Cat Power returns with Covers, Chan Marshall’s third album of her celebrated reinterpretations of songs by classic and contemporary artists.

On Covers, Marshall reaches back to songs that have affected her from childhood to the present, connecting each with a deeply personal memory. She recalls her grandmother’s love for Billie Holiday’s “I’ll Be Seeing You” and finding a box of cassettes as a teenager that led her to discovering Kitty Wells’ “It Wasn’t God Who Made Honky Tonk Angels.” She remembers getting chills hearing Iggy Pop’s “Endless Sea” in the 1986 Michael Hutchence film Dogs in Space and being a broke artist in her twenties in New York City spending her last dollar to play the Replacements’ “Here Comes a Regular” on the jukebox at Mona’s. She recorded the Pogues’ “Pair of Brown Eyes,” which she calls one of her favorite songs of all time, after it reminded her of one friend who passed from cancer and turned to Bob Seger’s “Against the Wind” to help her heal from the loss of another. 

Alongside covers of rock-and-roll icons from Nico to Nick Cave, Marshall brings her inimitable vocal power and elegant arrangements to songs by contemporary artists, capturing the defiance of Dead Man’s Bones’ “Pa Pa Power” and the dreaminess of Lana Del Rey’s “A White Mustang.” And the album opens with a dazzling cover of Frank Ocean’s “Bad Religion,” of which she says, “I believe in whatever God is called… But I think that the wretched men that have come in history to implement horror on humanity in the name of these religions is something that should be looked at universally.” 

Finally, Covers finds Marshall, an artist of constant evolution, reworking “Hate,” a song from her 2006 LP The Greatest on which she sang “I hate myself and I want to die.” Marshall says she has always felt “antsy” about the track and reimagined it as “Unhate,” a new version that looks back on the raw devastation of the original track in the rearview. “We all have bad days,” she says. “We all have shit, trauma, something. There are times when you feel like that. But I needed to make it right.” 

Marshall self-produced all of Covers; it was recorded in Los Angeles at Mant Studios with Rob Schnapf, who mixed and engineered. 

Hell on Church Street, Punch Brothers’ newest album, due January 14, 2022 on Nonesuch Records, is the band’s reimagining of, and homage to, the late bluegrass great Tony Rice’s landmark solo album Church Street Blues. The record features a collection of songs by Bob Dylan, Gordon Lightfoot, Bill Monroe, and others. Recorded at Nashville’s Blackbird Studio in November 2020, during a time of great uncertainty, Hell on Church Street was intended as both its own work of art and a gift to Rice, who died that Christmas. Punch Brothers said of Tony Rice and Church Street Blues: “No record (or musician) has had a greater impact on us, and we felt compelled to cover it in its entirety, with the objective of interacting with it in the same spirit of respect-fueled adventure that Tony brought to each of its pre-existing songs.”

Bonobo will release new album Fragments, due on January 14, 2022 via Ninja Tune. Fragments is the most emotionally intense record that he - aka Simon Green - has ever had to make. It’s no surprise that it’s also his masterpiece. The album features Jamila Woods, Joji, Kadhja Bonet, Jordan Rakei, O’Flynn and Miguel Atwood-Ferguson. Born first out of fragments of ideas and experimentation, the album ultimately was fused together in a burst of creativity fueled by both collaboration and Green’s escape into the wild.

Featuring a diverse and spectacular cast of collaborators, "The Atlas Underground Flood" is a treasure trove of creativity, spanning many genres. The album is the surprise sister record released on the heels of "The Atlas Underground Fire”. “Fire” and “Flood” are a continuation of the Rage Against The Machine guitarist’s groundbreaking 2018 album, “The Atlas Underground.” Morello’s insane guitar playing is on full display taking the instrument into the future and forging an alternative/rock/EDM masterpiece with heavy metal legends, punk icons and cutting edge firebrands.

Chuck Berry, the songwriter and guitarist now known worldwide as the Father of Rock & Roll, came from humble begin­nings. After an evening in 1996 spent reminiscing about his storied career with his longtime friend Joe Edwards, owner of St. Louis restaurant and venue Blueberry Hill, Berry fulfilled the dream of music lovers everywhere; he started a live residency that spanned 209 shows at the 340-person capacity club. The club became a modern-day Mecca for rock fans, and a once-in-a-lifetime opportunity to see the legend perform up close and personal. Live From Blue­berry Hill compiles some of Berry's greatest hits from this epic run of shows played alongside his fantastic band - including his son Charles Berry Jr. and daughter Ingrid Berry. 

Critically acclaimed soundtrack to Bo Burnham's Netflix musical comedy special INSIDE.  Double vinyl LP features all the music from INSIDE, including “All Eyes On Me”, “Welcome To The Internet” and “Bezos I”.  Shot and performed by Bo Burnham, alone, over the course of a very unusual year. Nominated for 6 Emmys including best variety series, writing, directing, song, musical direction, and editing. Standard weight black vinyl in gatefold packaging.

Third Man Records is proud to release the 20th anniversary expanded edition of Kelley Stoltz's defining album 'Antique Glow.' Originally self-released in miniscule vinyl-only quantities in 2001, 'Antique Glow' has served not only as a template for the length of Kelley Stoltz's twenty-plus year career, but has also served as a compass for other Anglophile, TASCAM 388 home recording acolytes.

Original copies featured Stoltz's clever, wry and fanciful hand-painted adornments overtop reclaimed thrift store LP jackets, Third Man's release here utilizes some of those original unused images for a die-cut sleeve that ultimately gives the listener six different possible album covers.

The songs are by and large masterpieces of bedroom pop magic. From the whispering 'Here Comes the Sun'-adjacent acoustic underpinnings of album opener 'Perpetual Night' through the fuzz-threaded leads of 'Are You Electric?' Stoltz's inspirations are impeccable and clear. Sixties Davies British Invasion through 80's British Bunnymen post-punk, with appropriate off-shoots into West Coast American pop-psych, Velvets-indebted hooliganism and Drake/CSNY acoustic attenuations, the end result is pure joy.

On the expanded version, standout tracks previously relegated to an Australian tour-only CD (like the breathlessly cinematic 'Old Pictures') see their first-ever vinyl and digital release while there's an additional 8 songs from the 'Antique Glow'-era seeing their first ever release in any format. The cutting room floor quality here is second-to-none, Stoltz clearly gifted with the curse of writing too many indelible songs, so the newly released 'Too Beck' (originally cast off by Kelley because he thought 'it sounded too much like Beck') and 'Umbrella' stand firm as some of the best, most timeless music Stoltz has ever released... a full two decades after he recorded them!

With all instruments and vocals performed by Stoltz, the singularity of vision here is impeccably clear and executed. Packaging: Die-cut direct-to-board LP jacket, printed inner sleeves, standard weight vinyl

On her first-ever holiday album For Christmas, Grammy Award-winning singer/songwriter Amanda Shires invites the world into a fantastically warped wonderland of her own making. Though there’s flying reindeer and fallen tinsel and angels serenely plucking harps, Shires’s finespun storytelling sheds light on the kind of holiday experiences and emotions that often go ignored in Christmas songs: the family drama and forced cheer, burnt-out frustration and elaborate fantasies of escaping off to some far-away tropical island. Mostly made up of original material from the Texas-bred musician, the album unfolds in a selection of piano songs touched with the timeless charm of Brill Building pop—a lovely setting for the luminous vocal presence she’s brought to a series of acclaimed solo albums and to her role as a member of The Highwomen. Revealing an entirely new side of Shires’s idiosyncratic mind, the result belongs to that rare breed of holiday music that feels undeniably resonant at any season of the year.

The follow-up to 2018’s critically lauded To The Sunset, For Christmas marks the realization of a longtime dream for Shires. “I’ve always wanted to make a record that’s true to what Christmas is like for me, and all the mixed emotions that come with it,” she says. “There’s the happiness of being with family, and then the reality that getting a bunch of your family members in the same room is maybe never a great idea. I’m one of those hopeless-romantic types, so there’s the romance and beauty of Christmas but also the sadness, especially when not everybody you’re used to having around gets to be there anymore. There’s a lot of nostalgia in these songs, but there’s a lot of reality too.”

Produced by Lawrence Rothman and recorded live at Sound Emporium Studios in her homebase of Nashville, For Christmas finds Shires working with bassist Jimbo Hart (her bandmate in Jason Isbell’s 400 Unit), pianist Peter Levin (a jazz musician she met while touring with The Gregg Allman Band), guitarist Pat Buchanan (Dolly Parton, The Chicks), and drummer Fred Eltringham (Sheryl Crow, Lucinda Williams). Over the course of four hot days in July, Shires and her collaborators laid down the album’s nine original songs and two covers (including Frank Loesser’s “What Are You Doing New Year’s Eve?” and a darkly charged reimagining of “Silent Night”), infusing every track with the unbridled joy of the recording sessions. “We ate a ton of donuts and all wore Christmas hats, and the place was decked out in all these Christmas lights,” recalls Shires, who played fiddle and violin on For Christmas. “It’s hard to be in the studio sometimes, but everybody brought so much fun and humanity to the whole thing.”

Throughout For Christmas, Shires leads her audience on a whirlwind journey through the chaos of holidays, often spiking her nuanced reflection with a bit of goofball humor (“The pressure’s different when you’re writing Christmas songs as opposed to confessional songs or protest songs—there’s a chance to bring some comedy, and get more punny than normal,” she notes). Along the way, Shires presents such gems as “Blame It on the Mistletoe,” a tribute to the dizzying bliss of falling in love at holiday time (sample lyric: “I admit I was feeling a little ho-ho-hopeless/Thinking this crush was just one-sided”). One of several tracks featuring legendary gospel quartet The McCrary Sisters, the sublimely offbeat “Gone for Christmas” slinks along in a Grinch-inspired groove as Shires shares a litany of less-than-orthodox holiday wishes (“I want a date with Larry David/I want Costa Rica or the Caymans/And I want you gone for Christmas”). And on “Always Christmas Around Here,” For Christmas closes out with a riotously true-to-life portrait of the holiday’s aftermath (“A mess in the living room/There’s a wine all over the couch/My sisters aren’t speaking/Who’s crying now?”). “That song was my favorite to put together,” Shires points out. “John Prine had passed away not too long before, and he loved Christmas—he always had a Christmas tree up everywhere, even in the studio. I was thinking about all the problems that come with the holidays, and how difficult families can be, and I know I wrote a song he would say was pretty great.”

Elsewhere on For Christmas, Shires channels everything from lustful whimsy (“A Real Tree This Year”) to glorious catharsis (“Let’s Get Away”) to heavy-hearted longing (on the quietly devastating “Slow Falling Snow”). “What I wanted to do with this record was capture all of my feelings about Christmas, and I’ve still got more feelings to go—it’s so fun I might do it again,” says Shires. “I hope it helps people know that all the feelings are okay, that it’s all right to feel down on Christmas when there’s so much celebrating going on around you. And at the same time I just wanted to give everyone some Christmas songs they haven’t already heard 200,000 times before, and hopefully get them all to sing along.”