Luhrmann explains, “I heard the Jazz Age and said to Bryan “what about if you took our themes and record them with your band?” Then I said “what about if you do ‘Love Is The Drug’?…. and it just kept growing, and next he’s covering Jay Z, Amy Winehouse and Beyonce. And so he becomes the ‘Jazz Voice’ of the movie. We couldn’t have been luckier. Total serendipity.” [Source]
The Mississippi Sheiks consisted mainly of the Chatmon family, who came from Bolton, Mississippi and were well known throughout the Mississippi Delta. The father of the family had been a “musicianer” (someone with good technical ability on his or her instrument adept at sight-reading written music) during slavery times, and his children carried on the musical spirit. Their most famous (although by no means permanent) member was Armenter Chatmon – better known as Bo Carter – who managed a successful solo career as well as playing with the Sheiks, which may have contributed to their success. When the band first recorded in 1930, the line-up consisted of Carter with Lonnie and Sam Chatmon, and Walter Vinson. Charlie McCoy (not to be confused with Charlie McCoy, a later American musician) played later, when Bo Carter and Sam Chatmon ceased playing full time. It was Lonnie Chatmon and Vinson who formed the real center of the group. Bo Carter’s solo work is notable for being sexually suggestive in songs and this is carried on to an extent with the group. They primarily earned their income like Robert Johnson and Skip James. They toured throughout the Southern United States, but also reached as far north as Chicago and New York.
Third Man Records is thrilled to announce the release of the first three records in our highly-anticipated Document Records reissue series.
Pre-orders are available now in our online store (with a January 29th in-store release date) for Volume 1 of The Complete Recorded Works in Chronological Order of Charley Patton, Blind Willie McTell and The Mississippi Sheiks. The first 400 customers to purchase the bundle of all three records will receive a free 5″ x 8″ print insert of the Rob Jones Charley Patton cover image.
Subsequent volumes will be released regularly and new artists will be slotted for release from this fantastic catalog of blues greats as soon as this first series is complete.
The recordings we’ll be presenting in this reissue series are the building blocks and DNA of American culture. Blues, R&B, Elvis, teenagerism, punk rock… it all goes back to these vital, breathtaking recordings. Third Man Records is proud to present these landmark albums in conjunction with Document Records, with brand new, jaw-dropping artwork by Rob Jones and new insightful liner notes, on vinyl for the first time in decades. Every record collection should have ample room for these highly important and endlessly listenable albums.
Born blind in the town of Thomson, Georgia, Blind Willie McTell learned how to play guitar in his early teens. He soon became a street performer around several Georgia cities, such as Atlanta and Augusta, and first recorded in 1927 for Victor Records. Although he never produced a major hit record, McTell’s recording career was prolific, recording for different labels under different names throughout the 1920s and 30s. In 1940, he was recorded by John Lomax for the Library of Congress’s folk song archive. He would remain active throughout the 1940s and 50s, playing on the streets of Atlanta, often with his longtime associate, Curley Weaver. Twice more he recorded professionally. McTell’s last recordings originated during an impromptu session recorded by an Atlanta record store owner in 1956. McTell would die three years later after suffering for years from diabetes and alcoholism.
Third Man Records is thrilled to announce the release of the first three records in our highly-anticipated Document Records reissue series.
Pre-orders are available now in our online store (with a January 29th in-store release date) for Volume 1 of The Complete Recorded Works in Chronological Order of Charley Patton, Blind Willie McTell and The Mississippi Sheiks. The first 400 customers to purchase the bundle of all three records will receive a free 5″ x 8″ print insert of the Rob Jones Charley Patton cover image.
Subsequent volumes will be released regularly and new artists will be slotted for release from this fantastic catalog of blues greats as soon as this first series is complete.
The recordings we’ll be presenting in this reissue series are the building blocks and DNA of American culture. Blues, R&B, Elvis, teenagerism, punk rock… it all goes back to these vital, breathtaking recordings. Third Man Records is proud to present these landmark albums in conjunction with Document Records, with brand new, jaw-dropping artwork by Rob Jones and new insightful liner notes, on vinyl for the first time in decades. Every record collection should have ample room for these highly important and endlessly listenable albums.
Perhaps as early as 1908, blues pioneer Charley Patton wrote a song called “Mississippi Bo Weavil Blues” and recorded it in July 1929 (as “The Masked Marvel”) for Paramount Records. Some of the lyrics are similar to “Boll Weevil,” describing the first time and “the next time” the narrator saw the boll weevil and making reference to the weevil’s family and home.
Third Man Records is thrilled to announce the release of the first three records in our highly-anticipated Document Records reissue series.
Pre-orders are available now in our online store (with a January 29th in-store release date) for Volume 1 of The Complete Recorded Works in Chronological Order of Charley Patton, Blind Willie McTell and The Mississippi Sheiks. The first 400 customers to purchase the bundle of all three records will receive a free 5″ x 8″ print insert of the Rob Jones Charley Patton cover image.
Subsequent volumes will be released regularly and new artists will be slotted for release from this fantastic catalog of blues greats as soon as this first series is complete.
The recordings we’ll be presenting in this reissue series are the building blocks and DNA of American culture. Blues, R&B, Elvis, teenagerism, punk rock… it all goes back to these vital, breathtaking recordings. Third Man Records is proud to present these landmark albums in conjunction with Document Records, with brand new, jaw-dropping artwork by Rob Jones and new insightful liner notes, on vinyl for the first time in decades. Every record collection should have ample room for these highly important and endlessly listenable albums.
Blunderbuss, Jack White’s solo debut, was released April 24, 2012, but fans were given a chance to stream the entire album on iTunes starting April 16. Also, White and his label, Third Man Records, had already distributed three singles from Blunderbuss: “Love Interruption,” “Sixteen Saltines,” and “Freedom at 21,” which was at the core of a promotional exploit. One thousand vinyl copies of the single were tied to helium balloons and turned loose on the city of Nashville with instructions for whoever found them to report back on the label’s website where the vinyl was found and when. [Source]
Annie Mac on BBC Radio 1 just played a new solo track from Jack White, “Sixteen Saltines”. It’s from his upcoming solo album Blunderbuss(out April 24 on Third Man Records/Columbia).
71-year-old professional crooner/knight, Sir Tom Jones, is the latest participant of Third Man Records’ Blue Series. On March 5th, he’ll release a two-song, Jack White-produced single, featuring a new rendition of ”Jezebel” from his 2002 album Mr. Jones, along with a cover of Howlin’ Wolf’s “Evil”. [Source]
Purchase the digital version of “Love Interruption.” http://www.smarturl.it/jwli. This song is the first taste of Jack White’s forthcoming debut album, Blunderbuss, out April 23/24 on Third Man Records/XL Recordings/Columbia. Pre-order your copy of the 7″ vinyl featuring non-LP B-side “Machine Gun Silhouette,” out on Third Man Records February 7 here:
http://store.thirdmanrecords.com/jackwhite-loveinterruption7vinyl.aspx
If you are in Germany, you can listen to a SoundCloud stream here.
“Rumble” is an influential rock instrumental by Link Wray & His Ray Men. Originally released in 1958, “Rumble” utilized then-unexplored techniques like distortion and feedback. The song is one of very few instrumental single banned from the radio airwaves.” It is also described as the first song to use the power chord, the “major modus operandi of the modern rock guitarist”.
Jack White’s inclusion of “Love Is Blindness” debuted on BBC Radio 2, and true to the man’s style, it’s layered in Delta blues bliss, leaving little evidence of everyone’s favorite Irish arena rockers. [Source]
