Jump to content

Kali Durga

Member Since 08 Feb 2010
Offline Last Active Today, 02:56 PM

Topics I've Started

New Brendan Benson album, Dear Life, to be released by TMR on 4/24

14 February 2020 - 04:18 PM

Cross-posting from the Other Bands section, since Brendan is now a Third Man Records artist:  New album and tour announced today--  https://thirdmanreco...-with-dear-life



Third Man Records is proud to announce the first new LP in almost seven years from Brendan Benson. DEAR LIFE arrives via Third Man Records on Friday, April 24. Pre-order HERE and pre-save the album HERE.

Bensons seventh solo album and first full-length release via Third Man, DEAR LIFE is heralded by the rhapsodic first single, Good To Be Alive, streaming now via its official video and on all DSPs.

Good To Be Alive is kind of weird, to be honest, Benson says, But thats what Im most excited about. It says a lot about this record, its almost got a split personality or something. Its totally bizarre I still sit back and listen to it, thinking, thats so cool! Its like somebody else played it, its not the same old me.


Benson finds himself in an enviable spot as he enters the third decade of a remarkably creative, consistently idiosyncratic career an accomplished frontman, musician, songwriter, producer, band member, husband, and dad. DEAR LIFE marks this consummate polymaths most inventive and upbeat work thus far, an 11-track song cycle about life, love, family, fatherhood, and the pure joy of making music. Produced and almost entirely performed by Benson at his own Readymade Studio in Nashville, the album sees the Michigan-born, Nashville-based artist and co-founder, with Jack White, of The Raconteurs reveling in a more modernist approach than ever before, fueled by a heady brew of cannabis, hip-hop, and a newly discovered interest in software drum programming. The result is an untapped playfulness that elevates expertly crafted songs like the future funk-fueled opener, I Can If You Want Me To, and the ecstatic Richest Man Alive with voluble arrangements, elastic grooves, and incandescent power. Imbued with revitalized ambition and confidence, DEAR LIFE is Brendan Benson at his very best.

There's something about this record, Benson says. A friend of mine called it life-affirming. I thought it was a joke at first but then realized, well, its about life and death for sure. I dont know if thats positive or optimistic or whatever, but that's what's going on with me.

Benson will celebrate DEAR LIFE with a much-anticipated North American headline tour. The dates begin April 26 at Washington, DCs U Street Music Hall and then continue into mid-May. Additional dates will be announced soon. For updates and information, please visit www.brendanbenson.com.




26 Washington, DC U Street Music Hall

28 Boston, MA Great Scott

29 Brooklyn, NY Music Hall of Williamsburg

30 Philadelphia, PA Johnny Brendas


4 Toronto, ON Horseshoe Tavern

5 Detroit, MI The Loving Touch

6 Chicago, IL The Empty Bottle

7 St. Paul, MN Turf Club

11 - Los Angeles CA - The Roxy Theatre

12 - San Francisco CA - The Chapel

14 Portland, OR Holocene

15 Seattle, WA Tractor Tavern

Beginning with 1996s now-classic debut, ONE MISSISSIPPI recently reissued by Third Man in its first-ever vinyl pressing and available now and its masterful 2002 follow-up, LAPALCO, the Michigan-born, Nashville-based Benson has always infused classic craftsmanship with contemporary invention.

Along with his own critically acclaimed canon, Benson is of course co-founder with Jack White, Jack Lawrence, and Patrick Keeler of The Raconteurs. The band first convened in 2006, winning worldwide acclaim, GRAMMY® Award nominations, and a chart-topping smash single in Steady As She Goes, with their now-classic debut album, BROKEN BOY SOLDIERS. The Raconteurs returned two short years later with 2008s CONSOLERS OF THE LONELY. Like its predecessor, the LP proved a popular and critical phenomenon, earning the GRAMMY® Award for Best Engineered Non-Classical Album as well as a nomination as Best Rock Album. After more than a decade, The Raconteurs finally returned to action in 2019 with their critically acclaimed, chart-topping third LP, HELP US STRANGER, highlighted in part by songs Benson had initially considered for his own LP, Only Child and Somedays (I Dont Feel Like Trying). The Raconteurs epic 2019 world tour proved equally successful, playing to ecstatic sold-out houses from Nashville to New Zealand and all points in-between.

As if all that werent enough, Benson is an in-demand producer (Robyn Hitchcock, Young The Giant, Trapper Schoepp, The Greenhornes) and collaborative songwriter, with a CV that includes partnerships with Jake Bugg, Iain Archer (Snow Patrol), and The Kooks Luke Pritchard, among others.




I Can If You Want Me To

Good To Be Alive

Half A Boy (And Half A Man)

Richest Man Alive

Dear Life

Babys Eyes

Freak Out

Evil Eyes

Im In Love

I Quit

Whos Gonna Love You

Vault 44: De Stijl !

05 February 2020 - 01:10 PM

Vault Package #44: An Overview of 2000 and Accompaniment to De Stijl


In the year 2000 the White Stripes released their sophomore LP De Stijl. Named after the minimalist Dutch art movement of the early 20th century, the album was a marked deviation from the raw, urban punk blues exhibited on their debut LP from the year prior. Eschewing the cold confines of a studio, De Stijl was tracked in Jack White’s living room, giving the band the freedom to take the time to massage their songs into their picturesque final forms. The year would prove to be a further continuation of the band’s upward trajectory, complete with their first-ever headlining tour, a clutch run of dates opening for Sleater-Kinney, a first-time overseas jaunt hitting Japan, Australia and New Zealand…all culminating in the tiniest peek into the press hype overload that would land come their way in 2001.

Before any of that though was the songs.

De Stijl is oftentimes outwardly slow, somber and downtempo. Nowhere is that more evident than on the original acoustic boombox demos recorded by Jack White. Seemingly all done in an afternoon (and some of which may have been accidentally recorded over) the skeletal framework of such deep cuts as “Truth Doesn’t Make a Noise” and “I’m Bound to Pack It Up” butt up against a vocal-less seedling of “Expecting”, an exercise in keyboard dexterity via “Piano Octaves” and the unabashedly ebullient unheard and unreleased gem “Vanilla Fields.” Only recently discovered in the basement of Stripes’ archivist, Ben Blackwell, these recordings, many with alternate and unused lyrics, were completely forgotten by White, yet form a pivotal foundation and structure on which the De Stijl album would build from.

During the White Stripes’ “Three Island Tour” in October and November of 2000, the band found themselves at Corduroy Recording Studio in Melbourne, Australia. The plan was to record two songs direct-to-acetate and press them immediately after as a limited edition tour-only 7-inch single. The a-side was set to be the Billy Childish-via-the-Headcoatees song “You’re Right, I’m Wrong,” complete with Jack White jumping from bass to organ to guitar all in real-time. No room for tripping over a guitar cord of flubbing a lyric…or the band would have to start from scratch. No punch-in’s, no overdubs…just pure 1950’s archaic recording procedure. The b-side was an early attempt at the Burt Bacharach/Hal David song “I Just Don’t Know What to Do With Myself” which would be re-recorded by the band the following year at BBC Maida Vale Studios and ultimately end up as a top-line single off their

Elephant album, released to widespread critical acclaim in 2003.

As the way things sometimes go, the recording didn’t feel quite right at that moment. The levels peaked a little bit, there was something still left to be desired, some long-forgotten disagreements about approach and style and volume causing a metaphorical fissure to erupt across the control room window of the recording studio. The recordings were shelved and remained under lock-and-key in Australia until Third Man Records arranged for their safe delivery to the climate-controlled Nashville tape vault in 2012. While it was tough to sit on them, only now does it feel right and appropriate to share these, some of choicest gems the Vault has ever shared with the fans. We’re unaware of any other unheard studio recordings of Jack and Meg from 2000, so the excitement here is palpable.

As New Year’s Eve 2000 crested over to 2001, Jack and Meg performed a celebratory set at the Magic Stick in their hometown of Detroit. Rather than just approach the set the same off-the-cuff way they’d perfected over the previous six months of incessant touring, the band put in the effort to make the evening special. Fresh off their Australian tour dates, the band exhibited a rediscovered appreciation for the early works of AC/DC and decided to place it front and center by starting the show with intense takes on both “Let There Be Rock” and “Dog Eat Dog.” Joined by good friend Chris McInnis (They Come in Threes, PA) on bass for these two songs, it would be one of only a handful of times the Stripes would employ the four-string instrument in the live setting, creating a rock solid power trio here which is totally in service to the songs. The rest of the set is strong, with all the quintessential 2000-era highlights…”Hello Operator” with “Little Bird” and “Lord, Send Me an Angel” along with a stellar “Let’s Build a Home/Goin’ Back to Memphis” medley. All punctuated with a set-closing rendition of the Velvet Underground’s “After Hours.” Originally written by Velvets frontman Lou Reed for drummer Moe Tucker to sing, the Stripes version has Meg stepping out from behind the drum kit for the first time ever in concert, delivering her lines with all the charm and verve that fans would come to love from her later outings singing both “In the Cold, Cold Night” and “Passive Manipulation.” As with the AC/DC tracks, this would be the only time the White Stripes would ever cover “After Hours.” In a career chock-full of outstanding live performances, this gig stands out as one of the most-special and unique shows the band ever played. Available in mediocre quality on bootlegs for years (thanks to a slick fan who fished a copy out of a dumpster), this version is speed-corrected and remastered in high-quality directly from the original board tape.

Furthermore, it wouldn’t be a full Vault package without wholly exploiting the visual medium by including a DVD of TWO killer shows from the peak of De Stijl touring. We 100% guarantee they are shows you have NEVER seen before, taken directly from the original tapes deep within the TMR archives, never previously shared, exciting and insightful as all get-out. But you’re gonna have to wait just a bit to find out which shows those exactly are. Did you see the band in 2000? Maybe you’re in the crowd shot. Didn’t see them in 2000? Well now you can. You like Easter Eggs? Well maybe we’ll include some. Have a show you particularly want to see? Tell us and if we have it, maybe we’ll dig it up and use it to make your day. You’re welcome.

Of further unabated excitement is the archival booklet serving as a road map through the most recondite peaks and valleys of the White Stripes travels and travails in the year 2000. Filled with all sorts of previously unseen photographs, flyers, posters, hand-written lyrics, death letters, ransom notes, Zodiac Killer ciphers, Mongolian horse racing slips, Braille crossword puzzles and other assorted fish-wrapping, giving you, Johnny Q. Fanboy, hours upon hours of fun reading, digging and learning why this is a band, a release and a year worth paying attention to.

Subscriptions for Vault Package #44 are available now through April 30th. Join here.

LP 1 includes:

Truth Doesn’t Make a Noise

A Boy’s Best Friend

Sister, Do You Know My Name?

I’m Bound to Pack It Up


Vanilla Fields

Piano Octaves

You’re Right, I’m Wrong

I Just Don’t Know What to Do With Myself


and more!

LP 2 tracklist:

Let There Be Rock (AC/DC cover)

Dog Eat Dog (AC/DC cover)

You’re Pretty Good Looking (For a Girl)

Hello Operator

Death Letter

Little Bird

Lord, Send Me An Angel

Dead Leaves and the Dirty Ground

Apple Blossom

Broken Bricks


Truth Doesn’t Make a Noise


I’m Bored

Let’s Build a Home / Goin’ Back to Memphis

Suzy Lee

After Hours (Velvet Underground cover)




This looks and sounds like it's gonna be gorgeous!

Third Man Upholstery Instagram page

27 January 2020 - 06:57 PM

Looks like Jack's posting this stuff himself--  https://www.instagra...dmanupholstery/

December 8, 2019- KROQ Almost Acoustic Christmas

08 December 2019 - 04:43 PM

This show is being livestreamed tonight.  Racs are on at 8:00pm California time--  https://kroq.radio.c...as-2019-webcast



TMR to issue Brendan Benson's One Mississippi on vinyl

26 November 2019 - 01:42 PM

Brendan Benson is excited to announce the reissue of his seminal debut album One Mississippi, due December 6. Twenty-three years after its initial release, the Third Man Records reissue of One Mississippi is the FIRST-EVER vinyl pressing of this now-classic album. The deluxe version of the reissue will be available on clear vinyl, and the standard version will be available on black vinyl. The latter is now available for pre-order.

"It’s been a long time coming!" Benson said. "My first album, One Mississippi is finally available on vinyl! Thank you to the miracle workers at Third Man Records for making it so!"

The reissue follows a banner year for Benson, one that saw his songs rise to #1 on the Billboard 200 chart with The Raconteurs' long-awaited new album

Help Us Stranger, as well as performances on The Late Show With Stephen Colbert and Jimmy Kimmel Live and a performance and interview on The Tonight Show With Jimmy Fallon. Benson is currently working on a new solo LP -- stay tuned for more details.

Years before “Detroit” was the first word on the lips of taste-fakers, hype-stokers, scene-stealers and fame-lords the world over, Brendan Benson’s sheep-in-wolves’ clothing debut album One Mississippi was the unassuming first shot fired from the city and players that would soon become feted beyond their wildest imagination.
From the gallant album-opener “Tea” (a song which particularly resonated with Japanese fans, of whom hundreds excitedly sent him fan mail containing tea bags) through the propulsive swell of “Sittin’ Pretty” and the undeniable “hit” of “Crosseyed” to the quirky “Insects Rule” (which was jammed on live by Foo Fighters?!?!?)… Benson’s craft is fully on display here. With half the songs here co-written by the estimable Jason Falkner (Jellyfish, Beck), the end result is an unabashed pop album, accentuated by Brendan’s brilliant turn of phrase and preternatural ear for a melody. The album also stands out as the first full-length project helmed by venerated super-producer Ethan Johns (Paul McCartney, Kings of Leon) with One Mississippi serving as a unifying point in the careers of Johns, Benson, and Falkner that found them all mutually ascendant.

Follow the link for a picture of the pretty vinyl...  Available for pre-order now:   https://thirdmanreco...ippi-december-6