MUDDY WATERS - 'MANISH BOY B/W YOUNG FASHIONED WAYS'

Formats

• TMR470 - 7"

Details

Intended as the sequel to Muddy Waters’ and Willie Dixon’s 1954 hit Hootchie Cootchie Man and simultaneously as the response to Bo Diddley’s 1955 groover I’m A Man, the A-side Manish Boyitself has since become a blues standard, covered by anyone from Erykah Badu to The Band.

Tracks

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MUDDY WATERS - 'ROLLIN' STONE B/W WALKIN' BLUES'

Formats

• TMR468 - 7"

Details

Originally released as a 78rpm 10” shellac in 1950, this now-legendary Chicago blues A-side changed the course of Western Music. This is ground zero for the rock-n-roll that blew everyone's minds one decade later. And of course the namesake for the Stones.

Tracks

1. Rollin' Stone
2. Walkin' Blues

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MUDDY WATERS - 'SHE'S ALL RIGHT B/W SAD SAD DAY'

Formats

• TMR469 - 7"

Details

Originally released as a 78rpm 10” shellac in 1953, Muddy Waters powers through no-frills folk blues A-side on She’s All Right, which would later be completely turned on its head incorporating full-on fuzzbox psychedelia on Waters’ blockbuster album Electric Mud

Tracks

1. She's All Right
2. Sad, Sad Day

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Audio & Video

JOHN WATERS - 'MAKE TROUBLE'

Formats

• TMR517 - 7"

Details

Recording of the hilarious John Waters commencement speech, originally given at RISD graduation in the Spring of 2015. This spoken word 7", entitled Make Trouble, features the cult-hero filmmaker delivering his thoughtful and riotous advice to fresh young faces entering the working world. You never forget your first time watching a Waters film (for me, Pink Flamingos) and you won't forget his words on this recording either. Third Man is proud to present John Waters reading excerpts from his subversive and brilliant commencement speech. This speech was originally read at RISD’s spring 2015 undergraduate commencement in its entirety, released earlier this year by Algonquin Books, and now read by Waters himself.

Tracks

*Spoken Word*

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Audio & Video

SQURL - 'PATERSON: ORIGINAL FILM SCORE'

Formats

• TMR495 - LP

  813547024893

Details

SQÜRL is: Carter Logan and Jim Jarmusch. An enthusiastically marginal rock band from New York City who like big drums & distorted guitars, cassette recorders, loops, feedback, sad country songs, molten stoner core, chopped & screwed hip-hop, and imaginary movie scores. SQÜRL began in 2009 when Jim and Carter teamed with producer/engineer Shane Stoneback to record some original music for the film THE LIMITS OF CONTROL. Echoing the varied Spanish landscapes captured in the film, the three emerged with a set of slow-motion psychedelic rock instrumentals (releasing them originally as Bad Rabbit). As the artists settled into their new moniker SQÜRL, the group released a series of 3 EPs, recorded over a 3 year period by Shane at Treefort Recording in Brooklyn, NY. In 2013, SQÜRL collaborated with Dutch lutenist Jozef Van Wissem to compose and perform the score for the film ONLY LOVERS LEFT ALIVE. Bridging ancient and modern sounds, the score serves as a reflection of the distinct textures of Detroit and Tangier. The film and soundtrack album were released worldwide in 2014, and earned the group the Cannes Soundtrack Award from a consortium of film and music critics. Earlier in 2017 SQÜRL released EP #260, a heavier instrumental suite, with innovated b-side remixes by Anton Newcombe and Föllakzoid. With their most recent project, the score for PATERSON, SQÜRL have taken inspiration from their performances live-scoring Man Ray’s surrealist silent films and made a dive into the ocean of ambient electronic music. This time, the poetry of the film requested a slightly different approach in texture, timbre and tone, and led the band to use primarily analog synthesizers. Drums and guitars have been temporarily left behind -- feedback gives way to glass harmonica drones, kick drums to sub-bass punctuation marks. While a brighter counterpoint to some of SQÜRL’s previous work, using some new tools, the band’s purpose has remained to create their own variation on ecstatic music. • Hometown: New York City, NY • Original film score for Jim Jarmusch’s 2017 film Paterson

Tracks

1. Bright Air
2. Dark to Light
3. Blue and Gray
4. Persian Dream
5. Warm Sun?Cold Snow
6. Water Falls
7. Light to Dark
8. Trillions of Molecules

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KID CONGO & THE PINK MONKEY BIRDS - 'HALLOWEEN SINGLE'

Formats

• HOWL01 - 7"

  647603399324

Details

ITR are proud to announce the first in what we hope will be an ongoing series of seven inch records celebrating the only holiday that matters, “Halloween”. Kid Congo kicks the series off in grand style tackling the theme song to the movie Spider Baby (originally sung by Lon Chaney Jr) and a very creepy instrumental. Pressed on beautiful black and orange splatter vinyl, housed in a ghoulish sleeve designed by Igor and pressed in an edition of 666. (Forte is getting 66 of these)

Tracks

A: Spider Baby
B: Apple In The Razor Blade

Press

Audio & Video

AMOR - 'HIGHER MOMENT / AMNESIA'

Formats

• LSSN058 - 12"

Details

Higher Moment / Amnesia is the follow up to Paradise / In Love An Arc, AMOR’s debut 12”, which surfaced in May 2017. Culled from the same sessions at Chem 19 and The Green Door in Glasgow, these two tracks elevate the ecstatic, transcendent aesthetic Richard Youngs, Luke Fowler, Michael Francis Duch and Paul Thomson introduced with their previous release. AMOR is collectivism in the servitude to trance, a master class in ensemble playing, an avant-disco one-mind. AMOR’s practice is simple. 4 musicians, in a room, together with the groove. Playing for hours on end, improvising and honing down each track to its bones to be fleshed out, AMOR fuses acoustic instrumentation with sharp, electronic precision. Central to each track is the elastic double bass playing of Michael Francis Duch, a backbone that breathes and allows drummer/percussionist Thomson to explore. This time around mixed by Paul Savage at Chem 19, Higher Moment on Side A, forsakes the 4/4 of the group’s previous 2 tracks for a loping ecstasy, a driving rhythm that forges forward around the bassline. Youngs’ vocal here is the focal point, teaming with an almost utopian positivity. For an artist who’s built a career obfuscating, sidestepping the straightforward, to hear a sentiment so pure is spine-tingling. In fact to imagine a Youngs brimming over with a higher love is almost the biggest curveball this artist has ever thrown at the listener. With the line “following fearless through clear boredom,” we imagine a path to a new world shorn of the material. On the flip, Amnesia re-introduces the pounding 4/4 kick with a bittersweet cadence provided by Youngs’ piano. Here, Fowler’s subtle effects dress the movement, highlighting the tension between the forceful, House percussion and Youngs’ minor key melody. Amnesia’s power comes from the edit, a skillful carving up of the groove to create several beautiful, odd moments in time. Indeed, with its to-the-floor pulse, Amnesia searches deeper into inner space, providing a melancholy twist to Higher Mome nt’s optimism. AMOR takes you higher, forever an ocean, Artwork by Robert Beatty. “Combining grooving double bass, felt electronic beats, analogue keyboards and quivering vocals, all explored within the contours of an epic 14 minute dance jam, Amor’s Paradise suggests what the mutant, earthy funk of the early 1980s might have sounded like if it had found its first breakthrough in 2017. It’s simply one of my favourite tracks of the year.” Tim Lawrence, Author of Life And Death On The New York Dance Floor, 1980-83 and Love Saves The Day: A History Of American Dance Music Culture, on Paradise. AMOR takes you higher, forever an ocean. 

Tracks

SIDE A: Higher Moment (11.23)
SIDE B: Amnesia (13:19)

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Artwork by Robert Beatty

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