we’re not prepared to spoil for ya. And we reckon Stoneking’s kids must get the best bedtime stories ever! He has a bright future in talking books if this music thing doesn’t work out.

5. hypermisophoniac

What are those crackling sounds? A super-fast typing speed? Then thumps suggest Godzilla’s traversing a nearby town. Hypermisophoniac sounds like a malfunctioning arcade game, but piano stabs introduce an organic element. Enter thrashing guitar. “Ain’t nowhere to run/When you’re robbing a bank.” Aha! Maybe those sounds at the start are note-counting machines!? We reckon this one would be a great soundtrack for a robot escaping a facility only to run outta battery life.

6. ice station zebra

These song titles, though! This chugging slice of hi-hat-heavy wonderment with insistent piano chords and trippy organ (or is it that theremin?) would perfectly soundtrack a Looney Tunes cartoon. Then enter White in full flight on a spoken-word rant: “You create your own box you don’t HAVE to listen.” This track particularly is best appreciated through headphones. Wow, the drumming on this album is next-level! And for this we have three drummers to thank: Daru Jones (Nas, Talib Kweli), Carla Azar (Autolux, Depeche Mode) and Louis Cato (Beyoncé, Q-Tip) – we salute you.

At one point the drum pattern is sparse in this song, then things turn cacophonous before it all stops on a dime. In the middle of Ice Station Zebra, there’s a breather during which we can take stock of our thoughts. Then more dialogue (“Come on over you can lick the stamp, son”) with funky keys to boot. “The name of the toon is Cold Hand Luke, ‘cause/I got stripes on my pants and boots” – White’s lyrics are absolutely nuts! Fast riffage then silence.

7. over & over & over

This one’s a more standard rock’n’roll number with killer heavy guitar riffs, loose “WOO!”s and frantic drumming. The rowdy-group backing vocals are quirky, almost The B-52’s-esque. “My shoulder holds the weight of the world.” Pitch-shifted BVs. We just wanna bust out and head-bang along to this track Over & Over & Over. “The rock’n’roller/The young and older/Going back to the stroller.” Guitar screeches underscore actual unhinged human squeals. Many different instruments take turns playing the same five-count main melody. Guitars beg for mercy in White’s hands and then bongos take over, like a galloping heartbeat. “And though you all want me/The gods have all scorned me, now.”

Music video for “Over and Over and Over” from Jack White’s new album BOARDING HOUSE REACH

8. everything you’ve ever learned

“HELLO! Welcome to. Everything You’ve Ever Learned.” There’s Gameboy bleeps and we feel like The Wizard Of Oz is speaking to us from behind a dodgy curtain (pay no attention to that man behind the curtain). Then the system malfunctions and it all goes wonky before bongos that sound like a horse bolting hijack this song’s arrangement. White enters the spectrum in full preacher-man mode again. “Do you wanna question everything?/Then think of a good question!” Those hi-hat-heavy drums return and bongos bring the loco. We feel like Marlon Brando’s Apocalypse Nowcharacter when he was losing the plot! Organ gives this track a religious feel and then White shouts before petering out, “SHUT UP AND LEEeeeeaaaaaaaarrrrrn”.

9. respect commander

Also released on 10th January, this is the B-side to Connected By Love and, as such, didn’t land with an accompanying film clip. Are they experimenting with trying to accelerate into the fastest beat possible? I can’t even type at that tempo! This track sounds like a chase scene in the Mission Impossible franchise and we’re tipping White would choose to do his own stunts. The dynamic variety demonstrated in Respect Commander and its constantly shifting tempos build suspense alongside the scattered, excitable “Whoop!”s. Tambourine shimmers like a rattlesnake. “She commands my respect/And I can’t recollect/A better time in my life… And I cannot protect/My heart from her command.” That guitar work! Prince would approve wholeheartedly. Then it all fades out.

10. ezmerelda steals the show

Gentle strumming, which actually calls to mind REM’s Everybody Hurts, and an endless keys drone underscore layered voices. Spoken-word – reverberant, overlapping voices – sometimes sounds like a poem, other times like a script or stage directions: “Ignoring the beauty of fog on a hill, and a kitten with a mouse in its mouth.”

“You can hear a bootlace…” – what would that sound like? “You people are totally absurd.” Ezmerelda Steals The Show sure is “totally absurd”, but it’s also absolute genius.

11. get in the mining shaft

Synths sound like an old sci-fi movie soundtrack (or Stranger Things?) with what seems to be White recounting the first time he ever encountered an old piano “in an abandoned house” and getting hooked after hitting several notes together at the same time. This album could very well be White’s ode to the piano. Guitars are present, of course – White choosing to play a brand new Wolfgang Special and 5150 amp from Eddie Van Halen’s signature brand on the record – but it’s a remarkably keys-driven set of songs. Enter spacey keys, AutoTuned wah-wahs and a casual, strutting drum pattern. Celestial choirs are like an aural epiphany.

12. what’s done is done

This gently swinging duet – White singing alongside a simultaneous female voice – sounds playful, instrumentally, but the lyrics bring a sinister twist. “What’s done is done/I just can’t fight it no more/So I’m walking downtown to the store/And I’m buying a gun.” Enter an organ solo that takes us straight to church. Amen. Directly after What’s Done Is Done track finishes, White says, “Either you go or I go.” Then a female voice whispers, “Then it won’t be me.”

13. humoresque

You’ll immediately recognise Antonin Dvorak’s Humoresque melody if you’ve ever taken a piano lesson in your life (or listened to your mate practising). White’s voice echoes the notes in Dvorak’s piano cycle, “You thrill and fill this heart of mine/With gladness like a soothing symphony.”

In a recent Rolling Stone interview, White revealed he purchased a musical manuscript that reworks Humoresque, which was written by Al Capone while he was imprisoned in Alcatraz in the 1920s. The fact that a gangster could pen such beautiful words moved White, he says. Boarding House Reach thus concludes like a jazzy lullaby, or “a soothing symphony” according to this song’s lyrics.