Pro-ject Authorized & Certified VPI Dealer

A World of Vinyl

(877) 929-8729
Site Search
Menu Free shipping on domestic orders over $49.99! - We ship worldwide!
15% Off Vinyl - LP15
Home > Products for: '

Third Day

'
Results per page:
  • Third Dimension (Pure Pleasure) Third Dimension (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Third Dimension (Pure Pleasure)

    Arguably one of the most exciting saxophone soloists in jazz history, Kirk was a post-modernist before that term even existed. Kirk played the continuum of jazz tradition as an instrument unto itself; he felt little compunction about mixing and matching elements from the music's history, and his concoctions usually seemed natural, if not inevitable.


    Third Dimension was the debut album by jazz multi-instrumentalist Roland Kirk originally released as Triple Threat on the King label in 1956. The original album received limited distribution and only became widely known after it was rereleased a few years prior to Kirk's death. The album features the first recorded examples of Kirk's trademark playing of multiple wind instruments at the same time as well as two tracks (Stormy Weather and The Nearness Of You) where he overdubbed manzello and tenor saxophone. Kirk would later state that the album »was about the third overdub record in black classical music.



    Musicians:



    • Roland Kirk (tenor saxophone, manzello, stritch)

    • James Madison (piano)

    • Carl Pruitt (bass)

    • Henry Duncan (drums)





    Recording: November 1956 in New York City

    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.


    1. Roland's Theme
    2. Slow Groove
    3. Stormy Weather
    4. The Nearness of You
    5. A La Carte
    6. Easy Living
    7. Triple Threat
    Roland Kirk
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Third Eye Centre The Third Eye Centre Quick View

    $26.99
    Buy Now
    x

    The Third Eye Centre

    Dear Catastrophe Waitress ushered in a new chapter for Belle and Sebastian. Once a hushed bedroom indie project, the band reemerged as a pop powerhouse. Subsequent albums, The Life Pursuit and Write About Love marked a newfound confidence in the Scottish collective, and with it, some of their best record and ticket sales to date, elevating Belle & Sebastian from cherished undergroundlings into masters of modern songcraft. Third Eye Centre, like its predecessor Push Barman To Open Old Wounds, collects fan-favorite b-sides from cherished albums and also serves as a documentary of a decade.
    1. I'm a Cuckoo (Avalanches Remix)
    2. Suicide Girl
    3. Love on the March
    4. Last Trip
    5. Your Secrets
    6. Your Cover's Blown (Miaoux Miaoux Remix)
    7. I Took a Long Hard Look
    8. Heaven in the Afternoon
    9. Long Black Scarf
    10. The Eighth Station of the Cross Kebab House
    11. I Didn't See it Coming (Richard X Mix)
    12. (I Believe in) Travellin' Light
    13. Stop, Look and Listen
    14. Passion Fruit
    15. Desperation Made a Fool of Me
    16. Blue Eyes of a Millionaire
    17. Mr. Richard
    18. Meat and Potatoes
    19. The Life Pursuit
    Belle And Sebastian
    $26.99
    Vinyl LP - 2 LPs Buy Now
  • Live At Third Man Records 10-10-2012 Live At Third Man Records 10-10-2012 Quick View

    $14.99
    Buy Now
    x

    Live At Third Man Records 10-10-2012

    This record captures a show we had been wanting to see at Third Man since day Numero Uno. Jamie Hince and Alison Mosshart are two of the most talented and creative people we know and we couldn't be more pleased that they rocked our stage and committed it to wax so we can finally have a release on the label by the one and only KILLS. These 8 songs were recorded direct-to-acetate on October 10, 2012.


    Three very special live records - The Shins, The Kills, and Seasick Steve - all recorded in the Third Man Blue Room last October, and the first three releases recorded live using their one-of-a-kind direct-to-acetate recording process. Without overdubs or editing, these three records were mixed in real time on a Rupert Neve 5008 console by Grammy Award winning engineer Vance Powell, and instantly cut to vinyl by master cutter George Ingram using a 1953 Scully Lathe that previously churned out masters for Cincinnati's legendary King Records (the story goes that James Brown's It's A Man's World was cut on this lathe among many more great sides...)

    1. Heart is a Beating Drum
    2. Future Starts Slow
    3. Kissy Kissy
    4. DNA
    5. Baby Says
    6. Tape Song
    7. Pots and Pans
    8. Last Goodbye
    The Kills
    $14.99
    Vinyl LP (Direct-to-Acetate) - Sealed Buy Now
  • Tyvek - Live At Third Man 9-27-10 Tyvek - Live At Third Man 9-27-10 Quick View

    $14.99
    Buy Now
    x

    Tyvek - Live At Third Man 9-27-10

    Live recording from Tyvek's performance at Third Man Records on September 27th, 2010 in Nashville, TN. Black vinyl in plain black sleeve. Produced by Jack White.
    Side A:
    1. 4312
    2. Future Junk
    3. Underwater
    4. Underwater To
    5. Sidewalk
    6. Untitled
    7. Say Yeah
    8. Stop Start
    9. Potato

    Side B:
    1. Kid Tut
    2. Animal
    3. Pricks In A Car
    4. Nothing Fits
    5. Outer Limits
    6. Mary Ellen Claims
    7. Gridlock
    8. Frustration Rock
    9. Blocks

    Tyvek
    $14.99
    Vinyl LP - Sealed Buy Now
  • The Third Face of Fame (Pure Pleasure) The Third Face of Fame (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Third Face of Fame (Pure Pleasure)

    Georgie Fame's swinging, surprisingly credible blend of jazz and American R&B earned him a substantial following in his native U.K., where he scored three number one singles during the '60s and a top ten hit with Bonnie & Clyde in the States. Fame played piano and organ in addition to singing, and was influenced by the likes of Mose Allison, Ray Charles, Booker T and the MG's and Louis Jordan. Early in his career, he also peppered his repertoire with Jamaican ska and bluebeat tunes, helping to popularize that genre in England; during his later years, he was one of the few jazz singers of any stripe to take an interest in the vanishing art of vocalese, and earned much general respect from jazz critics on both sides of the Atlantic.



    This set finds him in a suaver, jazzier vein accompanied by a band made up of the cream of jazz musicians on the UK scene at the time. It was at this time, 1967 and 1968, that to much acclaim, he toured as featured vocalist with the Count Basie Orchestra throughout the UK & Europe.



    Musicians:



    • Georgie Fame (piano, organ, vocal) and orchestra




    Recording: 1968 by Mike Ross

    Production: Mike Smith



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    and that the lacquer discs are newly cut.


    1. The Ballad of Bonnie and Clyde
    2. When I'm Sixty Four
    3. Ask Me Nice
    4. Exactly Like You
    5. Someone to Watch Over Me

    6. Blue Prelude
    7. Bullets Laverne
    8. This is Always
    9. Side By Side
    10. St. James Infirmary

    11. Mellow Yellow
    Georgie Fame
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Day & Age Day & Age Quick View

    $24.99
    Buy Now
    x

    Day & Age

    Day & Age is the third studio album by American rock band The Killers, originally released on November 18, 2008, by Island Records. Frontman and lead vocalist Brandon Flowers stated that it is the band's most playful record. By May 2015, Day & Age had sold three million copies worldwide.
    1. Losing Touch
    2. Human
    3. Spaceman
    4. Joy Ride
    5. A Dustland Fairytale
    6. This Is Your Life
    7. I Can't Stay
    8. Neon Tiger
    9. The World We Live In
    10. Goodnight, Travel Well
    The Killers
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Saint Valentine's Day Massacre Saint Valentine's Day Massacre Quick View

    $15.99
    Buy Now
    x

    Saint Valentine's Day Massacre

    The Cocktail Slippers Saint Valentine's Day Massacre is now available on LP and includes a bonus CD of the entire album plus three bonus tracks! Saint Valentine's Day Massacre is the album from Norway's premiere all girl band and while everyone in the band writes and produces, the album alsofeatures two tracks written, arranged and produced by Steven Van Zandt. It marks only the third time in Wicked Cool history that Little Steven has become directly involved in the production of a record (the other two times were with The Chesterfield Kings).
    1. Sentenced To Love
    2. You Do Run
    3. St. Valentine's Day Massacre
    4. In The City
    5. Don't Ever Leave Me
    6. Love Me Back
    7. Gotta Crush
    8. Anything You Want
    9. Fool For You
    10. Round & Round
    11. She's A Fool
    12. Heard You Got A Thing For Me


    Bonus Tracks on CD Insert:
    13. Superstitious
    14. Got Get It
    15. St. Valentine's Day Massacre (Edit)

    Cocktail Slippers
    $15.99
    Vinyl LP - Sealed Buy Now
  • Time Is Over One Day Old Time Is Over One Day Old Quick View

    $18.99
    Buy Now
    x

    Time Is Over One Day Old

    Bear In Heaven's new album is aptly titled Time is Over One Day Old. It's a record with a visceral
    relationship to time and its processes.Where invulnerability and ambition can support you as you grow,
    at some point they become dead weight, and being true to yourself means casting them off,starting anew.
    This plays out as a powerful analogy for the band across the arc of it's career.


    They've always made intriguing records, here especially. It's easy to see why musicians fall hard for this
    band.They entice and envelop you. Any Bear In Heaven song will most likely greet you with a provocative
    beat, textural synthesizers and unassuming but adeptly supportive bass and guitar, all exquisitely
    arranged and glistening.Jon Philpot's high,smooth,strong voice is so tightly wound into the music that
    it can be easy to overlook the lyrics, Bear In Heaven's capacious third dimension. Philpot is a center-seeking, contemplative writer who captures the fleeting thoughts that underscore our emotional lives,the
    interactions with the world that are both difficult to express and anathema in daily conversation.


    While all of this can be said of any Bear In Heaven album, each varies wildly in tone and approach. 2007's
    Red Bloom of the Boom is ambitious and experimental. Beast Rest Forth Mouth(2009)was a pivotal record
    that still feels important,seductive and intense.On their 2012 LP I Love You, It's Cool the structural and
    musical ideas are challenging, and masterfully developed. For Time is Over One Day Old,we witness the
    band once again turning their gaze inward and prioritizing their evocative abilities in line with or even
    slightly ahead of technical skills. It feels very much in the tradition of BRFM in that way. It's beautiful; it's
    moving.


    Here Philpot and Adam Wills are more deeply collaborative than ever. This album is darker at times,
    louder than their others; it feels personal and direct."If I Were To Lie"places Wills' bass groove front and
    center,"Demon" is riveting and propulsive in spite of its dark pointed lyric, and"They Dream"dissolves
    into three and a half minutes of deeply satisfying ambient synth work in its second half.Wills has always
    been the bands anchor, providing rock solid,rhythmic bass lines and guitars that blur the boundaries of
    Philpot's synth. Though in moments such as the final track, "You Don't Need The World," Wills cuts
    through with an audacious, biting guitar hook. It's a great culmination of the album's sense of release.
    This album isn't about being dark, it's about releasing darkness and frustration.


    When bands age well, their vitality takes shape. They wear, but with intention. They trim excesses.
    Throughout this album you'll hear a band at peace with themselves. They've learned to cut back on that
    which is merely impressive and to concentrate on simply what is crucial.For Philpot this is about making
    something lasting. "A lot of shedding, getting rid of layers and preconceptions breaking up with old
    ways of thinking, old ways of being, starting to look at this thing in a new way and finding something
    positive."The result is a record that will stay with you.

    1. Autumn
    2. Time Between
    3. If I Were To Lie
    4. They Dream
    5. The Sun and The Moon and The Stars
    6. Memory Heart
    7. Demon
    8. Way Off
    9. Dissolve The Walls
    10. You Don't Need The World
    Bear In Heaven
    $18.99
    Vinyl LP - Sealed Buy Now
  • Final Days Final Days Quick View

    $19.99
    Buy Now
    x

    Final Days

    For their third full-length for Sacred Bones, Cult of Youth have delved deeper
    into their style of punk-influenced psychedelic neofolk and created a self-described "post-industrial Pet Sounds." Using acoustic and electronic instruments,
    found sounds and an extensive tribal rhythm section, Cult of Youth have put it all
    out on the table and left us with their magnum opus.


    The band has returned with a renewed sense of enthusiasm and an all-new lineup.
    Sean Ragon, once the project's lone member, is now flanked by Jasper McGandy
    on bass and Christian Kount on electric guitar (both of whom were members
    of seminal Sacred Bones band The Hunt). Cory Flannigan on drums and Paige
    Flash on cello complete the five-piece. The end result is Cult of Youth as they
    were always meant to sound.


    The contributions of the new members are evident on every track on Final Days,
    from the anthemic "Empty Faction" to the gorgeous album closer "Roses." Final
    Days is the culmination of everything Cult of Youth has been moving towards the
    past seven years - post-industrial, post-punk, and post-enlightenment.


    Addendum: Real human bones were used on this recording and a portion of the
    lyrics were written in jail.

    1. Todestrieb
    2. Dragon Rouge
    3. Empty Faction
    4. God's Garden
    5. Down the Moon
    6. Of Amber
    7. No Regression
    8. Sanctuary
    9. Roses
    Cult Of Youth
    $19.99
    Vinyl LP - Sealed Buy Now
  • Last Days and Time Last Days and Time Quick View

    $34.99
    Buy Now
    x

    Last Days and Time

    Import

    Last Days and Time is the third studio album by American R&B group Earth, Wind & Fire, released in 1972, their debut album on Columbia Records. It was recorded at the legendary Sunset Sound Studios in Hollywood, California, with founder and multi-instrumentalist Maurice White, Verdine White and Philip Bailey.


    Due to their live performances it cemented their status as the main funk band and set the stage for the band's blockbuster breakthrough. Songs on the album like Make It With You (originally from Bread) the pre-Brazilian Rhyme powerful funk sax style Power, (which sounds like an early version of Serpentine Fire) and Remember The Children are excellent examples of the great songs and albums they have made during their career.

    1. Time Is On Your Side
    2. They Don't See
    3. Make It With You
    4. Power
    5. Remember The Children
    6. Where Have All The Flowers Gone
    7. I'd Rather Have You
    8. Mom
    Earth, Wind & Fire
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Last Days of Oakland The Last Days of Oakland Quick View

    $23.99
    Buy Now
    x

    The Last Days of Oakland

    Fantastic Negrito is the incarnation of a musician who is reborn after going through a lot of awful shit. In fact, the name Fantastic Negrito represents his third rebirth, literally coming back from death this time. The narrative on this man is as important as the sound, because the narrative is the sound. Songs born from a long hard life channeled through black roots music. Slide guitar, drums, piano. Urgent, desperate, edgy. Fantastic Negrito is the story of a man who struggled to make it, who got it, and who lost it all. For anyone who ever felt like it was over yet hoped it wasn't, this is your music; blues harnessed, forged in realness. For anyone who ever considered getting their old high-school band back together, this is your inspiration. These are singular songs by a true musician who writes and produces. They are his fuel as he embarks on the third comeback of his life.

    The first life ('who am I and where am I going?'). Fantastic Negrito was raised in an orthodox Muslim household. His father was a Somali-Caribbean immigrant who mostly played traditional African music. When, at the age of 12, Negrito's family moved from Massachusetts to Oakland, he was hit with an intense culture shock. Oakland in 1980s was a million miles from Negrito's conservative childhood. He went from Arab chants to Funkadelic in one day, living in the heart of one of the wildest, most infamous, most vibrant black communities in the nation. Shit was extra real in Oakland.

    By the time he was 20, Negrito had taught himself to play every instrument he could get his hands on. He was recording music, but he was also caught up in street shit. This went on for several years until a near death encounter with masked gunmen. After that Negrito packed his bags and headed to LA, armed with a demo on cassette.

    The second life ('I want to be a star I think'). It didn't take long for Negrito to find himself entrenched in the 'Hollywood' lifestyle; clubs and bitches and bullshit politics that have nothing to do with great music. Negrito signed with a big time manager and soon after that, a million dollar deal at Interscope and soon after that, creative death.

    The record deal was a disaster. Gangsta rap was ruling the airwaves and Negrito was in the wrong place at the wrong era. Negrito came out of the deal with a failed album and his confidence gutted. He was infected by the constant emphasis on 'what would sell'; which looks, hooks and gimmicks would attract an audience. He lost all sense of himself. The songs stopped coming to him, so he quit. He sold all of his shit and he quit.

    In 2000, Negrito was in a near fatal car accident that put him in a coma. For four weeks it was touch and go. Because his muscles atrophied while bedridden, he had to go through months of frustrating physical therapy to regain use of his legs. Rods were placed throughout his body. And worst of all, his playing hand was mutilated. Though he rehabbed intensely for several years, the damage was permanent. In 2008, he returned home to Oakland.

    The third life (the birth of Negrito). Back in Oakland, Negrito forgot about life as a musician. He settled down, planted vegetables, raised his own chickens, and made money growing weed. He also settled into being a man, on his own, clear of the distractions of wanting to be a star. This is when his specific POV of the world came into focus. His conservative Muslim values melded with the liberal, multi-cultural world of Oakland. The cynicism that comes from struggle made room for the hope that comes from cheating death. He truly knew who he was. He was confident about his place in the world because he understood it as much as any man can. And then his son was born.

    With his son's entrance into the world, all the creative energy Negrito bottled for years came rushing out. His musical choices were sharp and without doubt. He began recording without the hindrances that come with chasing trends. Fuck what's hot now, what moves me? Negrito turned to the original DNA of all American music, the Blues. The beating life had given him primed him to channel his literal and musical forefathers: the Blues musicians of the Delta.

    For Fantastic Negrito, derivative is the devil so to ensure his sound is his own, every chord comes from a place of immediacy. Immediacy opens the door for instinct. Instinct is God's tool that makes an artist into an individual. Negrito leaves the original sounds of Lead Belly and Skip Woods intact and builds bridges to modernity by looping and sampling his own live instruments.

    When you listen to Negrito, you're invited to hear the story of life after destruction. Your dream can die. You probably will give up. But from there, you can start everything over.

    1. Intro - The Last Days of Oakland
    2. Working Poor
    3. About A Bird
    4. Scary Woman
    5. Interlude - What Would You Do?
    6. The Nigga Song
    7. In the Pines (Oakland)
    8. Hump Thru the Winter
    9. Lost In A Crowd
    10. Interlude 2 - El Chileno
    11. The Worst
    12. Rant Rushmore
    13. Nothing Without You
    14. Push Back
    15. The Shadows
    Fantastic Negrito
    $23.99
    Vinyl LP - Sealed Buy Now
  • Summer Days (And Summer Nights!!) Summer Days (And Summer Nights!!) Quick View

    $34.99
    Buy Now
    x

    Summer Days (And Summer Nights!!)

    Stereo Edition Of Summer Days (and Summer Nights!!), Released On Vinyl For The First Time!


    Summer Days (and Summer Nights!!) Stereo Mix Created Between 2005 And 2012 Using The Original Multi-track Masters And Overdubs Synced To Create The First True Stereo Mixes!


    Stereo Mixes Produced By Mark Linett And Alan Boyd / Mixed By Mark Linett


    Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available


    Lacquer Plating By Gary Salstrom And 200-gram Vinyl Pressing By Quality Record Pressings!


    A musical legacy that began in Hawthorne, California and went on to conquer the world. Analogue Productions presents the ultimate pressings of 14 essential Beach Boys albums! Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!


    Summer Days (And Summer Nights!!) was released in stereo for the first time in 2012. These stereo mixes were created between 2005 and 2012 using the first generation basic tracking session multitracks, synced with the overdubs that were later added on second and third generation masters, to create the first true stereo mixes.


    The exception is Help Me Rhonda, which is a computer-generated stereo mix by Derry Fitzgerald. A remix in stereo for that track isn't possible because many overdubs were added as the song was mixed for the original mono single. The stereo mixes for Today!, Summer Days (And Summer Nights!!), Beach Boys' Party! and Smiley Smile were produced and mixed by Mark Linett, and co-produced by Alan Boyd.


    Apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys Today! was the first LP for which they only delivered a mono master.


    The stereo editions of Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Beach Boys Christmas Album and Beach Boys Concert were all mixed in stereo by their own preferred engineer, Chuck Britz, ostensibly under the group's supervision.


    Brian may or may not have been present for those mixing sessions - evidence suggests that he trusted Chuck's skills enough to let him prepare those mixes on his own - but the group held onto their multitrack tapes and delivered stereo masters to Capitol, rather than allowing Capitol to prepare their own stereo versions. Later, when Brian was only delivering mono masters, Capitol would prepare the Duophonic pseudo stereo editions for the stereo market, says Alan Boyd, producer and Beach Boys' archivist.


    All of the newer stereo mixes on these remastered albums (The Beach Boys Today!, Summer Days (And Summer Nights!!), The Beach Boys' Party, Pet Sounds and Smiley Smile) were all done by Mark Linett on behalf of the Beach Boys.


    Summer Days features another Wilson world-beater production, California Girls, and the band's second No. 1 single, Help Me, Rhonda. Ever pressured by commercial concerns, Wilson and the band created what was in essence the true follow-up to the All Summer Long album. Still, there's a level of musical sophistication to tracks such as Salt Lake City, the Phil Spector tribute Then I Kissed Her, Summer Means New Love and Let Him Run Wild.


    This title is not eligible for discount.

    1. The Girl From New York City
    2. Amusement Parks U.S.A.
    3. Then I Kissed Her
    4. Salt Lake City
    5. Girl Don't Tell Me
    6. Help Me, Rhonda
    7. California Girls
    8. Let Him Run Wild
    9. You're So Good To Me
    10. Summer Means New Love
    11. I'm Bugged At My Ol' Man
    12. And Your Dream Comes True
    Beach Boys
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Vicious / In Trouble With The Lord Vicious / In Trouble With The Lord Quick View

    $6.99
    Buy Now
    x

    Vicious / In Trouble With The Lord

    Previously released with no cover sleeve on limited edition clear vinyl with pressed rose petals inside for Record Store Day 2011. This is the proper Third Man Records black wax 7 with a artwork by David Swanson. Features a cover of the Lou Reed classic, Viscious backed with an unbelievably visceral outtake of In Trouble With The Lord from Karen Elson's The Ghost Who Walks LP.
    Side One

    1. Vicious

     

    Side Two

    1. In Trouble With The Lord
    Karen Elson
    $6.99
    7 Vinyl LP - Sealed Buy Now
  • Black Rabbit / Too Safe Black Rabbit / Too Safe Quick View

    $6.99
    Buy Now
    x

    Black Rabbit / Too Safe

    Pujols debut 7 for Third Man Records.
    Side A:
    1. Black Rabbit


    Side B:
    1. Too Safe

    Pujol
    $6.99
    Vinyl LP 7'' - Sealed Buy Now
  • That Black Bat Licorice That Black Bat Licorice Quick View

    $6.99
    Buy Now
    x

    That Black Bat Licorice

    The 7'' single ''That Black Bat Licorice,'' the third single off Jack White's second album Lazaretto with non-album B-Side ''Blue Light, Red Light (Someone's There),'' a Harry Connick Jr. Cover.
    A: That Black Bat Licorice
    B: Blue Light, Red Light (Someone's There)
    Jack White
    $6.99
    7 Vinyl Single Buy Now
  • I Like My Mice (Dead)/Spiderbite I Like My Mice (Dead)/Spiderbite Quick View

    $6.99
    Buy Now
    x

    I Like My Mice (Dead)/Spiderbite

    7'' vinyl single with picture sleeve


    The mysterious goth milquetoast 'Mildred' appeared before Jack White at a hardware store in Kentucky. She had no demo to give, nor guitar with her, so instead she sang her song 'I Like My Mice (Dead)' at the top of her lungs in front of several hardware store customers before quickly walking out of the store in shy earnest. Mr. White immediately followed her to the sidewalk and signed her to a Third Man single contract.


    She hails from the Mammoth Cave area, but hasnt given the staff an age, or current address! (...dont worry well be holding her royalty checks here for her.)
    In fact her mother dropped her off at Third Man studio for the single session and waited patiently in a Winnebago outside the studio until Mildred was done recording. Mildred showed up with a very cool Gretsch Princess guitar but called it a 'Gitch'. Her band The Mice were even less forthcoming than she was, asking only for a copy of the record when it was done. Luckily, we were able to snap a few shots of them at the Third Man headquarters before they headed back to Kentucky.


    The two songs available now are nothing short of remarkable, and were recorded live to 8 track in one take.
    Jack White has given this recording the special Third Man catalog number of #003 stating; 'this is exactly the kind of record we want to put out.'

    Side One

    1. I Like My Mice (Dead)

     

    Side Two

    1. Spiderbite
    Mildred & The Mice
    $6.99
    Vinyl LP 7'' Single - Sealed Buy Now
  • C'mon And Ride/After Party C'mon And Ride/After Party Quick View

    $6.99
    Buy Now
    x

    C'mon And Ride/After Party

    Transit is a band whose membership is composed entirely of employees of the Nashville Metro Transit Authority. They are part of a long-standing folk tradition of people coming together to make something beautiful out of a shared external circumstance. From the Detroit Sanitary Workers Band or the American Watch Company Band, there is deep history of music that reflects employees shared experiences and brings them to the wider attention of the public at large.


    Third Man Records presents two songs produced by Jack White that are by and about the Nashville bussing system, written and recorded by the people who know it best; the drivers, cleaners, mechanics, and office workers of the Nashville Metro Transit Authority. They are called Transit and this record is the fifth release in Third Mans Blue Series.


    C'mon and Ride

    Afterparty
    Transit
    $6.99
    Vinyl LP 7'' Single - Sealed Buy Now
  • Broken People Broken People Quick View

    $18.99
    Buy Now
    x

    Broken People

    American music is a mile-wide river that beckons black and white, urban and rural, dreamer and doer alike to launch their vessels. All the streams of style and genre flow into it; its tributaries are blues and jazz, mountain and folk, rock, soul and R&B.


    The release of the debut album by Muddy Magnolias, Broken People, marks the launch of a great new vessel onto that waterway. The album showcases a confluence of style and sound as colorful as it is unlikely, steeped in that river of influence, yet bracingly fresh.


    With Broken People, Jessy Wilson and Kallie North take us on an 11-song journey with its origins in two widely divergent backgrounds that came together in a friendship and creative partnership with world-changing resonance.


    North was raised in southeast Texas and began singing with her family and studying piano at an early age. She grew to love rich vocal harmonies singing in church choirs and listening to artists like the Carpenters, Alison Krauss, James Taylor and the Eagles. By her early teens, she was singing lead parts in church and in musical theater productions at her high school. Her palette grew when a friend turned her on to the Grateful Dead, and after high school she spent every spare moment in the clubs of Austin, absorbing everything from alt-country and jam bands to New Orleans funk. She met her husband at a concert and moved with him to his native Mississippi. There, on their isolated farm, she had her awakening, starting a career as a photographer, capturing the spirited, deep history of the Mississippi Delta.


    "To me, the Delta is the most overlooked and mysterious place," she says. "It was the birthplace of America's music, and all the legends were influenced by everything that came out of it. I went on this personal exploration to learn about the Delta blues and the region's history. I picked up a camera and started taking pictures, blogging about what I was experiencing, and I tapped into all the creative energy lying dormant inside me." When her husband gave her a guitar, she began spending her days on the porch of their farm learning how to connect her first chords. From there, the songs began pouring out and she knew she had to find a way to get to Nashville and write songs professionally.


    Wilson, raised in Brooklyn, was in love with music from her earliest days. She was singing before she could talk, and was 5 when her mother recognized her passion for music. "I would cry because I couldn't hit the high notes in Whitney Houston and Mariah Carey songs," she says. Influenced by greats from Aretha and Smokey Robinson to Lauryn Hill, Mary J. Blige and The Notorious B.I.G., she began auditioning in the highly competitive New York entertainment scene and was working professionally in musical theater by the age of 10. Her mother took her to nightclubs where she experienced a variety of live performances. She attended New York's top performing arts schools, including La Guardia High School, the "Fame" school, where she discovered her love for gospel music and took part in the gospel chorus for four years. She worked at Cafe Wha? in Greenwich Village, making $500 a weekend while still in high school.


    She sang backup for Alicia Keys in her teens, then worked four years with John Legend, and through him with legends like will.i.am, Kanye West, Raphael Saadiq and Babyface. Legend mentored her in songwriting and recording before she began writing songs on her own for American Idol winner Fantasia Barrino and others. Inspired by her evolving love of songwriting, she too moved to Nashville, looking for a wider creative palette. There, while meeting with then-BMI executive Clay Bradley, her eye settled on a photograph of "a rundown juke joint piano" in his office.


    "I want to meet whoever took that photo," she said. The photographer was North-it had been taken during her creative awakening in Mississippi-and the subsequent meeting led quickly to collaboration and an epic friendship.


    "The first day we wrote together," says North, "there wasn't much thought that we were blending genres and worlds. That never came up. It was just natural. She had never written a country song and I was writing them every day. We sat down to write one but when we listened back it was a country R&B song. And we decided to become songwriting partners." Before long, they had their first cut as collaborators, and they were off and running.


    "The spirit of the Muddy Magnolias existed from the moment we met," says Wilson, "but we didn't know we were the Muddy Magnolias yet." North was toying with the idea of a solo career; Wilson had aspirations of making history as an African-American female songwriter in Nashville. Their new friendship was a game-changer.


    "We spent a whole year writing, trying to understand what our message was when we combined our stories," says Wilson. Then one day over afternoon wine at Burger Up, their favorite hangout in the 12 South section of Nashville, both admitted to be being at a crossroads. "The next thing you know," says North, "Jessy said, 'What if we made a record together?' It was like all of our dreams in one."


    "We went back to that same office on Music Row where I saw the photograph," says Wilson, "and sat down side by side in Clay's office and said, 'We've got something to tell you. We're going to make an album together.'" Bradley believed enough to sign on as their manager. They held three days of band auditions and found four best friends who had been playing together since college, primarily doing jazz. The fit was perfect, providing just the right sonic backdrop for their soulful approach and high-energy delivery.


    As they continued to write and perform, opening for the likes of The Zac Brown Band and Gary Clark, Jr., they put together a project that crosses genres effortlessly, showcasing two voices that soar together in a blending of cultures as electrifying as if Janis Joplin and Tina Turner, or Whitney Houston and Lee Ann Womack had joined forces.


    Broken People combines poetic imagery and vocal passion, with the musicianship and production of Motown or Muscle Shoals by way of the raw honesty of Sun Records. Of course it deals with love, longed for and unleashed, in songs like "I Need A Man," "Why Don't You Stay" and "Devil's Teeth," but the album soars as it reaches for bigger themes, dealing with the need for hope in "Take Me Home," for love on a societal scale in "Shine On" and "Brother What Happened," and hope for the future in "Got It Goin' On." With "Leave It To The Sky," the two, joined by John Legend on vocals and piano, make a powerful case for spiritual solutions, and few songs in the modern lexicon are as steeped in present-day reality as the gospel- and R&B-tinged title track.


    "Ultimately," says North, "this album is a result of an unlikely friendship and is a testament to what can happen when you diversify your relationships."


    "It's about getting out of your comfort zone and being rewarded with a great friendship," adds Wilson. "We've both felt the power of that."


    "Our path is so much better and our lives are so much richer because of it," says North, "and we want to bring people along on this journey."


    "We want to see what society would be like if we all reached out in ways we normally wouldn't," adds Wilson.


    And that is the magic and the message. The music of Muddy Magnolias, live and on record, comes from a place where the Mississippi meets the A-Train by way of Nashville. Whether yours is the back porch or the front stoop, Spanish moss or window box garden, dusty country lane or crowded subway car, rural honky-tonk or uptown club, this is music that beckons. Muddy Magnolias are collaboration without boundaries, musical healing in a landscape of the heart, and all of us who treasure creative energy, honest art and the possibilities of love and unity, are better for their arrival.

    1. Broken People
    2. Brother, What Happened?
    3. Got It Goin' On
    4. Why Don't You Stay
    5. Take Me Home
    6. Shine On!
    7. It Ain't Easy
    8. I Need A Man
    9. Devil's Teeth
    10. Train
    11. Leave It To The Sky (feat. John Legend)
    Muddy Magnolias
    $18.99
    Vinyl LP - Sealed Buy Now
  • Acoustic Recordings 1998-2016 Acoustic Recordings 1998-2016 Quick View

    $29.99
    Buy Now
    x

    Acoustic Recordings 1998-2016

    JACK WHITE ACOUSTIC RECORDINGS 1998-2016 collects 26 acoustic songs from throughout White's wide-ranging musical career, spanning album tracks, B-sides, remixes, alternate versions, and previously unreleased tracks. The album, arranged in chronological order, includes acoustic songs made famous by The White Stripes, beginning with ''Sugar Never Tasted So Good'' (originally found on The White Stripes' second-ever 7-inch single) and then lighting upon favorites like ''Apple Blossom'' and ''I'm Bound To Pack It Up'' (remixed here from the original recordings on 2000's DE STIJL), ''Hotel Yorba'' and ''We're Going To Be Friends'' (from 2001's WHITE BLOOD CELLS), ''You've Got Her In Your Pocket'' and ''Well It's True That We Love One Another'' (from 2003's GRAMMY® Award-winning ELEPHANT), ''Forever For Her (Is Over For Me),'' ''White Moon'' and ''As Ugly As I Seem'' (from 2005's GET BEHIND ME SATAN) ''Effect & Cause'' (from 2007's ICKY THUMP), and the Beck-produced ''Honey, We Can't Afford To Look This Cheap,'' first found on the B-side to The White Stripes' final single, 2007's ''Conquest.''


    ''City Lights'' (below) was written for The White Stripes' GET BEHIND ME SATAN but then forgotten until White revisited the 2005 album for Third Man's Record Store Day 2015 vinyl reissue and finished the recording in 2016. The track is the first new, worldwide commercially released White Stripes song since 2008.


    Also featured are ''Never Far Away'' (recorded for 2003's COLD MOUNTAIN: MUSIC FROM THE MIRAMAX MOTION PICTURE) and ''Love Is The Truth'' (written and recorded for Coca-Cola's 2006 What Goes Around campaign) as well as the Bluegrass Version of ''Top Yourself'' and an acoustic mix of the epic murder ballad, ''Carolina Drama,'' both written by White and Brendan Benson for The Raconteurs' GRAMMY® Award-winning 2008 album, CONSOLERS OF THE LONELY. White's two chart-topping solo albums, 2012's BLUNDERBUSS and 2014's LAZARETTO, are represented by a remarkably diverse range of material including ''Love Interruption,'' ''On And On And On,'' ''Blunderbuss,'' ''Entitlement,'' ''Want And Able,'' and alternative mixes of ''Hip (Eponymous) Poor Boy,'' ''Just One Drink,'' ''I Guess I Should Go To Sleep,'' and B-side, ''Machine Gun Silhouette.''


    ''This, like (Son House's) 'Grinnin' In Your Face,' is mirror-music,'' writes renowned music journalist Greil Marcus of ''City Lights'' in the album's exclusive liner notes, ''the singer talking to himself, trying to tell himself the truth, which he's going to need if he's going to step out of his door, walk into the world, and fool himself, for just a second, that he's ready to take it on. As you listen, it's no surprise at all that it took most of White's music-making life to bring the song home.''


    The 26 tracks featured on JACK WHITE ACOUSTIC RECORDINGS 1998-2016 were remastered by Andrew Mendelson at Nashville, TN's Georgetown Masters. All songs were written and produced exclusively by Jack White, except ''Never Far Away'' (produced by T Bone Burnett), ''Honey, We Can't Afford To Look This Cheap'' (produced by Beck), ''Top Yourself (Bluegrass Version)'' and ''Carolina Drama'' (written & produced by White & Brendan Benson), and ''Machine Gun Silhouette'' (written by White & Rob Jones).

    LP 1
    1. Sugar Never Tasted So Good
    2. Apple Blossom (Remixed)
    3. I'm Bound To Pack It Up (Remixed)
    4. Hotel Yorba
    5. We're Going To Be Friends
    6. You've Got Her In Your Pocket
    7. Well It's True That We Love One Another
    8. Never Far Away
    9. Forever For Her (Is Over For Me)
    10. White Moon
    11. As Ugly As I Seem
    12. City Lights (Previously Unreleased White Stripes Track)
    13. Honey, We Can't Afford To Look This Cheap
    14. Effect & Cause


    LP 2
    1. Love Is The Truth (Acoustic Mix)
    2. Top Yourself (Bluegrass Version)
    3. Carolina Drama (Acoustic Mix)
    4. Love Interruption
    5. On And On And On
    6. Machine Gun Silhouette (Acoustic Mix)
    7. Blunderbuss
    8. Hip (Eponymous) Poor Boy (Alternate Mix)
    9. I Guess I Should Go To Sleep (Alternate Mix)
    10. Just One Drink (Acoustic Mix)
    11. Entitlement
    12. Want And Able

    Jack White
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Ghost Who Walks/Stolen Roses The Ghost Who Walks/Stolen Roses Quick View

    $6.99
    Buy Now
    x

    The Ghost Who Walks/Stolen Roses

    Karen Elson's The Ghost Who Walks marks the debut solo release from the British singer/songwriter. Her transformation from fashion's favorite redheaded ingÉnue to beguiling chanteuse has been something of a slow burn. In 2003 she provided vocals for a version of Robert Plant's ''Last Time I Saw Her'' and in 2006 she recorded an English language version of ''Je T'Aime..Moi Non Plus'' (''I Love You... Me Neither'') with Cat Power for a Serge Gainsbourg tribute album, but her main musical outlet has been as a founding member of New York City cabaret The Citizens Band, a downtown collective of musicians, performers, artists and acrobats whose lively Weimar-esque performances have enjoyed successful theatrical runs of their politically thematic shows.


    Writing almost exclusively in the sanctuary of a closet in her bedroom, Karen's songwriting blossomed. A fledgling songwriter might naturally be nervous to play their work for a spouse but for Karen the trepidation was exacerbated by her husband's own talent. It took many months of cajoling for Karen to play Jack White her songs but his reaction was immediate: let's get into the studio.


    Karen has already won accolades for her stunning voice, but The Ghost Who Walks is still bound to surprise those who've never seen her perform with her cabaret troupe. The songwriting is especially impressive and, as something of a music obsessive since an early age, Karen sites a long list of influences and inspirations, including Nick Cave, PJ Harvey, Sandy Denny, Opal and Rain Parade. The track The Ghost Who Walks, also the title of her forthcoming album, is a haunting murder ballad but the title came from a high school nickname which Karen endured before embarking on her fashion career. It's an apt title for an elegant and haunting album.


    Artwork By - Miles Johnson , Rob Jones

    Mastered By - Andrew Mendelson

    Mixed By - Jack White III , Vance Powell

    Photography - David Swanson

    Producer - Jack White III

    Recorded By - Joshua V. Smith (tracks: B)
    Vance Powell (tracks: A)

    Written-By - Karen Elson




    Side A


    The Ghost Who Walks


    Bass - Daniel Lloyd

    Drums - Jack White III

    Organ, Electric Guitar - Dean Fertita

    Vocals, Acoustic Guitar - Karen Elson


    Side B


    Stolen Roses


    Accordion, Backing Vocals - Rachelle Garniez

    Acoustic Guitar - Jackson Smith

    Bass - Olivia Jean

    Drums - Marc Fellis

    Guitar - Carl Broemel

    Vocals, Acoustic Guitar - Karen Elson

    Karen Elson
    $6.99
    Vinyl LP 7'' Single - Sealed Buy Now
  • Johnny 99 / Bad As Me Johnny 99 / Bad As Me Quick View

    $6.99
    Buy Now
    x

    Johnny 99 / Bad As Me

    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.
    1. Johnny 99
    2. Bad As Me
    Shovels And Rope
    $6.99
    7 Vinyl Single Buy Now
  • I Fell In Love With A Girl/I Just Don't Know What To Do With Myself I Fell In Love With A Girl/I Just Don't Know What To Do With Myself Quick View

    $6.99
    Buy Now
    x

    I Fell In Love With A Girl/I Just Don't Know What To Do With Myself

    Originally released Feb. 2002 as a UK single on XL Recordings.


    B-Side is a song written by Burt Bacharach and Hal David, and made famous by Dusty Springfield, Dionne Warwick, Cissy Houston, Elvis Costello & The Attractions, etc.


    Manufacturer: United Record Pressing


    1. Fell In Love With A Girl
    2. I Just Don't Know What To Do With Myself
    The White Stripes
    $6.99
    7 Vinyl Single Buy Now
  • You're My Baby / Rockhouse You're My Baby / Rockhouse Quick View

    $6.99
    Buy Now
    x

    You're My Baby / Rockhouse

    Most likely recorded in June of 1956, ''Rockhouse'' is a prime example of quintessential, undiluted rockabilly. While Roy and the Teen Kings' stint with Sun would be brief, the sheer power unleashed on these tracks is palpable. Most folks are only familiar with Orbison's perfected pop orchestrations recorded for Monument Records in the '60s, but his roots were firmly planted in the dusty West Texas sound, were influenced heavily by Buddy Holly and Elvis Presley, and remain equally important as the work of both.
    A: You're My Baby
    B: Rockhouse
    Roy Orbison And Teen Kings
    $6.99
    7 Vinyl Single Buy Now
  • Enemy Ladder / Dull Murder Two Enemy Ladder / Dull Murder Two Quick View

    $6.99
    Buy Now
    x

    Enemy Ladder / Dull Murder Two

    Wolf Eyes history stretches from 97-to present with over 500 releases into the either of the musical world: with units only normal instrument being a lone GUITAR thru the years: give and take some gongs and blues harmonica,: strings here put thru a John Cipollina- in year 2098 live thru a drag strip filter fuzz -damage direct from Jim Baljo. Nathan Young provides vox & electronics from a woods possessed by a spirit thats both too ancient and too futuristic to gain comfort in its own proto- rural/urban musical environment. Final member John Olson rounds out the soundscape with electronics and woodwinds whose only job title can be known as conjuring ''the gut of un-nameable menace'' into sound. Here on I AM PROBLEM : the trio are at their peak: relaxed but knife-focused : not a second is wasted on the streamlined atmosphere of scruffy scotch tape-electronics musique' concrete foundation of splatter used to raise up a monument of individualism and idiosyncratic homemade misfired dribbling ROCK AND ROLL: again from the year 2098, with a new messed up misconfigured FACE.
    1. Enemy Ladder
    2. Dull Murder Two
    Wolf Eyes
    $6.99
    7 Vinyl Single Buy Now
Go to top