Midwest Farmer's Daughter isn't merely an autobiographical title for the retro country singer/songwriter Margo Price, it's a nice tip of the hat to one of her primary inspirations, Loretta Lynn. The connections between the two country singers don't end there. Toward the end of her career, the Coal Miner's Daughter wound up collaborating with Jack White for 2004's Van Lear Rose, and White's Third Man Records provides a launching pad for Price, releasing her self-financed solo debut as-is as Midwest Farmer's Daughter.
Sea of Cowards arrived less than a year after the Dead Weather's debut, Horehound, an album that sounded like a bootleg of a 3 a.m. jam session – not a surprise, really, considering that the idea for the band came out of impromptu playing at Jack White's house. It’s also unsurprising that the Dead Weather evolved quickly, given that the group went from releasing Horehound to touring to recording again almost nonstop. Sea of Cowards isn’t a radical change from Horehound’s smoky, sludgy sound – if anything, White, Alison Mosshart, Dean Fertita, and Jack Lawrence go even deeper into their classic rock and blues fetishes – but it feels more organic, the product of a band instead of four separate personalities.
It took the Dead Weather two years to make and release Dodge and Burn, with the bandmembers recording whenever they had time to play together and issuing several songs as singles through Third Man's subscription service, The Vault. Despite these fragmented origins, this is the Dead Weather's most satisfying and engaging album, with everything that was good about their previous music getting a shot of adrenaline. The charged opening track, "I Feel Love (Every Million Miles)," is the first sign that things are a little different this time, with the spare swagger of '70s metal and boogie rock providing a platform for some of Dean Fertita's most unhinged guitar playing and some of Alison Mosshart's wildest vocals.
An out of work pulp fiction novelist, Holly Martins, arrives in a post war Vienna divided into sectors by the victorious allies, and where a shortage of supplies has lead to a flourishing black market.
One of the greatest film-noir movies ever made, Carol Reed's "The Third Man" (1949) follows the deeds of an American writer who arrives in post-war Vienna looking for his friend. Beautifully-lensed and filled with suspense, the picture offers a disturbing portrait of a world ruled by injustice, rotten political ideologies, and nihilism. Courtesy of Criterion.
Film music had pending an update of the soundtrack of the film ' The Third Man', directed in 1949 by British director Carol Reed and certainly the most important in the history of British cinema. It is known that the creator and performer of the music of this film was the musician and sitar player Anton Karas (Vienna, 1906-85). The interpretation of this recording , disappeared Karas, has been left to the Bavarian instrumentalist Gertrud Huber (Altoetting, 1963), not only a classically trained musician, but nice player of zither and harp of concert. This work is an opportunity to renew with the current sound quality great soundtrack of this historical film.