Third Man Vinyl, CD & Tape 158 Items

Deluxe tri-fold reversible jacket with 2 posters and 12 page booklet!

This is a milestone in pop culture history. For the first time these two music and movie giants collaborate for this joint venture.

Today, Natalie Bergman announces the release of Mercy, her debut solo album out May 7 on Third Man Records. Self-produced, performed and mixed in near-solitude, the twelve-song set takes a spellbinding step into Bergman’s singular world of sound, spirituality and the search for hope during tragic times. The journey began in October 2019; until then, she had been on tour since the age of 14. She spent the better part of the past decade singing lead alongside her brother Elliot Bergman in their duo Wild Belle, but the night she was about to hit the stage at Radio City Music Hall, her life changed. A coroner called with news that their father and stepmother had been killed by a drunk driver.

Music and faith have always been at the forefront of the Bergman family, and rather than crawl into a cave of darkness and dread, Natalie decided to spend many days in silence at a monastery in the Chama Valley. It was there she learned she would embark on

Mercy, and as she began writing and recording, the collection of songs channeled her cathartic reverence for traditional gospel music - in her words, the true source of rock and roll.

Entering Heaven Alive is the fifth studio album from Jack White, founding member of The White Stripes, The Raconteurs, and The Dead Weather. True to his DIY roots, this record was recorded at White's Third Man Studio throughout 2021, mastered by Third Man Mastering, pressed to vinyl at Third Man Pressing, and released by Third Man Records.

Entering Heaven Alive is the fifth studio album from Jack White, founding member of The White Stripes, The Raconteurs, and The Dead Weather. True to his DIY roots, this record was recorded at White's Third Man Studio throughout 2021, mastered by Third Man Mastering, pressed to vinyl at Third Man Pressing, and released by Third Man Records.

1968 dives further into the psychedelia that FRANCE GALL was hinting at on Baby Pop. Even with addition of sitars and echoes of The Beatles, The Stones, The Kinks and Pet Sounds era Beach Boys all over this record it is still 100% French and could only have been made by France Gall. The addition of English expat producer/arranger, DAVID WHITAKER, brought a new and welcome airiness to the mix that was lacking on Gall’s earlier recordings. The album contains 2 of Serge Gainsbourg’s strangest and most out there arrangements, “Nefertiti” and “Teenie Weenie Boppie” about an LSD trip gone horribly wrong. 1968 is an absolutely essential addition to any record collection. 180-gram vinyl pressing in direct-to-board jackets.

Baby Pop is not only an important album for FRANCE GALL herself, it is also a hugely important record for the entire yé-yé scene. Baby Pop hinted at the musical direction that yé-yé was headed in much the same way Revolver and Pet Sounds did in the UK and USA. Baby Pop is more mature and varied than her earlier more bubblegum releases. You will still find a wonderfully cheesy tracks like “L’Amerique” here and there but with the impossibly infectious title track and songs like the Serge Gainsbourg penned “Nous Ne Sommes Va-T’en” and the groovy Farfissa driven “Faut-Il que Je T’Aime” we welcome a new France Gall and say hello to some of the finest pop music ever released in French or any language. 180-gram vinyl pressing in direct-to-board jackets.

FRANCE GALL was a prolific French vocalist and performer, remembered as one of the central figures of the 1960s yé-yé pop movement. Aligning catchy, spirited rhythms with lighthearted lyrics and drawing from the beat music a la early Beatles and Hollies, the yé-yé artists promoted a sort of new freedom of expression and breaking down of social barriers in post-WWII France. Third Man Records is beyond honored to bring this music to a larger audience by issuing the first authorized North American vinyl pressings of these titles, some of the most brilliant highlights from Gall’s catalog. While France Gall had been releasing music since she was 16 it wasn’t until she took the Grand Prix at the 1965 Eurovision Song Contest with her rendition of Serge Gainsbourg’s “Poupée de Cire, Poupée de Son” that she would be catapulted to the top of the swinging yé-yé scene alongside the likes of Francoise Hardy, Sylvie Vartan and Bridgette Bardot. This record contains two of France’s most loved tracks, “Poupée de Cire” and “Laisse Tomber Les Filles” also penned by Gainsbourg. She recorded versions of the title track in French, German, Italian and Japanese and was now an international pop superstar. At the time France was dismissed by many as making fluffy ultra commercial pop hits but her music stands the test of time far better than most, as not many were making music of this consistent high quality. Highly recommended. 180-gram vinyl pressing in direct-to-board jackets.

First-ever US issue of this key 2003 release from Japan's shapeshifting heavy lords, Boris. The album title says it all. Immerse yourself in 43 minutes of sonic waves of slow-building fuzz, feedback and layered dimensions where lysergic solos and unintelligible vocals compete for their place deep inside your id.

Jesus Christ! The Stools! This is the kind of mangled barking terrifyingly manic garage that the Midwest pumps out better and more consistently than anybody and the Stools seem to be challenging every one of us to a frenetic fistfight for top spot. With 4 songs averaging 2 minutes, the When I Left EP feels like a whirlwind experience from its opening distortion to final feedback.

The title track When I Left is a garage punk banger a la Gun Club meets the Oblivians that tremors and nearly buckles under its own weight before it ends. American Convertible Stools chugs almost entirely on the same infectious blues riff, which could be repetitive with another group at the helm, but here is just incredibly fun and vital. The B-side? You've got the desperate and evil blown-out blues of Black Fly Stew butted up with the gone-before-it-was-here urgency wrapped up in a Bo Shitley beat of Don't Need Nothing.

Give this a spin and you won't need to care about what anyone has to say about anything anymore.

The Tropicália art movement of the late 1960s, with flourishes in visual art, poetry, theatre and music, is one of Brazil’s most adored cultural concoctions. It was a movement which began out of necessity, shortly after a repressive military dictatorship seized power after 20 years of peaceful democracy. The term Tropicália first came from the mind of Brazilian visual artist Hélio Oiticica, whose eponymous piece consisted of a sandy maze bordered by tropical Brazilian flora and, at the end, a television set.

Through satirizing symbols of their homeland and rejecting a pre-established national culture, the Tropicalists constructed a new form of “aggressive nationalism” outside of an innately anti-imperialist Left and an unthinkingly patriotic Right. By refusing to accept underdevelopment as their identity and excitedly “devouring” disparate culture (low and high brow, domestic and foreign, etc.), the Tropicalists carved out a unifying creative space, a universal sound, different from the older, bourgeois bossa nova movement and the newer, undiscerning rock movement.

Caetano Veloso’s self-titled debut solo album is one of the most important and influential Brazilian (and, dare we say, South American) albums of all time. With the release of this seminal album, Veloso would become the leading voice of Tropicália.

The songs on this album immediately connected with people. Alegria, Algeria was his breakout hit that gained traction as a hymn for liberty advocates, juxtaposing images of Coca Cola, guerrilla groups, bombs and Brigitte Bardot as part of the everyday experience. The album’s first song Tropicália was an anthem for the whole movement; it’s a fragmented allegory, a structure borrowed from friends

in the concrete poetry scene, touching on divergent cultural symbols, events, allusions and idioms, nimbly representing and critiquing the many contradictions in the new Brazilian dictatorship.

Superbacana (translated as “Supergroovy”) follows a hyperbolic superhero’s use of technology to fight a gang of cowboys led by the money-hungry Uncle Scrooge, serving as allusions to American imperialism and greed felt in their country, all in the rapid-fire structure of a comic book. The subtext in all these songs, which the dictatorship would not immediately catch, were that these repressed but glaring contradictions, not the bountiful sunny paradise that the military regime was pushing, were the true national identity.

Unfortunately, these cleverly veiled jabs in Veloso and his contemporaries’ bodies of work gained greater and greater exposure as the movement became more and more popular, leading to the arrest, imprisonment and forced exile of Veloso and many of his cohort. Despite these difficulties, the Tropicalists continued creating in exile, strongly influencing artists both at home and abroad.

This is the first authorized North American vinyl issue of Caetano Veloso. Whether you’re a longtime fan or first-time listener, Third Man Records could not be more proud to spread the compelling story of this album, this artist and the Tropicália movement.

The shot heard 'round the world. The first album originally released by the White Stripes in 1999, now available remastered and reprinted by Third Man Records, authorized for the first time on cassette tape. The album is pressed on red cassette tapes.

The second album originally released by the White Stripes in 2000, now available remastered and printed by Third Man Records, authorized for the first time on cassette tape. The album is pressed on red cassette tapes.

'It must be gratifying for Sleep to hear the audience roar in approval when guitarist Matt Pike plays the opening notes of Dopesmoker, the live set version coming in around 40 minutes, slimmed down from the studio recording, which clocks in at a little over an hour and three sides.

Years after the release of Volume One in 1991, Sleep's Holy Mountain in 1992 and Dopesmoker in 2003, Matt Pike hard at work with High On Fire and bassist / vocalist Al Cisneros with OM, heavy music needed one of its essential minerals back. In 2009, falling in on either side of Neurosis drummer Jason Roeder, Sleep, like a wooly mammoth awoken from centuries of frozen slumber, once again walked the earth. You could almost hear the universe sigh in relief that Sleep was back.

2014 saw Sleep release a single sided 12'' with a new song, The Clarity, giving fans a glimpse of what would hopefully be more to come. And so, the wait began . . .

All good things take time. In 2018 Sleep fans will have a reason to break out their fi nest and get it lit because record stores all over the world will have the new Sleep album.

Sleep has live shows slated for this year. Their studio work is tremendous. However, Sleep in the live setting must be witnessed to be understood. That three people can create such a perfect, truly massive yet complex and dynamic sonic environment is what keeps their shows selling out. Truly, the band is not to be missed. May it never end.

Disclaimer: Any attempts to describe the music of Sleep render this writer almost completely useless. They are that good.

Prescription: Listen to Dopesmoker as often as possible and prepare for what is to come.''
- Henry Rollins, March 2018

Waxahatchee is the recording project of Katie Crutchfield, an Alabama songwriter long-steeped in the Rutgers/Philadelphia scenes. Having released albums on Merge Records and New Brunswick's beloved indie Don Giovanni Records, Crutchfield has carved out a distinct name for herself, both grassroots and now nationally, as a devastatingand whip-smart writer and performer.

Mastered directly from original analog tapes, pressed on 180 gram blck vinyl! Signed to Atlantic Records in the hubbub after Nirvana's Nevermind exploded, the Melvins' fifth album Houdini was a conscious attempt by the band to make a record that wouldn't alienate their fans but that the band members themselves would also enjoy. Their best-selling release by a country-mile, this album crested at number 29 on on the Billboard Heatseekers chart. Houdini would be most folks introduction to the band and songs like ''Honeybucket'' received MTV airplay.

Pride of St. Louis Pokey LaFarge pays homage to his home city on this first single!

The 12-inch single of Jack White’s “Sixteen Saltines” comes complete with a playable etching on the b-side (designed by George Ingram)!

People, stay calm! This is NOT the one with the liquids inside but it's quite nice anyway!