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Light In The Attic Vinyl, CD & Tape 87 Artikel

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Rodriguez - Cold Fact
T.L. Barrett & The Youth For Christ Choir - Like A Ship … (Without A Sail)
T.L. Barrett & The Youth For Christ Choir
Like A Ship … (Without A Sail)
LP | 1971 | US | Reissue (Light In The Attic)
23,99 €*
Release:1971 / US – Reissue
Genre:Organic Grooves
One time Chicago pastor and civic crusader T.L. Barrett's long-forgotten gospel-soul LP Like A Ship… (Without a Sail) is finally getting some much-needed direction - straight to the hearts of music-lovers worldwide. Long revered in the Windy City amongst the flock and fervent crate diggers, this end-to-end burner remains one of the holy grails of gospel soul.This 180-gram LP pressing comes in a beautifully crafted gatefold jacket with additional liner notes written by Peter Margasak (Chicago Reader), which include new interviews with T.L. Barrett, Phil Upchurch and Gene Barge.
Johnnie Frierson - Have You Been Good To Yourself
Johnnie Frierson
Have You Been Good To Yourself
LP | 2016 | US | Original (Light In The Attic)
29,99 €*
Release:2016 / US – Original
Genre:Organic Grooves
Followers of soul music might have a pang of recognition on reading the name Frierson. That was the surname of Wendy Rene, whose work was collected into the 2012 LITA anthology "After Laughter Comes Tears", and indeed, Johnnie Frierson is Wendy's brother – a fellow member of her mid-'60s Stax four-piece The Drapels. "But Have You Been Good To Yourself" will come as a surprise to anyone expecting more of the beat-driven R 'n' B Johnnie and his sibling produced – including that compilation's much-sampled title track. A mix of spoken word and gospel songs laid down direct to cassette, these ultra-rare home recordings draw from Johnnie's religious upbringing and his history in the music business, which was interrupted in 1970 when he was sent to fight in Vietnam. Crate digger Jameson Sweiger found Have You Been Good To Yourself and a companion album, Real Education, released under the name Khafele Ojore Ajanaku in a Memphis thrift store, but it was noticeably Frierson's work. They hadn't made it far – they would originally have been sold at corner stores and music festivals in the Memphis area, where Frierson continued to perform and host a gospel radio show, all the while working as a mechanic, laborer and teacher.The seven songs on Have You Been Good To Yourself are overtly religious; some, such as “Out Here On Your Word,” are strident and faithful; others, like the self-questioning “Have You Been Good To Yourself,” are more meditative. They reflect the difficult situation that Frierson was in when recording, shell-shocked from his time in the military and grieving the untimely death of his son. "He was really trying to find his way," remembers Frierson's daughter Keesha in Andria Lisle's liner notes. "And writing and making music were a way out for him."The album is now remastered and released professionally for the first time, the message spread by Frierson – who passed away in 2010 – remains undimmed.
Erasmo Carlos - Sonhos E Memórias 1941-1972
Erasmo Carlos
Sonhos E Memórias 1941-1972
LP | 1972 | US | Reissue (Light In The Attic)
24,99 €*
Release:1972 / US – Reissue
Genre:Organic Grooves
Erasmo Carlos has no counterpart in the universe of Anglophone pop music that could begin to hint at his relevance, popularity and his complex relationship with the only Brazilian pop star more universally recognized than himself, Roberto Carlos. He may be a beloved pop star and household name in Brazil, but hardly because of the music found on the three albums reissued by Light In The Attic. While in retrospect they can be appreciated as some of his most creative, consistent and personal albums, they were also some of the least commercially successful and underappreciated of his long career, at least until recently. Embracing the artistic freedom of the global counterculture of the late sixties and early seventies, over the course of these three albums, Erasmo evolved from his bubblegum beginnings into a sophisticated seventies singer-songwriter. Erasmo Carlos’ “E Os Tremendões” (1970), “Carlos, Erasmo” (1971) and “Sonhos E Memórias 1941-1972” (1972) collectively find this maturing teeny-bopper delivering a mix of world class psychedelic Rock, traditional Rock ‘N’ Roll, Soul, Funk, Folk, Bossa Nova, and Samba-Rock to an unsuspecting Brazilian audience. “Sonhos E Memórias 1941-1972” is truly singular within Brazilian pop fusing rock, soul, jazz and singer-songwriter styles. It’s simultaneously rootsy, funky, modern and nostalgic. The lyrics are highly personal, searching for deeper meaning with lots of flower power imagery and language, while the music is tight, highly rhythmic, melodic and restrained in its delivery and effortless groove. Built around the future fusion trio Azymuth with keyboardist José Roberto Bertrami, drummer Ivan Conti aka “Mamão” and bassist Alex Malheiros, a majority of the album’s tunes make excellent use of this trio’s telepathic tightness, subtle funkiness, and melodic mastery. The album dabbles with a few different styles and rhythms, all telling Erasmo’s musical story be it Bossa Nova, Roots Rock, Hard Rock, ballads, and soulful grooves, but a certain sonic frequency or tempo alongside the autobiographical elements unite this masterwork. Finally, this great album is made available on vinyl outside of Brazil for the first time ever. All material got newly remastered from the original master tapes. The LP is housed in a deluxe gatefold Stoughton tip-on jacket and comes with liner notes by Allen Thayer with lyrics (Portuguese/English).
City, The - Now That Everything's Been Said
City, The
Now That Everything's Been Said
LP | 1968 | US | Reissue (Light In The Attic)
22,99 €*
Release:1968 / US – Reissue
Genre:Rock / Indie
We all know the Carole King who wrote some of the biggest hits of the ‘60s, from "Will You Love Me Tomorrow" to "Pleasant Valley Sunday," via "The Locomotion" and "(You Make Me Feel Like) A Natural Woman." We also know the singer-songwriter behind Tapestry, the album that launched King as a solo singer in her own right. But in between–and not nearly as well known–is King’s band, The City, and their album, Now That Everything’s Been Said.By the mid-‘60s, King’s marriage to Gerry Goffin, with whom she’d written many of those wonderful hits, had hit the rocks. A divorce loomed, and King all but retired to raise their two daughters. She headed west to Laurel Canyon in ‘67, taking the children with her, and made the previously unlikely move of joining a progressive folk-rock band. King formed The City with future husband Charles Larkey on bass and Danny Kortchmar on guitar and vocals. With King on piano and vocals, they created a folk rock sound that pre-empted the singer-songwriter boom of the ‘70s.Produced by Lou Adler and featuring Jimmy Gordon on drums, The City’s sound is deep and soulful, imperfect but passionate. And the songs, with King writing or co-writing all but one, are as exceptional as you’d expect and as widely covered as her factory work. "Now That Everything's Been Said" was a hit for American Spring, "A Man Without A Dream" was tackled by The Monkees, and "Hi-De-Ho (That Old Sweet Roll)" was a hit for Blood, Sweat & Tears. Central to the album’s appeal is King’s own stirring reading of her track "Wasn’t Born To Follow," covered masterfully by The Byrds for the Easy Rider soundtrack.King had been used to a life on the sidelines, and her stage fright left the trio unable to tour the LP which adversely affected their fortunes. That, plus some behind-the-scenes distribution problems, meant the album was quickly deleted, and it remained so for the next thirty years–partly at King’s request. Even so, its failure was a surprise to those concerned. “I was 26 when Now That Everything’s Been Said was released in 1968,” King says in the liner notes. “[We] expected it to zoom to the top of the charts within, at most, a few weeks. Individually and together, we optimistically imagined the album’s success as if it had already happened. Danny and Charlie kept telling each other, 'It’s a great album. The City is gonna be Number 1 with a bullet!’"Listening now, you can feel the threads that lead to Tapestry and to the hugely successful performing career that followed. It’s not so much an oddity in King’s work as the missing link between her two lives. Reissued here in deluxe vinyl, this is, at long last, a chance to own this lost album.
Donnie & Joe Emerson - Dreamin' Wild
Donnie & Joe Emerson
Dreamin' Wild
LP | 2012 | US | Reissue (Light In The Attic)
21,99 €*
Release:2012 / US – Reissue
Genre:Organic Grooves
Essential pick! These buddy's "Baby" was recently covered by Hype Williams on their "Ebony" album, and both tunes are hella fresh!Pacific Northwest isolation mixed with wide-eyed ambition, a strong sense of family and the gift of music proved to be quite the combination for teenage brothers Donnie and Joe Emerson. Originally released in 1979, Dreamin’ Wild is the sonic vision of the talented Emerson boys, recorded in a family built home studio in rural Washington State. Situated in the unlikely blink-and-you-missed-it town of Fruitland and far removed from the late 1970s punk movement and the larger disco boom, Donnie and Joe tilled their own musical soil, channeling bedroom pop jams, raw funk, and yacht rock.Spurred on their high school’s music program, Donnie and Joe received a further push from their lifelong farmer father, who drew up a contract stating that he’d support his sons lofty ambitions with their very own recording studio as long as they focused on original material, sage advice for a man with zero experience in the music business. After taking out a second mortgage to help cover costs, Don Sr. also built his children a 300-capacity concert hall (dubbed Camp Jammin’) replete with ticket booth, stage, and fully functioning snack bar. The only problem was that the projected audience never quite materialized, despite a prime time TV profile entitled “The Rock And Roll Farmers” from nearby Spokane, Washington. Even the Emerson brother’s school pals were nonplussed at their privately pressed long player; hand distributed to local music stores, but not as far as Seattle, five hours away from their rural home. Somewhat rejected by the muted response, but never surrendering, both Donnie and Joe continued down a musical path and are still active as performers today.
Erasmo Carlos - Carlos, Erasmo
Erasmo Carlos
Carlos, Erasmo
LP | 1971 | US | Reissue (Light In The Attic)
24,99 €*
Release:1971 / US – Reissue
Genre:Organic Grooves
Erasmo Carlos has no counterpart in the universe of Anglophone pop music that could begin to hint at his relevance, popularity and his complex relationship with the only Brazilian pop star more universally recognized than himself, Roberto Carlos. He may be a beloved pop star and household name in Brazil, but hardly because of the music found on the three albums reissued by Light In The Attic. While in retrospect they can be appreciated as some of his most creative, consistent and personal albums, they were also some of the least commercially successful and underappreciated of his long career, at least until recently. Embracing the artistic freedom of the global counterculture of the late sixties and early seventies, over the course of these three albums, Erasmo evolved from his bubblegum beginnings into a sophisticated seventies singer-songwriter. Erasmo Carlos’ “E Os Tremendões” (1970), “Carlos, Erasmo” (1971) and “Sonhos E Memórias 1941-1972” (1972) collectively find this maturing teeny-bopper delivering a mix of world class psychedelic Rock, traditional Rock ‘N’ Roll, Soul, Funk, Folk, Bossa Nova, and Samba-Rock to an unsuspecting Brazilian audience. As a student and fan of Elvis, Little Richard, Bill Haley, and Chuck Berry, Erasmo indulged his primal Rock urges on these albums, notably getting sufficiently psychedelic and fuzzy on “Carlos, ERASMO” . Arriving in 1971 while Caetano and Gil were still in exile, Rita Lee had recently quit Os Mutantes and Gal Costa was onto a new sound, Erasmo’s 1971 album was the closest thing to Tropicália around. “Carlos, ERASMO” was co-produced by the Tropicália producer, Manoel Barenbein, including a new composition from Caetano, a few arrangements courtesy of Rogério Duprat and the musical talents of no fewer than three Mutants: lead guitarist Sergio Dias, drummer Dinho Leme and bassist Liminha, not to mention Brazil’s undisputed psychedelic axe-master, Alexander Gordin, aka “Lanny”, “Carlos, ERASMO” is a virtual all-star team of Tropícalistas (not in exile). This album is considered a bedrock album within the Brazilian rock scene and a notable late entry in the Tropicália tradition, rocking harder than any album in his catalog, but also including wispy love songs, soul and funk moves, brassy pop tunes and a marimba-driven ode to marijuana. Finally, this great album is made available on vinyl outside of Brazil for the first time ever. All material got newly remastered from the original master tapes. The LP is housed in a deluxe gatefold Stoughton tip-on jacket and comes with liner notes by Allen Thayer with lyrics (Portuguese/English).
Roky Erickson - The Evil One
Roky Erickson
The Evil One
2LP | 1981 | US | Reissue (Light In The Attic)
28,99 €*
Release:1981 / US – Reissue
Genre:Rock / Indie
Celebrating a creative purple patch by a singular performer, Light In The Attic is to reissue the three albums issued by Roky Erickson in the 1980s: "The Evil One" (LITA 097), "Don’t Slander Me" (LITA 098) and "Gremlins Have Pictures" (LITA 099). Together, they’re a chance to pick up a missing jigsaw piece in the history of American rock ‘n’ roll in deluxe packages.
V.A. - Even A Tree Can Shed Tears: Japanese Folk & Rock 1969-1973 Colored Vinyl Edition
V.A.
Even A Tree Can Shed Tears: Japanese Folk & Rock 1969-1973 Colored Vinyl Edition
2LP | 2017 | US | Original (Light In The Attic)
40,99 €*
Release:2017 / US – Original
Genre:Rock / Indie
Preorder 20.10.2017
There was something in the air in the urban corners of late ‘60s Japan. Student protests and a rising youth culture gave way to the angura (short for “underground) movement that thrived on subverting traditions of the post-war years. Rejection of the Beatlemania-inspired Group Sounds and the squeaky clean College Folk movements led the rise of what came to be known in Japan as “New Music,” where authenticity mattered more than replicating the sounds of their idols.Some of the most influential figures in Japanese pop music emerged from this vital period, yet very little of their work has ever been released or heard outside of Japan, until now. Light In The Attic is thrilled to present „Even a Tree Can Shed Tears“, the inaugural release in the label’s Japan Archival Series. This is the first-ever, fully licensed collection of essential Japanese folk and rock songs from the peak years of the angura movement to reach Western audiences.In mid-to-late 1960s Tokyo, young musicians and college students were drawn to Shibuya’s Dogenzaka district for the jazz and rock kissas, or cafes, that dotted its winding hilly streets. Some of these spaces doubled as performance venues, providing a stage for local regulars like Hachimitsu Pie with their The Band-like ragged Americana, Tetsuo Saito with his spacey philosophical folk, and the influential Happy End, who successfully married the unique cadences of the Japanese language to the rhythms of the American West Coast. For many years Dogenzaka remained a center of the city’s “New Music” scene.Meanwhile a different kind of music subculture was beginning to emerge in the Kansai region around Osaka, Kyoto, and Kobe. Far more political than their eastern counterparts, many of the Kansai-based “underground” artists began in the realm of protest folk music. They include Takashi Nishioka and his progressive folk collective Itsutsu No Akai Fuusen, the “Japanese Joni Mitchell” Sachiko Kanenobu, and The Dylan II, whose members ran The Dylan cafe in Osaka, which became a hub for the scene.„Even a Tree Can Shed Tears“ also includes the bluesy avant-garde stylings of Maki Asakawa, future Sadistic Mika Band founder Kazuhiko Kato with his fuzzy, progressive psychedelia, the beatnik acid folk of Masato Minami, and the intimate living room folk of Kenji Endo.Nearly 50 years on, this “New Music” is born anew.This release marks the irst-ever fully licensed compilation of this music to be released outside Japan.The double LP housed in a deluxe gatefold Stoughton tip-on jacket with artwork by illustrator Heisuke Kitazawa including extensive liner notes.
V.A. - Even A Tree Can Shed Tears: Japanese Folk & Rock 1969-1973 Black Vinyl Edition
V.A.
Even A Tree Can Shed Tears: Japanese Folk & Rock 1969-1973 Black Vinyl Edition
2LP | 2017 | US | Original (Light In The Attic)
31,99 €*
Release:2017 / US – Original
Genre:Rock / Indie
Preorder 20.10.2017
There was something in the air in the urban corners of late ‘60s Japan. Student protests and a rising youth culture gave way to the angura (short for “underground) movement that thrived on subverting traditions of the post-war years. Rejection of the Beatlemania-inspired Group Sounds and the squeaky clean College Folk movements led the rise of what came to be known in Japan as “New Music,” where authenticity mattered more than replicating the sounds of their idols.Some of the most influential figures in Japanese pop music emerged from this vital period, yet very little of their work has ever been released or heard outside of Japan, until now. Light In The Attic is thrilled to present „Even a Tree Can Shed Tears“, the inaugural release in the label’s Japan Archival Series. This is the first-ever, fully licensed collection of essential Japanese folk and rock songs from the peak years of the angura movement to reach Western audiences.In mid-to-late 1960s Tokyo, young musicians and college students were drawn to Shibuya’s Dogenzaka district for the jazz and rock kissas, or cafes, that dotted its winding hilly streets. Some of these spaces doubled as performance venues, providing a stage for local regulars like Hachimitsu Pie with their The Band-like ragged Americana, Tetsuo Saito with his spacey philosophical folk, and the influential Happy End, who successfully married the unique cadences of the Japanese language to the rhythms of the American West Coast. For many years Dogenzaka remained a center of the city’s “New Music” scene.Meanwhile a different kind of music subculture was beginning to emerge in the Kansai region around Osaka, Kyoto, and Kobe. Far more political than their eastern counterparts, many of the Kansai-based “underground” artists began in the realm of protest folk music. They include Takashi Nishioka and his progressive folk collective Itsutsu No Akai Fuusen, the “Japanese Joni Mitchell” Sachiko Kanenobu, and The Dylan II, whose members ran The Dylan cafe in Osaka, which became a hub for the scene.„Even a Tree Can Shed Tears“ also includes the bluesy avant-garde stylings of Maki Asakawa, future Sadistic Mika Band founder Kazuhiko Kato with his fuzzy, progressive psychedelia, the beatnik acid folk of Masato Minami, and the intimate living room folk of Kenji Endo.Nearly 50 years on, this “New Music” is born anew.This release marks the irst-ever fully licensed compilation of this music to be released outside Japan.The double LP housed in a deluxe gatefold Stoughton tip-on jacket with artwork by illustrator Heisuke Kitazawa including extensive liner notes.
V.A. - Sing It High, Sing It Low: Tumbleweed Records 1971-1973
V.A.
Sing It High, Sing It Low: Tumbleweed Records 1971-1973
LP | 2017 | US | Original (Light In The Attic)
26,99 €*
Release:2017 / US – Original
Genre:Rock / Indie
In February of 1971, Larry Ray and Bill Szymczyk fled an earthquake and a debauched L.A. music scene to claim their own slice of utopia in Denver, Colorado. After meeting and bonding at ABC-Dunhill, where Ray landed as general manager, and where Szymczyk had breezed in from New York — fresh off his first real hit as a burgeoning engineer/producer with BB King’s “The Thrill is Gone” — they’d often daydreamed about starting their own label. In Denver, Ray and Szymczyk settled on the name Tumbleweed Records, and through industry connections they secured multi-million-dollar financing from Gulf + Western, whose head honchos believed they were bankrolling the hippie movement’s next big thing.But instead of producing the next Janis Joplin or Jimi Hendrix, Ray and Szymczyk turned their sights on idiosyncratic wunderkinds like Pete McCabe, moody songwriters Robb Kunkel and Danny Holien, psych-folk rocker Arthur Gee, all the while providing a platform for more established musicians like Albert Collins and Dewey Terry (of Don & Dewey fame), while launching the career of Michael Stanley.It was the best of times, it was the worst of times, and, per Szymczyk, it was a “bitchin’ disco time.” Drugs, parties, poetry, celebrities, money—Tumbleweed had it all, except airplay and distribution. Two years after its storied start, the label was finished.Ray would go on to various opportunities, including producing five country albums alongside Bill Halverson, while Szymczyk would soon skyrocket to fame after producing The Eagles’ Hotel California. Yet most of Tumbleweed's artists have been relegated to thrift store bin obscurity—until now. This landmark release not only showcases Ray’s vision and Szymczyk’s early work, but begins a major reappraisal of Tumbleweed’s catalog by bringing these songs out of the shadow of the Rocky Mountains and back into the spotlight.All original audio got fully restored and remastered.This release is housed in a beautiful deluxe Stoughton “Tip-On” gatefold jacket and contains unseen archive photos, album artwork label history and additional liner notes interviewing Tumbleweed principals Larry Ray and Bill Szymczyk, as well as surviving employees and artists.
Erasmo Carlos - Erasmo Carlos E Os Tremendões
Erasmo Carlos
Erasmo Carlos E Os Tremendões
LP | 1970 | US | Reissue (Light In The Attic)
22,99 €*
Release:1970 / US – Reissue
Genre:Organic Grooves
Erasmo Carlos has no counterpart in the universe of Anglophone pop music that could begin to hint at his relevance, popularity and his complex relationship with the only Brazilian pop star more universally recognized than himself, Roberto Carlos. He may be a beloved pop star and household name in Brazil, but hardly because of the music found on the three albums reissued by Light In The Attic. While in retrospect they can be appreciated as some of his most creative, consistent and personal albums, they were also some of the least commercially successful and underappreciated of his long career, at least until recently. Embracing the artistic freedom of the global counterculture of the late sixties and early seventies, over the course of these three albums, Erasmo evolved from his bubblegum beginnings into a sophisticated seventies singer-songwriter. Erasmo Carlos’ “E Os Tremendões” (1970), “Carlos, Erasmo” (1971) and “Sonhos E Memórias 1941-1972” (1972) collectively find this maturing teeny-bopper delivering a mix of world class psychedelic Rock, traditional Rock ‘N’ Roll, Soul, Funk, Folk, Bossa Nova, and Samba-Rock to an unsuspecting Brazilian audience. Collectively, the songs on Erasmo Carlos E Tremendões sound like an attempt to appeal to nearly every relevant genre of Brazilian popular music at the turn of the decade. You’ll find a wide spectrum, ranging from clssic Brazilian cover tunes (“Saudosismo”, “Teletema”, “Aquarela Do Brasil”) and Soul ballads (“Menina”) to Funk (“Jeep”). Maybe it was exactly that, a chance for Erasmo to stretch his creative muscles in a lot of different directions as it became clear his Jovem Guarda character and sound had run its course, along with the TV show of the same name. Erasmo Carlos E Os Tremendões is greater than the sum of its pop-rock spitballs. It’s a creative, and at times experimental and groundbreaking album that remains a thrilling listen. Finally, this great album is made available on vinyl outside of Brazil for the first time ever. All material got newly remastered from the original master tapes. The LP is housed in a deluxe gatefold Stoughton tip-on jacket and comes with liner notes by Allen Thayer with lyrics (Portuguese/English).
Lucio Battisti - Amore E Non Amore
Lucio Battisti
Amore E Non Amore
LP | 1971 | US | Reissue (Light In The Attic)
26,99 €*
Release:1971 / US – Reissue
Genre:Rock / Indie
If Lucio Battisti was Italy's answer to France's Serge Gainsbourg, then „Amore E Non Amore” is his own “Histoire De Melody Nelson”, a concept album that's widely regarded as a formative artistic achievement (if far from the most hit packed album) of his respective career. Both albums were released in 1971. For Battisti, the concept came from that dichotomous title: there's a rocky 'non-love' side of the album, which has songs about obsession and adultery, and a 'love' side of dreamy, prog-rock instrumentals. The album saw Battisti working with lyricist Giulio 'Mogol' Rapetti, with whom he'd collaborated closely since 1965, enjoying huge hits with the likes of “29 Settembre" and “Sognando La California,” an Italian version of “California Dreamin’". In an incredibly rare English language interview accompanying this lavish reissue, Mogol speaks of the album's conception. All material of this officially licensed reissue got remastered from the original tapes and pressed to 180-gram vinyl. The record is housed in a deluxe gatefold “tip-on” Stoughton jacket.
Lizzy Mercier Descloux - Mambo Nassau
Lizzy Mercier Descloux
Mambo Nassau
LP | 1981 | US | Reissue (Light In The Attic)
24,99 €*
Release:1981 / US – Reissue
Genre:Rock / Indie
After 1979's Press Color - reissued by Light In The Attic - Lizzy Mercier Descloux went tropical. Mambo Nassau, released in 1981 on Philips Records, saw the vagabond Parisian poet, artist and musician decamp from New York to the Bahamas with her manager and sometime lover, Michel Esteban. Mambo Nassau’s skip through styles is like a tour of Lizzy’s musical DNA, embracing not just mutant funk, disco and punk but a pastiche of Bavarian oompa music (“Milk Sheik”) and even cocktail jazz chanson (“Les Baisers D’Amants"), a duet with DJ Philippe Krootchey.
Supreme Jubilees, The - It'll All Be Over
Supreme Jubilees, The
It'll All Be Over
LP | 1980 | US | Reissue (Light In The Attic)
23,99 €*
Release:1980 / US – Reissue
Genre:Organic Grooves
If God had a disco, the DJ would be playing California gospel-soul group The Supreme Jubilees. “We won’t have to cry no more,” the tuxedo-clad group would sing, in high, angelic vocals over smooth grooves. “It’ll all be over.” Prepare to dance and contemplate death all at the same time.A band of brothers and cousins, the group was founded from two familes: brothers Joe and Dave Kingsby plus Dave’s son David Kingsby Jr., and keyboardist Leonard Sanders plus his brothers Phillips (drummer), Tim (bassist), and Melvin (tenor). The Sanders clan grew up singing together in the Witness of Jesus Christ church in Fresno CA, where dad Marion was pastor. Guitarist Larry Price–who belonged to neither family–completed the line-up that recorded the group’s first–and, prophetically, only–album, It’ll All Be Over.Released in 1980 on the group’s own S&K (Sanders & Kingsby) label, It’ll All Be Over pinpoints a fatalistic mood exemplified by the title. Its lyrics drawn from the Old Testament, its sound from the church by way of the disco, and it’s a feel captured by the album cover–a low, orange sun setting over the Pacific ocean. It is, as Jessica Hundley observes in the brand new liner notes, “both apocalyptic and seductive.”Making the album was not easy. Sessions began in Trac Record Co, a country and western studio in Fresno, CA, where the engineer was so put out by the group’s requests for heavier bass in the mix, he stopped the session and kicked them out. They left with four songs–one side of the album–and the record was completed at Sierra Recording Studio in Visalia, CA. Leonard Sanders reported having a spiritual encounter in his sleep while in Visalia; the next day he recorded his part of the album’s title track in a single take.After the LP was pressed, the group took their music on tour, first in California, where they played with acts including the Gospel Keynotes, The Jackson Southernaires, and the Mighty Clouds of Joy, and then on an ill-fated trip to Texas. A follow-up album was planned for 1981, but it never materialized; having slept sometimes a dozen to a room in Texas, the men in the band were reluctant to leave jobs, wives, and kids for the hardship of the road. The group simply fizzled out, even if the friendships never did. A copy of the album sold to a fan on that Texan tour made its way to a San Antonio record store, where it was discovered nearly three decades later by collector David Haffner (Friends of Sound). He managed to track down the Kingsby-Sanders clan at a Fourth Of July barbeque in Fresno in 2004. And he eventually introduced the group to Light In The Attic Records, which now presents the album, restored, remastered, and available to the public for the first time.
Marcos Valle - Garra
Marcos Valle
Garra
LP | 2012 | US | Reissue (Light In The Attic)
23,99 €*
Release:2012 / US – Reissue
Genre:Organic Grooves
The follow-up album to Brazilian singer, songwriter, and musician Marcos Valle’s 1970’s self-titled long player, Garra continues to express a socially aware stance combined with a playful hodge-podge of samba, bossa nova, baião (a rhythmic beat from the rural northeast of Brazil), black American music, and psychedelic rock. Marcos and lyricist brother Paulo Sergio recorded the disc with some of Brazil’s top studio musicians and created the pair’s most overtly political statement. Recorded amongst sessions for a steady stream of popular TV novella soundtracks—a side gig for the sun-kissed composer—the results tested the military led government’s hand picked sensors, looking over the country’s art and music with sharp eyes for critical or objectionable content. Unfortunately, some of Valle’s peers didn’t’ fare as well and were either exiled (like Tropicália movement icons Gilberto Gil and Caetano Veloso in 1969) or fled the country for the United States or Europe.Garra was originally released in 1971 and brought us the rare groove classic “Wanda Vidal,” heralded by UK, European, and Japanese music fans years after the disc’s initial release. Amidst an intoxicating mix of instruments, vocals, and orchestration, it’s a deep cut on an even deeper document. Any way you spin it, we at Light In The Attic are extremely proud to present Garra as part of our four-album Marcos Valle reissue campaign. Consisting of an ambitious string of early 1970s landmark studio sessions (sympathetic in spirit to Stevie Wonder and Marvin Gaye’s game changing work from the same era) and released on CD and LP, Garra features extensive liner notes by San Francisco-based writer Allen Thayer (Wax Poetics) with exclusive interview content and song-by-song breakdown from Marcos himself. Fans new and old will finally have easy breezy access to these once hard-to-find Brazilian classics.Tackling topic from Presidential corruption, rampant consumerism, and the black power movement, Garra is a welcome addition to any South American friendly record collection and sits proudly with the best of Brazil. File after Os Mutantes and before Caetano Veloso.
Rodriguez - OST Searching For Sugar Man
Rodriguez
OST Searching For Sugar Man
2LP | 2012 | US | Original (Light In The Attic)
28,99 €*
Release:2012 / US – Original
Genre:Rock / Indie, Film / TV
Preorder 04.08.2017
The story remains one of the music world’s most unusual tales of the 1970s: an obscure debut LP by a Detroit singer-songwriter becomes a source of hope and inspiration to the anti-Apartheid movement in South Africa. Now, the story of Rodriguez and his cult album Cold Fact is the basis for Searching For Sugar Man, a riveting new documentary by filmmaker Malik Bendjelloul. Light In The Attic Records in partnership with Sony Legacy are honored to announce the release of the original motion picture soundtrack, comprising tracks from Cold Fact and its 1971 follow-up Coming From Reality – both reissued in 2008 and 2009 by Light In The Attic. The soundtrack begins with the otherworldly “Sugar Man” and acts as a primer to this long-overlooked musician’s fusion of gritty funk, political poetry and blissful psych-folk.Searching For Sugar Man, a Red Box Films & Passion Pictures Production in association with Canfield Pictures & The Documentary Company, distributed by Sony Pictures Classics in the U.S., was a big hit at this year’s Sundance Film Festival where it won the world documentary audience award and a special jury award, and then went on to screen at SXSW, Tribeca, and the Sheffield Doc Fest. The film opens in New York, Los Angeles, and London (via Studio Canal) on July 27th and will play in other cities throughout the coming months. For a complete release schedule, visit the film’s website: www.SearchingForSugarManMovie.com.
Back in the late ‘60s, Rodriguez was discovered in a Detroit bar by renowned producers Dennis Coffey and Mike Theodore. They recorded a 1970 album that they believed was going to secure his reputation as one of the greatest recording artists of his generation. Instead, Cold Fact bombed, and despite the release of a second LP, entitled Coming From Reality and produced by Steve Rowland, Rodriguez drifted into obscurity, even being subject to rumours that he had committed suicide by setting himself on fire onstage.Cold Fact took on a life of its own when a bootleg recording found its way into apartheid-era South Africa. Banned by the government, the album became a country-wide phenomenon over the next two decades, and the soundtrack to a resistance movement of liberal African youth. Back in Detroit, working in construction and renovation (he also ran for mayor), Rodriguez was totally unaware that he was not just a folk hero but a household name thousands of miles away.Decades later, two South African fans, Stephen ‘Sugar’ Segerman and Craig Bartholomew-Strydom set out to find out what really happened to their hero, and their investigation led them to a story more extraordinary than any of the many myths they’d heard. Their story forms the basis of Searching For Sugar Man.Both sides of the story, Rodriguez’s life in Detroit and the subsequent impact of his music in South Africa, proved fascinating to Stockholm-based documentary filmmaker Malik Bendjelloul. His short documentary films for Swedish Television’s international cultural weekly show Kobra became the basis for such films as Men Who Stare At Goats (George Clooney) and The Terminal (Tom Hanks). The evolution of the financing, production, and filming of Searching For Sugar Man is as fascinating and complex as the life of Rodriguez himself.“I describe myself as ‘musico-politico’,” Rodriguez said recently. “I was born and bred in Detroit, four blocks from the city center. Back then, I was influenced by the urban sounds that were going on around me all the time. Music is art and art is a cultural force. As far as my work from Detroit comparing to the South African Apartheid, the similarities echo. The placards of the 1970s in the United States read things like: We Want Jobs and Stop the War – I was looking at the music from a working class perspective that was relevant, as it turns out, to the kids in South Africa.”
Lee Hazlewood - The LHI Years: Singles, Nudes & Backsides 1968-1971
Lee Hazlewood
The LHI Years: Singles, Nudes & Backsides 1968-1971
2LP | 2012 | US | Original (Light In The Attic)
26,99 €*
Release:2012 / US – Original
Genre:Organic Grooves
With his handlebar moustache and booming baritone, Lee Hazlewood was one of the defining stars of the late ‘60s. Though he’s perhaps best known for his work with Nancy Sinatra (including writing mega-hit “These Boots Are Made For Walking”), Hazlewood did stunning work away from that particular glamour queen and found latter day champions in Beck, Sonic Youth, and Jarvis Cocker. Now, for Record Store Day 2012, we are kicking off our excavation of the Lee Hazlewood archives with this anthology, Singles, Nudes & Backsides, collecting the best of Lee’s solo songs and duets from his LHI (Lee Hazlewood Industries) imprint.As a true legend of the great American songbook and a rebellious pioneer who left behind a lengthy trail of echo laden pop masterpieces, Lee’s influence continues to reverberate today. Between 1968-71, Hazlewood not only released his finest solo work, but produced numerous artists on LHI. From acid-folk and country-rock to pop-psych and soul, LHI issued dozens of long forgotten 45s and LPs. This series will include material from LHI (re-mastered for the first time from the original analog tapes), along with Lee’s output for other labels, rarities, unreleased gems, and the films of Torbjörn Axelman.See the sleeve: surrounded by nude girls, each wearing a fake moustache, Hazlewood wears a suit, ever-so-slightly awkwardly playing the role of the ‘60s playboy. Just like the picture, the songs present a man conflicted; he’s the tender-hearted romantic, the broken-hearted loser and the rugged cowboy, all in one. It’s there in the western swing of “Califia (Stone Rider)”, the loneliness of ”The Bed” and the bleak beauty of ”If It’s Monday Morning.” Hazlewood’s tremulous voice was made for duets (indeed, he wrote ”Some Velvet Morning”, one of the greatest of all time); here, Suzi Jane Hokom, Ann-Margret and Nina Lizell play counterpart to his manly tones.In the wonderful liner notes, written by British journalist Wyndham Wallace, the writer describes his friend Hazlewood as “a curmudgeonly, unpredictable sort at the best of times, as impatient with his own talent as he is with other people.” The Hazlewood Wallace knew was puzzled by the growing interest in him in the last two decades of his life, which was ended by cancer at age 78. That late flurry of interest saw him perform at the Royal Festival Hall in 1999, his first ever solo performance in the UK.A natural wanderer, Lee lived a big life, fighting in the Korean War, working as a radio DJ in Phoenix, Arizona, setting up Viv Records in the ‘50s, working as a big-shot LA producer in the ‘60s, signing Phil Spector to his Trey Records label and prematurely announcing retirement in the wake of the mid-‘60s British invasion. He didn’t: Nancy Sinatra came along, the hits started flowing and he continued producing characterful solo albums into the ‘70s, which saw his move to Sweden. By 2007, Hazlewood was living in Vegas, and begrudgingly enjoying that flurry of latter-day interest in his work. This landmark compilation promises to create many more converts.
Jane Birkin & Serge Gainsbourg - Je T’Aime … Moi Non Plus
Jane Birkin & Serge Gainsbourg
Je T’Aime … Moi Non Plus
LP | 1969 | US | Reissue (Light In The Attic)
25,99 €*
Release:1969 / US – Reissue
Genre:Organic Grooves
Re-mastered from the Original Tapes by Dave Cooley (Melody Nelson) ... Vinyl release features 180 gram wax, thick gatefold jacket, liner notes, lyrics.
Lynn Castle - Rose Colored Corner
Lynn Castle
Rose Colored Corner
LP | 2017 | US | Original (Light In The Attic)
28,99 €*
Release:2017 / US – Original
Genre:Rock / Indie
Though most of the world may not know the songs of Lynn Castle, she is an artist whose work stretches across seven decades. She has created a diverse and vast (albeit mostly unreleased) discography of pop, folk, country, gothic, rock, punk, blues, and children's songs. Light In The Attic Records is very excited to continue its Lee Hazlewood Archive Series with Rose Colored Corner, a collection of intimate recordings Lynn Castle made with Jack Nitzsche in 1966 and her complete recorded output with Lee Hazlewood on LHI Records. For the first time ever Lynn is sharing recordings from her personal archive and telling her story. In the 1960s Lynn became the first lady barber in LA just as long hair on men became hip. By day she was styling The Monkees, Boyce and Hart, Del Shannon, Sonny & Cher, the Byrds and countless others…by night she was writing songs. Despite lacking the desire to self promote and a crippling insecurity that made it hard to sing in front of anyone, her songs managed to bend the ears of such industry heavyweights as Phil Spector, Jack Nitzsche and Lee Hazlewood. “It was so hard to get me to sing,” explained Castle. “I had buried it so low, I didn’t think I was good at all. Lee heard my songs and thought I was fabulous. He said, ‘Oh my god, you’re really good! Let’s cut a record.’Her sole 1967 45 “The Lady Barber" b/w "Rose Colored Corner,” released on Lee Hazlewood Industries is a slice of psychedelic pop heaven. A full length album was never completed, but her sparse demos with Jack Nitzsche give the listener a peek of what one might have sounded like. If you are familiar with Nitzsche’s mid-60s work with Tim Buckley, Bob Lind, and Buffalo Springfield…you can squint your ears and imagine her songs bejeweled with lush strings, finger cymbals, and delicate harpsichord. Instead, the songs remained unheard until now.Just because her songs weren’t recognized at the time doesn’t diminish their magic. This music is meant to be found and heard. Though commercial success may remain elusive, sometimes strange premonitions are realized… “When I was young, making music in the ‘60s, I had this strange thought that one day I would be this old woman, and young people would come find me and tell me that my music meant something to them.” - Lynn CastleThis release got remastered from pristine original master tapes and contains 10 previously unreleased songs recorded with Jack Nietzsche. Also includes Lynn’s sole LHI 45 produced by Lee Hazlewood. The LP includes liner notes by Hunter Lea with Lynn Castle interview and unseen photos, press shots and handwritten lyric sheets.The LP is housed in a deluxe gatefold Stoughton tip-on jacket.
Hayes McMullan - Everyday Seem Like Murder Here
Hayes McMullan
Everyday Seem Like Murder Here
2LP | 2017 | US | Original (Light In The Attic)
32,99 €*
Release:2017 / US – Original
Genre:Organic Grooves
Bluesman. Sharecropper. Church deacon. Civil Rights activist. Hayes McMullan should be a name on every Blues aficionados’ short-list and thanks to the preservation fieldwork carried out by one of the genre’s greatest researchers some 50 years ago – it might soon be.Born in 1902, Hayes McMullan was discovered by the renowned American roots scholar, collector and documentarian Gayle Dean Wardlow. Wardlow, author of the seminal blues anthology „Chasin' That Devil Music“ - Searching for the Blues, may be most famous for uncovering Robert Johnson's death certificate in 1968, finally revealing clues to the bluesman’s mysterious and much disputed demise. Moreover, in his tireless and committed mission to preserve the Blues for future generations, he captured McMullan’s raw talent on tape and on paper. Wardlow recorded these sessions, transcribed the songs and now, writes the sleeve-notes for this landmark release.Wardlow and McMullan met by chance on one of the former’s record-hunting trips, in Tallahatchie County, Mississippi, in 1967. Having introduced himself to McMullan on a hunch, it turned out this unassuming elderly man had not only heard of Wardlow’s idol, Charley Patton, but had played alongside him in the 1920s, as part of a brief musical journey that took him from the plantation to the open roads and juke joints of the Depression-era South. Striking up a friendship that was deemed unorthodox in 1960’s Mississippi, Wardlow traveled to McMullan’s sharecropper’s shack and convinced him to play guitar for the first time since he quit the Blues for the Church in the 30’s. “Hayes was playing like no one I had ever heard,” Wardlow writes with amazement.Wardlow visited McMullan on a handful of occasions, always taking his recorder, a guitar and some whiskey with him. It was during these visits that Wardlow captured – with surprising clarity – the songs that make up Everyday Seem Like Murder Here.Hayes McMullan passed away at the age of 84 in 1986, his talent and legacy largely unknown. “Reflecting now on our brief time together, I marvel at the small glimpse of something much larger I was lucky to have captured,” writes Wardlow. “The few old snapshots I took, the handful of tunes we recorded, and his brilliant performance of “Hurry Sundown” captured on film are all that’s left of the musical legacy of Hayes McMullan, sharecropper, deacon, and—unbeknownst to so many for so long—reluctant bluesman.”All tracks are previously unreleased except track #3. All audio got remastered from original tapesThis 2LP is housed in a beautiful deluxe gatefold Stoughton tip-on jacket and comes with liner notes by blues historians Gayle Dean Wardlow & John Miller and unseen photos.
Lee Hazlewood - 13
Lee Hazlewood
13
LP | 2017 | US | Original (Light In The Attic)
24,99 €*
Release:2017 / US – Original
Genre:Organic Grooves
"Pimps… whores… pushers… dopers… gangsters… and bottom of the human chain shit-heels. Now you’re probably thinking I'm writing about major record companies and their unscrupulous executives… and lawyers. You could be right… but this time… YOU'RE WRONG! I'm describing the characters in my album "13"…some I knew… some I invented … some are true… some are false… some i liked… some i didn't. But they all had a story to tell and I told it…none of 'em seem to care… and I don't either… have fun…" - Lee Hazlewood"13 was never supposed to be a Lee Hazlewood album. It is perhaps the strangest record in one of the most varied discographies in music. The bombastic brass heavy funk, deep blues and soul paired with Hazlewood's subterranean baritone would be best enjoyed with a tall Chivas in an off-strip seedy Vegas lounge. It also features one of Hazlewood’s greatest lines ever “One week in San Francisco, existing on Nabisco, cookies and bad dreams, sad scenes and dodging paranoia.” - Larry MarksBy 1972 Lee Hazlewood had settled in his new homeland of Sweden. His days were spent carousing, making movies with Torbjörn Axelman and releasing albums. To keep up his prolific recorded output, Lee began to mine the recently defunct LHI Records archives for material. One such gem, was an unreleased album by Larry Marks.In what became the final days of LHI, staff producer Larry Marks’ sonic fingerprints were on nearly everything; songwriting, producing, arranging, and singing. His most profound contribution was steering the creative direction of the label towards soul and R&B, arranging the downright funky LHI singles by Barbara Randolph and Jon Christian. Larry’s concept was to take Hazlewood’s strongest compositions and arrange them in a soul vibe. An album was completed, but with no distribution in America and no funding, Lee had no vehicle to release Larry’s record. The tapes were taken to Sweden, Larry’s voice was wiped and Hazlewood’s was dubbed….13 was born.This release includes a Lee Hazlewood comic strip, telling the story of “13” through original artwork by Jess Rotter. The record contains a previously unreleased session outtake of “Cold Hard Times” plus never before heard Hazlewood compositions “Drums” & “Susie”. The LP is housed in a deluxe gatefold Stoughton tip-on jacket, comes with additional liner notes by Hunter Lea including interviews with Larry Marks, Joe Cannon, Torbjörn Axelman & Suzi Jane Hokom and download card for complete “13” sessions including Larry Marks unreleased album, session outtakes and acoustic demos, 29 tracks total.
V.A. - The Microcosm: Visionary Music Of Continental Europe 1970-1986
V.A.
The Microcosm: Visionary Music Of Continental Europe 1970-1986
3LP | 2016 | US | Original (Light In The Attic)
49,99 €*
Release:2016 / US – Original
Genre:Electronic / Dance
The followup to Light In The Attic’s game-changing “I Am The Center” box set is finally here. Three years in the making, “The Microcosm: Visionary Music Of Continental Europe, 1970-1986” is the first major overview of key works from cosmically-taped in artists needing little introduction - Vangelis, Ash Ra Tempel, and Popol Vuh - and and unknown masterpieces by criminally overlooked heroes like Bernard Xolotl, Robert Julian Horky and Enno Velthuys. Whereas “I Am The Center” called for a reconsideration of an entire maligned genre, “The Microcosm” requests nothing more than an open mind to consider this Ambient, New Age, Neuzeit, Prog, Krautrock, Cosmic, Holistic stuff, whatever one calls it — as a pulsating movement unto itself, a mirror refracting the American new age scene in unexpected, electrifying ways, proving beyond a shadow of a doubt the universality of the timeless quest to express “the Ineffable” through music. Drawing from major label budgets and homemade cassette distributed circumstances alike, The Microcosmdemonstrates a depth of peace profound to behold, and clearly expands the boundaries. Lovingly conceived and lavishly presented by producer Douglas Mcgowan (Yoga Records) and liner notes contributor Jason Patrick Woodbury (Pitchfork, Aquarium Drunkard), The Microcosm features stunning cover paintings by Étienne Trouvelot, and labels by Finnish savant Aleksanda Ionowa with libner notes by Douglas Mcgowan and Jason Patrick Woodbury. The whole material consists of fully remastered audio, including a previously unreleased track and several others previously cassette only. This 3LP is housed in deluxe Stoughton “tip-on” jackets and a slipcase.
Betty Davis - The Columbia Years 1968-1969
Betty Davis
The Columbia Years 1968-1969
LP | 2016 | US | Original (Light In The Attic)
26,99 €*
Release:2016 / US – Original
Genre:Organic Grooves
One can hardly imagine Prince, Erykah Badu, or Outkast without the influence of Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can’t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli have rhymed over her intensely strong but sensual music. Betty also wrote the tunes that got The Commodores signed to Motown. The label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty's career would be her unbending DIY ethic, which made her quickly turn down anyone who didn't fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal. In 1968, she married Miles Davis and quickly influenced him on the magic of psychedelic rock along with introducing him to Jimi Hendrix—personally inspiring the classic album, “Bitches Brew”.Miles and Betty fans have long debated the truth of a near mythological session recorded in Studios B and E at Columbia’s 52nd Street Studios on May 14th and 20th, 1969. The landmark session was produced by Miles Davis and Teo Macero and featured Betty on vocals, accompanied by Jimi Hendrix Experience drummer Mitch Mitchell, guitarist John McLaughlin, Herbie Hancock on keys, and Miles Davis’ session bassist Harvey Brooks. Other players included bassist Billy Cox (Band of Gypsys), saxophonist Wayne Shorter, and organist Larry Young. Now, Light In The Attic, with full support from Betty herself, presents these recordings to the public for the very first time. These historic sessions—never heard, never bootlegged—predate Miles Davis’ revolutionary album, “Bitches Brew”, and are the true birth of Miles Davis’ jazz-rock explorations, along with the roots for Betty's groundbreaking funk that came years later, starting with her self-titled debut in 1973. While, ultimately, these recordings would go unreleased for nearly half a century, they would greatly shape each of their careers. The vibe is intrinsically unique, fresh, and futuristic—jazz heavyweights playing psychedelia, rock, and jazz-fusion long before the term became commonplace. The songs include Betty originals and covers of classics by Creedence and Cream. The concepts explored on these previously unheard sessions fueled concepts that wouldn’t be fully realized until years later with Miles Davis’ seminal “On The Corner”.Additionally, included here is the first time rerelease of a 1968 Columbia single, recorded in October 1968 at Columbia Studios in Los Angeles. The session was produced by Jerry Fuller and featured South African maverick Hugh Masekela on trumpet and arrangements, plus members of jazz-funk pioneers The Crusaders—including trombonist Wayne Henderson and pianist Joe Sample. Two of the three tracks included here from this session are previously unreleased.All recordings have been remastered from the original analog master tapes.This deluxe package is a treasure trove for both Betty and Miles Davis fans, including rare documents from the pen of co-producer Teo Macero, rarely seen photos from legendary photographer Baron Wolman, and new interviews with Mrs. Davis herself, Harvey Brooks, and Hugh Masekela—the entire project overseen with Betty’s full blessing.
Noel Ellis - Noel Ellis
Noel Ellis
Noel Ellis
LP | 1983 | US | Reissue (Light In The Attic)
24,99 €*
Release:1983 / US – Reissue
Genre:Reggae / Dancehall
Noel Ellis features six dub-loved, heavy yet ethereal tracks, with contributions from OG reggae maestros Jackie Mittoo, Willi Williams, and Johnny Osbourne. The eponymous classic lost full-length includes the hugely influential “Rocking Universally”, whose rhythmic influence was Willi Williams’ “Armagideon Time” (covered by The Clash). The poignantly autobiographical “Memories” (about Noel’s upbringing in Jamaica) is a highpoint as well. “Stop Your Fighting” was a universal anti-materialism/war plea that we should still heed today, while “Marcus Garvey” was delivered in Noel’s playful style, despite a solemn rallying cry of “Africa it must be free…” Noel Ellis evoked a transcendent majesty, and the album’s economical performances were a blessing compared to certain overproduced recordings of the era. Tasteful keys, varied percussion, essential echo, conquering dub changeovers, and Noel’s impeccable mic control gave an otherworldly twist to Summer’s remarkable drum and bass sound. It was an end-to-end burner for midnight tokers and cool rulers alike.
Lizzy Mercier Descloux - Press Color
Lizzy Mercier Descloux
Press Color
2LP | 2015 | US | Original (Light In The Attic)
28,99 €*
Release:2015 / US – Original
Genre:Rock / Indie
Lizzy Mercier Descloux may have come of age in Paris, but it’s in New York’s Lower East Side that she really came alive. The French punk pioneer, a friend of Patti Smith and Richard Hell, moved to New York in 1977 and soon immersed herself in avant-garde poetry, performance art, and punk music.Closely associated with the founders of ZE Records (home to Was (Not Was) and Kid Creole & The Coconuts), Descloux released her debut album, Press Color, in 1979, revealing a punk-funk sound that positioned her as the French answer to the UK group The Slits or New York’s own ESG. Just as The Slits gave "I Heard It Through The Grapevine" a makeover fit for warehouse parties on their celebrated Cut LP, Descloux’s album revealed a penchant for the unexpected cover version too. It kicks off with a brilliantly rhythmic take on The Crazy World Of Arthur Brown’s Fire–a hit, like Marvin Gaye’s in 1968. There’s also a version of Lalo Schifrin's theme from Mission Impossible that appears to predate the breakbeat scene by a good twenty years. Elsewhere, we hear echoes of Serge Gainsbourg’s Afrobeat-influenced work, Blondie’s disco-inflected punk, and Talking Heads’ world music-inspired art pop.Βacked by guitarists/bassists D.J. Barnes and Erik Elliasson plus drummer Jimmy Young, Descloux creates a naïve musical world in which rhythm is everything—not a byproduct of the song but the reason for its existence. It’s neither played nor sung with any great skill, but it has feel and character in spades and a looseness that’s all too rarely achieved.Of course, an artist with song titles including “Tumor" (a cover of “Fever" with amended lyrics) and "Herpes Simplex" is never a shoo-in for mainstream acceptance, and like many a No Wave classic, the album sold little. Now regarded as a cult classic, this Light In The Attic reissue is presented in an extended 18-track edition, collecting much of Descloux’s work, including "Morning High," recorded with Patti Smith.Descloux returned to Paris upon scoring a contract with CBS and soon found herself travelling to Africa to research the Afrobeat sound experimented with–from afar–on Press Color. The hit single "Mais où Sont Passées les Gazelles?" and album Zulu Rock followed. By the 1990s, Descloux had turned her back on music in favor of painting and writing, which she continued until her death in 2004. Her playful spirit lives on in this LP.
Karin Krog - Don't Just Sing: An Anthology 1963-1999
Karin Krog
Don't Just Sing: An Anthology 1963-1999
2LP | 2015 | US | Original (Light In The Attic)
26,99 €*
Release:2015 / US – Original
Genre:Organic Grooves
The work of Karin Krog may be unfamiliar to much of the world, but in her native Norway and Scandinavia at large, she’s practically a household name. This says much about the local enthusiasm for post-bop jazz but also about the tyranny of distribution: until 1994, Krog’s albums weren’t available in the USA or UK, meaning three decades of recordings were waiting to be discovered. With this anthology of her best recordings from 1963 to 1999–curated with Krog’s own input–we hope to set the record straight.To listen to opening track "As A Wife Has A Cow" is to jump into the deep end. It’s 54 seconds of words, voice, and technology, a looped, echoing reading of a Gertrude Stein poem. The effect is disquieting and alien but deeply rhythmic, too–and that’s Krog’s USP. Don’t Just Sing takes in these spoken experiments along with free jazz, improvisation, standards, contemporary covers, and electronic manipulation. It features some of the best regarded jazz players in Europe, not least her partner, John Surman, the English saxophonist/multi- instrumentalist and composer.Krog began singing jazz in the 1950s and started her first band in 1962. She not only had two tracks on the first ever Norwegian jazz LP, Metropol Jazz, but also became the first Norwegian jazz artist to record and release a full album (1964’s By Myself on the Philips label). Her sound developed as technological advances made new recording techniques possible, and she quickly embraced the album as the perfect form to contain her sonic experiments. “There is such a thing as too much manipulation,” says Krog today.Recorded with tenor saxophonist Jan Garbarek and bass player Arild Andersen, 1968’s Joy is regarded as her masterwork. Tracks from it can be found on this compilation, as can a couple of interesting covers: Joni Mitchell’s "All I Want" and Bobby Gentry’s "Ode To Billy Joe," both of which show how Krog brought jazz aesthetics to pop songs of the day. “I remember that there was a lot of buzz around Blue, and Joni Mitchell is, as everybody knows, a very talented singer and songwriter,” says Krog in the new liner notes.“Glass" and “Tystnaden" are the two previously unreleased finds from the archives, the former written for a British documentary in 1997, the latter a soundscape improvisation from a 1963 studio session with Lars Werner on piano, Kurt Lindgren on bass, and Janne Carlsson on drums. The compilation rounds off with the “Psalm” movement from John Coltrane’s monumental piece, A Love Supreme. Krog’s version came at suggestion of the man himself. “It was John who pointed to the text on the inner sleeve of the Impulse! LP and said, ‘Karin, look. Why don’t you sing this?’” she remembers.Krog remains fiercely productive, recording, performing, and running Meantime records from her and John’s villa near Oslo. Now 77, she’s showing no signs of slowing down. “Everybody has to retire at some point, but I believe that once a musician, you’re always a musician,” she says. “If I can’t stand up and sing on stage anymore, I can always do it sitting down!”
Wheedle's Groove - Volume 2: Seattle Funk, Modern Soul & Boogie 1972-1987
Wheedle's Groove
Volume 2: Seattle Funk, Modern Soul & Boogie 1972-1987
2LP | 2014 | US | Original (Light In The Attic)
25,99 €*
Release:2014 / US – Original
Genre:Organic Grooves
n 2004, the first volume of Wheedle’s Groove shone a light on the formerly unheralded soul scene in 1960s and ‘70s Seattle, followed by a new album in 2008, and then an award winning feature-length documentary film. The on-going Wheedle’s Groove series continues to present a vast chapter of the city’s musical heritage that has little to do with long-haired rock dudes with guitars. No – in the world of Wheedle’s Groove, platform shoes and pimp hats were the order of the day.But unlike Volume I, Seattle’s soul scene did not stop in 1975. A new volume, Wheedle’s Groove Vol. II, documents the period from 1972 to 1987, when funk was superseded by disco and modern soul. Heading into the ‘80s, artists in the Emerald City caught wind of the hip-hop and electro scenes that were growing in bigger cities across America, and gave the music their own distinct spin.
Mark Lanegan - Has God Seen My Shadow? An Anthology 1989-2011
Mark Lanegan
Has God Seen My Shadow? An Anthology 1989-2011
3LP | 2013 | US | Original (Light In The Attic)
45,99 €*
Release:2013 / US – Original
Genre:Rock / Indie
As one of America’s great modern day vocalists and songwriters, Mark Lanegan has much in common with the timeless work of such legends as Fred Neil, Tim Hardin and Karen Dalton. The former frontman of Screaming Trees, collaborator with Kurt Cobain and Queens Of The Stone Age, half of a modern day Nancy & Lee with Isobel Campbell and, most commonly, solo artist, Lanegan is a man whose career has been defined by an unwillingness to sit still.Light In The Attic are set to shine a spotlight on this great American performer and songwriter with the release ofHas God Seen My Shadow? An Anthology 1989-2011. Collecting Lanegan’s solo material for Sub Pop, Beggars and more plus 12 unreleased tracks, this is the archive treatment Mark has long deserved. It is released in two sumptuous formats: a Double-CD edition with a gatefold, tip-on jacket and a 44-page booklet comprising hand-written lyrics and rare archive photos by Charles Peterson and Steve Gullick, and a Triple-LP box set, each LP in single pocket jackets within a heavy, tip-on slip case, with a 20-page book featuring the same attention to detail and extras as the CD release.The 32 tracks shine a light on Mark’s rare talent, and span the singer’s entire career, from 1990’s debut albumThe Winding Sheet to a treasure trove of recent unreleased gems and feature such guests as PJ Harvey, Josh Homme and J Mascis. His is a sound of grizzled vocals and dark melody, its lyrics chiseled out of late night thoughts and dark humor.
Public Image Ltd - First Issue
Public Image Ltd
First Issue
LP | 1978 | US | Reissue (Light In The Attic)
23,99 €*
Release:1978 / US – Reissue
Genre:Rock / Indie
In 1976 Johnny Rotten and the Sex Pistols set the agenda for punk's year zero with 'Anarchy In The UK', a song that summed up the spirit, sound and attitude of the band in one shocking package. Two years later, the Sex Pistols were in tatters, but Rotten was as unsentimental as you'd hope. He reverted to his real name - John Lydon - and set about forming a band whose very identity kicked against press and media manipulation. Featuring bassist Jah Wobble, drummer Jim Walker and guitarist Keith Levene, his new group were Public Image Limited. The public image would be limited.PiL were a very distinct prospect from the Pistols, founded with a greater thought for rhythm, and with a sound that turned the page from snarling punk to a more experimental sound fusing rock, dance, folk, ballet, pop and dub. But that's not to say Lydon's new outfit lacked vitriol. 'Public Image' hits out against the notorious British tabloid press, who never gave Lydon an easy ride, and against his own Sex Pistols public image - "You only saw me for the clothes I wore".The debut single (and the album that followed) operated as a theme song and a manifesto: "…my entrance/My own creation/My grand finale/My goodbye," as the lyrics had it. It is, essentially, the sound of four people letting loose in a studio - and not caring what anyone else thought.The album was never officially released in the USA back in the day, its sound considered too un-commercial by major-labels for an American release.First Issue has been lovingly reproduced from the original UK 1978 release and this expanded reissue also comes with a clutch of post-punk era treasures. The LP release includes an archive replica fold-out poster, archive replica tabloid adverts, a set of stickers, and Download Card for the album, the archival BBC interview, and 'The Cowboy Song'. All of which were approved and coordinated with John Lydon and his personal management.
Marcos Valle - Vento Sul
Marcos Valle
Vento Sul
LP | 2012 | US | Reissue (Light In The Attic)
23,99 €*
Release:2012 / US – Reissue
Genre:Organic Grooves
During the hot Brazilian summer of 1971, Marcos and Paulo Sergio Valle, along with their significant others and six additional couples, rented a few modest fisherman shacks in the small village of Búzios to escape from Rio’s more populated beaches. The focus was making music and soul searching, as was the practice for affluent young hippies back then. They stayed for two months. “I wanted to go in a new direction,” says Marcos looking back. “I wanted to try out a rock influence and to risk a little bit more.” Shifting away from the studio musicians used on 1971’s Garra, Vento Sul (translation “South Wind”) was a rewarding collaboration with Brazilian progressive rockers O Terço.Originally released in 1972, Vento Sul not only channeled the Búzios beach bum vibe, but also manifested a floating dream like psychedelic sound. Any way you spin it, we at Light In The Attic are extremely proud to present Vento Sul as part of our four-album Marcos Valle reissue campaign. Consisting of an ambitious string of early 1970s landmark studio sessions (sympathetic in spirit to Stevie Wonder and Marvin Gaye’s game changing work from the same era) and released on CD and LP, Vento Sul (including a rare bonus track on the CD version) features extensive liner notes by San Francisco-based writer Allen Thayer (Wax Poetics) with exclusive interview content and song-by-song breakdown from Marcos himself. Fans new and old will finally have easy breezy access to these once hard-to-find Brazilian classics.Elevated by a strong union between Valle and O Terço, Vento Sul’smagical spell of an album is a welcome addition to any South American friendly record collection and sits proudly with the best of Brazil. File after Os Mutantes and before Caetano Veloso.
Shin Joong Hyun - Beautiful Rivers And Mountains: The Psychedelic Rock Sound Of South Korea's Shin Joong Hyun 1958-1974
Shin Joong Hyun
Beautiful Rivers And Mountains: The Psychedelic Rock Sound Of South Korea's Shin Joong Hyun 1958-1974
2LP | 2011 | US | Original (Light In The Attic)
28,99 €*
Release:2011 / US – Original
Genre:Organic Grooves, Rock / Indie
First anthology of Shin Joong Hyun’s music outside of Korea. Comprehensive liner notes by Kevin “Sipreano” Howes with an in-depth interview and track-by-track notes by Mr. Shin. 2x LP housed in a deluxe jacket with liner notes and rare photos!
V.A. - Our Lives Are Shaped By What We Love: Motown's Mowest Story 1971-73
V.A.
Our Lives Are Shaped By What We Love: Motown's Mowest Story 1971-73
2LP | 2011 | US | Original (Light In The Attic)
26,99 €*
Release:2011 / US – Original
Genre:Organic Grooves
In the early 1970's, Detroit-native and Motown founder Berry Gordy Jr. brought his musical family to the left coast, one piece at a time. He began by launching the Mowest subsidiary in 1971, a new L.A.-based label dedicated to coastal grooves and an eye towards the top of the charts. We are completely honored to present the first ever compilation (16 tracks) of this now legendary label - Our Lives Are Shaped By What We Love: Motown's Mowest Story 1971-1973, an adult portion of sweet soul, heavyweight funk, and even a dose of potent West Coast hippy rock. Featured artists include Frankie Valli & The Four Seasons, Odyssey, Syreeta, Thelma Houston, and many others.
Black Angels, The - Directions To See A Ghost
Black Angels, The
Directions To See A Ghost
3LP | 2008 | US | Original (Light In The Attic)
30,99 €*
Release:2008 / US – Original
Genre:Rock / Indie
"The Black Angels bring the aura of mid-1966 the drilling guitars of early Velvet Underground shows, the raga inflections of late-show Fillmore jams, the acid-prayer stomp of Austin avatars the 13th Floor Elevators everywhere they go, including the levitations on their second album, Directions to See a Ghost (Light In The Attic). Mid-Eighties echoes of Spacemen 3 and the Jesus and Mary Chain also roll through the scoured-guitar sustain and Alex Maas' rocker-monk incantations. But he knows what time it is. 'You say the Beatles stopped the war," Maas sings in 'Never/Ever.' 'They might've helped to find a cure/But it's still not over.' Even so, this medicine works wonders." - David Fricke, Rolling Stone
Betty Davis - They Say I'm Different
Betty Davis
They Say I'm Different
LP | 1974 | US | Reissue (Light In The Attic)
23,99 €*
Release:1974 / US – Reissue
Genre:Organic Grooves
Betty recorded some of the finest punk-funk of all time, introduced Miles to Hendrix, and inspired generations ... first official Betty Davis reissues, mastered from the original tapes, previously unreleased bonus tracks on 7inch, Ice Cube, Talib Kweli, and Ludacris have rhymed over these tracks ... new notes from Oliver Wang (O-Dub/Soul Sides), including Betty's second interview in over 25 years!
Black Angels, The - Passover
Acetone - 1992 - 2001
Thomas De Hartmann - The Music Of Gurdjieff / De Hartmann
Thomas De Hartmann
The Music Of Gurdjieff / De Hartmann
5LP | 2017 | US | Original (Light In The Attic)
109,99 €*
Release:2017 / US – Original
Genre:Klassik
Limited edition for Record Store Day 2017!"The Music Of Gurdjieff / De Hartmann" is the result of an extraordinary collaboration between the Greek-Armenian spiritual teacher, G. I. Gurdjieff and Russian composer, Thomas de Hartmann. Gurdjieff traveled for twenty years in the Middle East and Central Asia to discover and develop the teaching which now bears his name. Meditative and mindful, Gurdjieff’s music stems from Eastern melodies and music he heard in remote monasteries.From 1923 to 1929, Thomas de Hartmann worked closely with Gurdjieff at his Institute for the Harmonious Development of Man outside Paris, translating into European notation the music Gurdjieff composed from his travels. The original tapes containing these tracks were recorded in the 1950s under informal circumstances with rudimentary equipment, never intended to be heard by the public. As for the instrumentation, the performance is stripped down to nothing more than a single piano (played by de Hartmann) but lacks absolutely nothing; rather de Hartmann uses the negative space between notes to revel in resonance, in turn capturing remarkable depth and meaning.Following the appearance of a track on LITA’s “I Am The Center: Private Issue New Age In America 1950-1990”, this material, out of print on vinyl for over three decades, could be considered the seeds that would eventually grow to become the roots of what we now think of as new age music. Jazz pianist Keith Jarrett, who recorded the album G. I. Gurdjieff: Sacred Hymns for the ECM label in 1980, is among the artists to interpret this music since, but the tracks presented in this five LP box-set are the only recordings available of de Hartmann himself playing the music he and Gurdjieff composed. Also included are seven additional recordings, never before available on vinyl, including a talk by de Hartmann about Gurdjieff’s view of the music.This official Record Store Day 2017 release is limited to 1,000 copies only. The first ever vinyl reissue of these recordings, includes 7 bonus pieces never before on vinyl.All audio restored and remastered from the original analog master tapes. New artwork is featured on 5 deluxe Stoughton “tip-on” jackets and slipcase. This release also contains essay, archive photos and download card for MP3 of all 56 pieces. The final side features custom etching.
V.A. - Lagniappe Sessions Volume 1 Gold Vinyl Edition
V.A.
Lagniappe Sessions Volume 1 Gold Vinyl Edition
LP | 2016 | US | Original (Light In The Attic)
25,99 €*
Release:2016 / US – Original
Genre:Electronic / Dance
Founded in Los Angeles, CA by Georgia transplant Justin Gage, the Aquarium Drunkard blog has long served as a haven for discerning and adventurous listeners since 2005. Digging globally, Aquarium Drunkard offers an eclectic array of features, interviews, mixtapes, and reviews spanning vintage garage, psych, folk, country, soul, funk, R&B and beyond. In 2011, Gage launched the Lagniappe Sessions, a regular recording series on the website and the weekly Aquarium Drunkard Show on Sirius/XMU featuring freeform selections, songs culled from artist’s record collections and inspirations. This co-release between Light In The Attic Records and Aquarium Drunkard Recordings documents the first five years of the series, collecting on vinyl for the first time a diverse lineup of obscure gems and familiar tunes refashioned into surprising and unexpected things. Psychedelic Swedes Dungen cover electronic pioneer Aphex Twin; of Montreal tap into the classic folk ballad “All My Sorrows”; troubadour Kevin Morby configures the blistering hardcore of the Germs into something more mystical. Some of the most familiar songs on Volume 1 are the farthest out in terms of reinterpretation. White Fence reimagines the Gin Blossoms as a Paisley Underground outfit; guitarist William Tyler draws lines connecting the ragas of Sandy Bull to the progressive rock of Blue Oyster Cult. This is an exclusive Record Store/Black Friday release limited to 1500 copies. Records are pressed on Gold wax, housed in a deluxe Stoughton tip-on jacket including a booklet with track notes by the artists. Limited edition for Black Friday RSD 2016!
Lee Hazlewood - Cowboy In Sweden
Lee Hazlewood
Cowboy In Sweden
LP | 2016 | US | Original (Light In The Attic)
25,99 €*
Release:2016 / US – Original
Genre:Rock / Indie
Lee Hazlewood spent a good part of the late 1960s traveling the globe, cutting records and inking business deals. A string of hits with Nancy Sinatra enabled Lee to build a mini media empire Lee Hazlewood Industries and afforded him nearly unlimited resources…for a time. By the end of the decade LHI Records had burned piles of cash, gone through a half dozen distributors and failed to achieve the kind of chart success “Boots" had promised. Fortunately for Lee there was a land where he was still on the top of the charts, a place where women flowed like Brannvin...Sweden was calling. While on an LHI promotional tour in Stockholm, Lee crossed paths with Swedish director Torbjörn Axelman. “I met Lee through my script girl, in Stockholm in 1969,” remembers Axelman. "We noticed we had very many similarities, interests, and the same backgrounds. It led to many productions during our 38 years of close partnership and friendship.” The partnership showed Lee the way forward and allowed him an easy exit strategy from the LHI house of cards that was crumbling in Los Angeles. Light In The Attic records continues its Lee Hazlewood series with this expanded reissue of “Cowboy in Sweden”. Released as the last LHI LP, “Cowboy in Sweden” was a soundtrack to the 1970 cult classic film of the same name starring Lee Hazlewood. The film was a surreal psychedelic account of Lee’s journey to his new homeland, while the soundtrack was a perfect compilation of Hazlewood’s strongest songs recorded over a prolific ,globe-trotting, three year period. The production scope of the album was the most ambitious of his career, recorded in Paris, London, Los Angeles and Stockholm with a slew of talented session musicians, producers and arrangers. “Cowboy in Sweden” is quite possibly the purest distillation of the Hazlewood sound; lush melancholy country pop with a pinch of humor ("Pray Them Bars Away"), a dash of bummer ("Cold Hard Times”), some beautiful ladies to sing with (“Leather & Lace” & “Hey Cowboy”) and even a couple anti-war protest songs to be topical ("No Train to Stockholm” & “For A Day Like Today”). The David “Bitter Sweet Symphony” Whitaker arranged orchestral pop of “What’s More I Don’t Need Her” and the stone cold Hazlewood classic “The Night Before” cement the album as Lee’s peak on LHI records and ironically the label's swan song.The whole album got remastered from pristine LHI master tapes and includes previously unheard versions of “Pray Them Bars Away” & “Easy & Me". The LP is housed in a beautiful deluxe gatefold Stoughton tip-on jacket and comes with liner notes by Hunter Lea including interviews with Torbjörn Axelman, Suzi Jane Hokom, Nina Lizell, Don Randi, Hal Blaine and Shel Talmy. The material also contains rare film production photos from the Torbjörn Axelman archive.
Shaggs, The - Philosophy Of The World Colored Vinyl Edition
Shaggs, The
Philosophy Of The World Colored Vinyl Edition
LP | 1969 | US | Reissue (Light In The Attic)
39,99 €*
Release:1969 / US – Reissue
Genre:Rock / Indie
In 1968, three sisters from Fremont, New Hampshire strapped on their instruments and declared themselves The Shaggs. At that moment begun a peculiar tale that would last far beyond the group’s five-year run. Dot, Betty and Helen (and occasionally Rachel, the fourth sister) played in the group on the insistence of their father, Austin Wiggin Jr., who was convinced they were going to be big. Years earlier, Austin’s mother gave him a palm reading, predicting that his daughters would form a popular music outfit. Austin was certain this would follow suit. With pure confidence and his mother’s bold prediction, Austin decided that his daughters would forgo attending the local high school in favor of home schooling interspersed with a strict regiment of instrumental and vocal practice, along with jumping jacks and sit-ups. Soon after The Shaggs would enter Fleetwood Re-cording studios in Revere, Massachusetts to record their sole album, “Philosophy Of The World”, a collection of garage rock tunes that balanced charm and discordance in equal measure. Austin would spend most of his savings not only on the session but also on the manufacturing costs to press up 1,000 copies of the album (900 of which mysteriously vanished upon completion). Throughout the album’s simple truths are revealed through the pen of sister Dot, the songwriter of the band. The rich people want what the poor people got, just as the poor people want what the rich people got. Your parents love you. There is happiness in nearness and sadness in the farness. The album failed to fulfill Austin’s expectations of rock stardom, though the group remained to-gether until their father’s death, performing frequently, no further albums were released. That might have been the end of it, until rock band NRBQ discovered a copy at a Massachusetts radio station and re-released it in 1980. Rolling Stone’s reviewer at the time described it as “the most stunningly awful wonderful record I’ve heard in ages”. Nearly 50 years later, the album ranks among the most polarizing LPs of all time. Some said it was the worst thing ever made. Others felt it was one of the great long players of the 20th century. Frank Zappa famously dubbed the band “better than The Beatles”, while Kurt Cobain placed the album at #5 on his list of Top 50 favorite albums. Original copies of the album fetch for $10,000. Decades later and one could argue that maybe Austin was right all along. We’re all here, still enthralled by the purity of The Shaggs. The whole material got newly remastered and the artwork got restored and expanded to a gatefold jacket with liner notes by legendary musician, writer and compiler, Lenny Kaye (Patti Smith,Nuggets). “Shag Carpet” 3 color wax limited to 500 copies and includes 18″ × 24″ folded poster.
Shaggs, The - Philosophy Of The World Black Vinyl Edition
Shaggs, The
Philosophy Of The World Black Vinyl Edition
LP | 1969 | US | Reissue (Light In The Attic)
26,99 €*
Release:1969 / US – Reissue
Genre:Rock / Indie
In 1968, three sisters from Fremont, New Hampshire strapped on their instruments and declared themselves The Shaggs. At that moment begun a peculiar tale that would last far beyond the group’s five-year run. Dot, Betty and Helen (and occasionally Rachel, the fourth sister) played in the group on the insistence of their father, Austin Wiggin Jr., who was convinced they were going to be big. Years earlier, Austin’s mother gave him a palm reading, predicting that his daughters would form a popular music outfit. Austin was certain this would follow suit. With pure confidence and his mother’s bold prediction, Austin decided that his daughters would forgo attending the local high school in favor of home schooling interspersed with a strict regiment of instrumental and vocal practice, along with jumping jacks and sit-ups. Soon after The Shaggs would enter Fleetwood Re-cording studios in Revere, Massachusetts to record their sole album, “Philosophy Of The World”, a collection of garage rock tunes that balanced charm and discordance in equal measure. Austin would spend most of his savings not only on the session but also on the manufacturing costs to press up 1,000 copies of the album (900 of which mysteriously vanished upon completion). Throughout the album’s simple truths are revealed through the pen of sister Dot, the songwriter of the band. The rich people want what the poor people got, just as the poor people want what the rich people got. Your parents love you. There is happiness in nearness and sadness in the farness. The album failed to fulfill Austin’s expectations of rock stardom, though the group remained to-gether until their father’s death, performing frequently, no further albums were released. That might have been the end of it, until rock band NRBQ discovered a copy at a Massachusetts radio station and re-released it in 1980. Rolling Stone’s reviewer at the time described it as “the most stunningly awful wonderful record I’ve heard in ages”. Nearly 50 years later, the album ranks among the most polarizing LPs of all time. Some said it was the worst thing ever made. Others felt it was one of the great long players of the 20th century. Frank Zappa famously dubbed the band “better than The Beatles”, while Kurt Cobain placed the album at #5 on his list of Top 50 favorite albums. Original copies of the album fetch for $10,000. Decades later and one could argue that maybe Austin was right all along. We’re all here, still enthralled by the purity of The Shaggs. The whole material got newly remastered and the original artwork got restored and expanded to a gatefold jacket with liner notes by legendary musician, writer and compiler, Lenny Kaye (Patti Smith,Nuggets).
Tiger Joanie Scott - Baby I Need Your Lovin / Kansas City
Tiger Joanie Scott
Baby I Need Your Lovin / Kansas City
7" | 2016 | US | Original (Light In The Attic)
11,19 €* 13,99 € -20%
Release:2016 / US – Original
Genre:Film / TV
Limited edition for Record Store Day 2016!All songs are previously unreleased and it is limited to 500 copies worldwide. Reality TV comes in many shapes and forms. Far from the wannabe hordes of American Idol and America's Got Talent, miles from the travails of the fame-hungry Kardashian clan, AMC's Small Town Security traced the fortunes (and misfortunes) of JJK Security, a family-owned firm in Ringgold, Georgia. Featuring a cover of The Four Tops' “Baby I Need Your Lovin’” on the A-side and “Kansas City”–which fans will remember from Small Town Security's pilot episode– on the flip, these unreleased tracks were recorded when Koplan, then a Scott, was just 14, even if her voice sounds more mature than her years. Whether you're missing the show and your weekly fix of Joan or whether you just love classic '60s pop, this special release for Record Store Day packs as much charm as Koplan herself.
V.A. - OST Heartworn Highways 40th Anniversary Edition
V.A.
OST Heartworn Highways 40th Anniversary Edition
Box Set | 2016 | US | Original (Light In The Attic)
170,09 €* 188,99 € -10%
Release:2016 / US – Original
Genre:Film / TV
This is a 2016 Record Store Day Exclusive Release. It islimited to 1,000 copies worldwide and the Box Set includes: 2LP pressed on whiskey colored wax, proudly made in the USA, a hand crafted custom wood box by Boles Studio, Bronx, NY, an LP-sized 80-page book with exhaustive 20,000 word essay by Sam Sweet interviewing artists, documentary creators and crew, including over 100 unseen photos taken during the making of the film, a cast of Characters by legendary Austin illustrator Kerry Awn, a reproduction of original film poster (24”x36”), a DVD of original 1976 film with restored image and sound plus 45 mins of bonus features, including performances by Townes Van Zandt, Guy Clark and others,a region free DVD, a Double LP of soundtrack on “whiskey” colored wax housed in a Stoughton tip-on gatefold jacket, and a download card for the full soundtrack.
Gimmer Nicholson - Christopher Idylls
Gimmer Nicholson
Christopher Idylls
LP | 1994 | US | Reissue (Light In The Attic)
30,99 €*
Release:1994 / US – Reissue
Genre:Rock / Indie
This is a first ever vinyl reissue. Upon first glance, one could be forgiven for wondering which is the artist and which is the title of this album. Memphis' Larry “Gimmer” Nicholson still remains a great unknown today, despite his having orbited the periphery of the city's music scene since the early ‘60s, playing with artists ranging from Furry Lewis to William Eggleston and influencing a young Chris Bell (Big Star). Fusing classical and folk music, the sound Gimmer created for Christopher Idylls was evocative and unusual, its chiming guitars recalling the music of centuries past while also, when recorded in 1968, being quite desperately ahead of its time.
Lizzy Mercier Descloux - Suspense
Lizzy Mercier Descloux
Suspense
LP | 1988 | US | Reissue (Light In The Attic)
19,99 €* 24,99 € -20%
Release:1988 / US – Reissue
Genre:Rock / Indie
By the time bohemian singer/poet/artist Lizzy Mercier Descloux recorded her fifth album, 1988's Suspense, she'd enjoyed a recording career that was as far from the clichés of music lore as is possible, flitting between genres, continents and collaborators, enjoying great success and equally great failure and even stealing the final breaths of master trumpeter Chet Baker for 1986's One For The Soul. When she came to make Suspense – reissued here as the final album in our series – she was, for the first time, working without her longtime muse, partner and manager Michel Esteban, with whom she'd first moved from their native France to New York, where it all began.
Lizzy Mercier Descloux - One For The Soul
Lizzy Mercier Descloux
One For The Soul
LP | 1985 | US | Reissue (Light In The Attic)
24,99 €*
Release:1985 / US – Reissue
Genre:Rock / Indie
By the time poet, singer-songwriter, and artist Lizzy Mercier Descloux recorded 1984's Zulu Rock, she'd marked herself out as both a globe trotter with more passport stamps than Tintin and a musical innovator whose loose, arty spirit could be applied to styles as varied as no wave, Bavarian oompa and Soweto jive. She'd also established a tight-knit threesome with muse/former lover Michel Esteban and producer/on-off lover Adam Kidron, who all reunited to follow Zulu Rock – a surprise hit in her native France – with something that, once again, represented a complete about-turn.
Lizzy Mercier Descloux - Zulu Rock
Lizzy Mercier Descloux
Zulu Rock
LP | 1984 | US | Reissue (Light In The Attic)
24,99 €*
Release:1984 / US – Reissue
Genre:Rock / Indie
In the course of three albums, Lizzy Mercier Descloux, the rogue poet, artist, and singer-songwriter, travelled on a musical voyage from Manhattan (1979 debut Press Color) to The Bahamas (1981 follow-up Mambo Nassau) and apartheid South Africa (1984's Zulu Rock) – a controversial cultural boycott in protest of the nation's racially divided society.
Lee Hazlewood - The Very Special World Of Lee Hazlewood
Lee Hazlewood
The Very Special World Of Lee Hazlewood
LP | 1966 | US | Reissue (Light In The Attic)
24,99 €*
Release:1966 / US – Reissue
Genre:Rock / Indie
Lee Hazlewood was a late bloomer. Following a meandering career as a disc jockey, producer, songwriter, label executive and solo artist, Hazlewood hit the jackpot at the ripe age of 37 with “These Boots Are Made For Walkin’,” the song Nancy Sinatra took to the top of the charts on both sides of the Atlantic. Its success convinced MGM Records that Hazlewood was a bankable star, and they signed him as an artist in his own right the same year. But as a self-described "non-singer" whose cult 1963 debut, Trouble Is A Lonesome Town, was little more than a happy accident, they'd perhaps gotten the wrong end of the stick where Lee was concerned. In three years on the label, Hazlewood delivered three albums and sundry odds and ends, beginning with 1966 album The Very Special World Of Lee Hazlewood. The LP found Hazlewood gunning–in as much as he ever did–for commercial success, blending country, pop, novelty, mariachi, and lounge music into something unusually of-the-moment. Lushly orchestrated and–like the album that preceded it–half-sung, half-spoken in a way that Hazlewood made all his own, the album collected solo versions of songs made famous by Sinatra and others (“Sand,” “Boots,” “So Long Babe,” “Summer Wine”–included as a bonus duet with Suzi Jane Hokom) alongside some of his career-best solo compositions, among them the Morricone-like opener, “For One Moment.” It’s a record of extremes: “When A Fool Loves A Fool” is as light and throwaway as anything he ever laid down, while the wistful “My Autumn's Done Come” (sample lyric: "Let those I-don't-care days come in, I'm tired of holding my stomach in") is as raw and honest. Despite MGM's best efforts, Hazlewood proved difficult to market without a Sinatra to temper his baritone drawl, and you'd suspect Hazlewood wasn't taking it quite as seriously as they might have hoped anyway. By 1967, Hazlewood had founded the LHI imprint and was busy building his own empire–one we've been lovingly archiving for the past few years. We now present this missing link in the story, plus follow-ups Lee Hazlewoodism: Its Cause and Cure (1967) and Something Special (1968). Welcome, then, to Hazlewood's magnificent MGM years.
Alan Vega, Alex Chilton & Ben Vaughn - Live At Trans Musicales, Rennes, France, 7th December 1996
Alan Vega, Alex Chilton & Ben Vaughn
Live At Trans Musicales, Rennes, France, 7th December 1996
2LP | 1996 | US | Reissue (Light In The Attic)
22,99 €*
Release:1996 / US – Reissue
Genre:Rock / Indie
If a music critic could design their own supergroup, it might look something like the one that released the experimental, unique, and pulse-quickening 1996 album, Cubist Blues. The trio–Suicide's Alan Vega, Big Star's Alex Chilton, and singer-songwriter Ben Vaughn–are outsiders each and cult heroes in their own right. Their unlikely union happened in December 1994 in a fog of cigarette smoke at two barely-lit, all-night improv sessions at Dessau Studios in New York.After that fateful session, the three reunited to play one NYC show and promptly flew to Rennes, France to play Trans Musicales 1996. Vaughn recalls, “the place went wild. It was a great reaction. Alan is truly famous in France, so they were going nuts. For the encore, Alex called out ‘I Remember,’ an old Suicide song. It immediately fell into place, and the vocal Alan delivered was astounding. The memory of listening to his voice through the monitors during that song still kills me. What a gift he has.”The next day, as the musicians we were being dropped off in Paris for their flight home, the driver handed them a DAT tape of their set from the festival. Vaughn states, “I put it in my guitar case where it stayed for over ten years.”“Looking back, it was magic to work with those guys,” continues Vaughn. “Two nights in the studio, two live shows, and then it was over. That material was never performed again.”
Spooner Oldham - Pot Luck
Spooner Oldham
Pot Luck
LP | 2015 | US | Original (Light In The Attic)
28,99 €*
Release:2015 / US – Original
Genre:Organic Grooves
Legendary ivory-tickler Spooner Oldham is synonymous with the Muscle Shoals sound. The southern soul pioneer famously backed the likes of Etta James, Jimmy Hughes, Wilson Pickett, Percy Sledge, Aretha Franklin, and many more, but his lone solo album, Pot Luck, finds Spooner in a rare role: front and center. Oldham moved west in the late ‘60s when the patronage of bands like The Stones and The Flying Burrito Brothers made southern soul the in-demand sound. He joined the house band at Hollywood’s Producer’s Workshop and was soon playing for The Lettermen and Liberace. While recording the latter, it was suggested that Oldham make his own album. “I don’t really think I wanted it so much,” Oldham says now. “I think it was shoved on me. We’d got all this stuff set up, and now what do we do?"
Kitchen Cinq, The - When the Rainbow Disappears: An Anthology 1965-1968
Kitchen Cinq, The
When the Rainbow Disappears: An Anthology 1965-1968
2LP | 2015 | US | Original (Light In The Attic)
28,99 €*
Release:2015 / US – Original
Genre:Rock / Indie
Formed as The Illusions (and briefly The Y’alls) in Amarillo, Texas, the group blended garage punk with killer harmonies and a slight sense of the absurd. Picking up steam locally in the mid-‘60s, the members started to think about cracking it on a bigger scale, and, in 1966, moved to LA. “Almost immediately upon arrival, we auditioned for Lee,” says guitarist/vocalist Mark Creamer. “He said, ‘Deal.’" Another of Hazlewood’s coterie, Suzi Jane Hokom, was charged with producing the group, making her a de facto female pioneer in the industry.
Betty Davis - Betty Davis
Black Angels - Passover
Rodriguez - Coming From Reality
Rodriguez - Cold Fact
Free Design, The - Kites Are Fun
Free Design, The
Kites Are Fun
Tape | 2014 | US | Original (Light In The Attic)
15,99 €*
Release:2014 / US – Original
Genre:Pop
Fans of the Beach Boys, the 5th Dimension and other seminal pop artists have a gaping hole in their music collections if it doesn’t contain Kites Are Fun, the 1967 soft-psych-pop masterpiece from The Free Design. Never heard of the band? You’re not alone. Although now admired by audiophiles such as Beck, Stereolab and The Polyphonic Spree, The Free Design never achieved mainstream fame – an injustice that still puzzles many critics. In 1966, the family act was filling New York City coffee houses with dreamy, deceptively complex harmonies when acclaimed producer Enoch Light signed the siblings – Bruce, Chris, and Sandy Dedrick – to his Project 3 label. One year later, The Free Design debuted with Kites Are Fun. Nine of the album’s songs are originals, notably the title track, which became an instant soft-pop classic; well-chosen covers, including the Beatles’ “Michelle” and Simon & Garfunkels’ “The 59th Street Bridge Song,” complete the collection. Thirty six years after its release, and for the first time in North America on CD, Light In The Attic proudly presents The Free Design, introducing the group to a new generation of listeners.
Black Angels, The - Directions To See A Ghost
Black Angels, The
Directions To See A Ghost
Tape | 2014 | US | Original (Light In The Attic)
12,79 €* 15,99 € -20%
Release:2014 / US – Original
Genre:Rock / Indie
“The Black Angels bring the aura of mid-1966 the drilling guitars of early Velvet Underground shows, the raga inflections of late-show Fillmore jams, the acid-prayer stomp of Austin avatars the 13th Floor Elevators everywhere they go, including the levitations on their second album, _Directions to See a Ghost. Mid-Eighties echoes of Spacemen 3 and the Jesus and Mary Chain also roll through the scoured-guitar sustain and Alex Maas’ rocker-monk incantations. But he knows what time it is. ‘You say the Beatles stopped the war," Maas sings in ’Never/Ever.’ ‘They might’ve helped to find a cure/But it’s still not over.’ Even so, this medicine works wonders." – David Fricke, Rolling Stone
Karen Dalton - In My Own Time
Karen Dalton
In My Own Time
Tape | 2014 | US | Original (Light In The Attic)
12,79 €* 15,99 € -20%
Release:2014 / US – Original
Genre:Rock / Indie
Recorded over a six month period in 1970/71 at Bearsville, In My Own Time was Daltons only fully planned and realized studio album. The material was carefully selected and crafted for her by producer/musician Harvey Brooks, the Renaissance man of rock-jazz who played bass on Dylan’s Highway 61 Revisited and Miles’ Bitches Brew. It features ten songs that reflected Daltons incredible ability to break just about anybodys heart – from her spectral evocation of Joe Tates “One Night of Love”, to the dark tragedy of the traditional “Katie Cruel”. Known as a great interpreter of choice material, Dalton could master both country and soul genres with hauntingly pining covers of George Jones “Take Me” and Holland-Dozier-Hollands “How Sweet It Is”.
Sly Stone - I'm Just Like You: Sly's Stone Flower 1969-70
Sly Stone
I'm Just Like You: Sly's Stone Flower 1969-70
2LP | 2014 | US | Original (Light In The Attic)
28,99 €*
Release:2014 / US – Original
Genre:Organic Grooves
In 1970, The Family Stone were at the peak of their popularity, but the maestro Sly Stone had already moved his head to a completely different space. The first evidence of Sly’s musical about-turn was revealed by the small catalog of his new label, Stone Flower: a pioneering, peculiar, minimal electro-funk sound that unfolded over just four seven-inch singles. Stone Flower’s releases were credited to their individual artists, but each had Sly’s design and musicianship stamped into the grooves–and the words “Written by Sylvester Stewart/Produced and arranged by Sly Stone” on the sticker.Set up by Stone’s manager David Kapralik with distribution by Atlantic Records, Stone Flower was, predictably, a family affair: the first release was by Little Sister, fronted by Stone’s little sister Vaetta Stewart. It was short lived too–the imprint folded in 1971–but its influence was longer lasting. The sound Stone formulated while working on Stone Flower’s output would shape the next phase in his own career as a recording artist: it was here he began experimenting with the brand new Maestro Rhythm King drum machine. In conjunction with languid, effected organ and guitar sounds and a distinctly lo-fi soundscape, Sly’s productions for Stone Flower would inform the basis of his masterwork There’s A Riot Goin’ On.The first 45 came in February 1970: Little Sister’s dancefloor-ready “You’re The One” hit Number 22 in the charts–the label’s highest showing. The follow-up, “Stanga," also by Little Sister, made the wah pedal the star. The third release came from 6IX, a six-piece multi-racial rock group whose sole release, a super-slow version of The Family Stone’s “Dynamite," featured only the lead singer and harmonica player from the group. Joe Hicks was the final Stone Flower stablemate; his pulsing, electronic "Life And Death In G&A” is one of the bleakest moments Sly Stone ever created on disc (Hicks’ prior single for Scepter, “Home Sweet Home,” the first released Stone Flower production, is also included).This long overdue compilation of Sly’s Stone Flower era gathers each side of the five 45s plus ten previously unissued cuts from the label archives, all newly remastered from the original tapes. In these grooves you’ll find the missing link between the rocky, soulful Sly Stone of Stand! and the dark, drum machine-punctuated, overdubbed sound of There’s A Riot Going On. I’m Just Like You: Sly’s Stone Flower 1969-70 opens up the mysteries of an obscure but monumental phase in Stone’s career.
Lizzy Mercier Descloux - Fire / Morning High Feat. Patti Smith
Lizzy Mercier Descloux
Fire / Morning High Feat. Patti Smith
7" | 2014 | US | Original (Light In The Attic)
11,99 €*
Release:2014 / US – Original
Genre:Rock / Indie
Limited edition for Black Friday RSD 2014!Next year, Light In The Attic will release a detailed series showcasing the work of impassioned poet, painter, actor, and prolific, self-taught musician Lizzy Mercier Descloux. Instrumental in the late 70s New York underground yet of Parisian origin, Mercier Descloux, with partner Michel Esteban, established the magazine Rock News and ran in the same circles as Patti Smith and Richard Hell. Lizzy became a genre defying artist and pioneer of worldbeat and avant garde rock, and supreme minimalist of the no wave genre in her own right. A glimpse of what's in store for this upcoming archival series, this 7" presents two key tracks from the Mercier Descloux catalog: the epitomic, 1979 disco-punk classic "Fire" backed with a rare session featuring Lizzy and "Godmother of Punk" Patti Smith reciting a bilingual version of Arthur Rimbaud's poem, "Matinée d'ivresse/Morning High," set to music by experimental contemporary Bill Laswell.
Wayne McGhie & The Sounds Of Joy - Wayne McGhie & The Sounds Of Joy
Wayne McGhie & The Sounds Of Joy
Wayne McGhie & The Sounds Of Joy
LP | 1970 | US | Reissue (Light In The Attic)
21,59 €* 23,99 € -10%
Release:1970 / US – Reissue
Genre:Organic Grooves
Limited edition for Black Friday RSD 2014!Finally back in print and one of the pinnacle releases in the Light In The Attic catalog, this 1970 masterpiece is the first true debut of Studio One veteran and Jackie Mittoo band mate Wayne McGhie. Originally released in 1970 on the Birchmount label, this self-titled long player is a wicked mix of Caribbean funk, soul, and reggae. The best album you never got the chance to hear and cited by many as the first Canadian soul album, this expanded edition celebrates the ten year anniversary of that moving first re-release back in '04. 
Lee Hazlewood - There's A Dream I've Been Saving: Lee Hazlewood Industries 1966 - 1971
Lee Hazlewood
There's A Dream I've Been Saving: Lee Hazlewood Industries 1966 - 1971
8LP Box | 2014 | US | Original (Light In The Attic)
224,99 €* 249,99 € -10%
Release:2014 / US – Original
Genre:Rock / Indie
Limited edition for Black Friday RSD 2014!Seven years in the making, There’s A Dream I’ve Been Saving is the ultimate artifact for Lee Hazlewood heads new and old. Now, for the first time, you can enjoy the entire experience on vinyl. This landmark box set contains an expansive LP-sized hard cover book detailing the label history of Lee Hazlewood Industries, accompanied by 8 LPs + 4-CDs and the never-before-released film "Cowboy in Sweden".
Sylvie Simmons - Sylvie
Sylvie Simmons
Sylvie
LP | 2014 | US | Original (Light In The Attic)
23,99 €*
Release:2014 / US – Original
Genre:Rock / Indie
Light In The Attic has an impeccable reputation for uncovering rare and precious albums from the past. Their latest release, _Sylvie_, is haunting and out-of-time—but it is also a brand-new, original debut album, by a singer-writer who has been making music since she was a little girl but just for herself. Like Devendra Banhart says, Sylvie is “a gem of an album, fragile and fearless, direct and poetic, timeless and absolutely beautiful. Like Rosalie Sorrels meets the Only Ones.” Or Isobel Campbell on a lost desert night, maybe, with only the moon and a ukulele for company.The raw, delicate, and sensual songs about love and love gone wrong are performed on a ukulele, which here sounds like a broken harp or a heartbroken guitar. “I'd always thought of the uke as a toy, a little handful of happiness," says Sylvie, "but not any more. My first ukulele—in fact all my ukuleles—came to me by accident, under strange circumstances usually involving mysterious, vanishing men. From the moment I picked it up, I fell in love. A uke has a sad, fractured sweetness and a modesty. It doesn't try to impress you, it almost apologizes for being there. The notes are like feathers; you play them and they're blown away in a second. And yet these songs kept coming through this tiny instrument with all their heartbreak and truth intact."The first person to hear them was Howe Gelb of Giant Sand. “I'd send them one at a time, as I'd written them, and if I left it too long before sending another, he would ask for the next installment. We would talk about recording an album of them one day, and we did.” Meanwhile, she began to make tentative moves back onto the stage, having abandoned it in her teens due to "paralyzing, deer-in-the-headlights stage fright. I guess as you grow up you become a little inured to that particular pain," Sylvie says. "Or there's so much other pain it gets put in perspective." Starting at the deep end, she performed solo at SXSW, going on to play a number of shows under the radar with celebrated guest musicians.Late last year, in a gap between tours, Howe lured Sylvie to the desert where they recorded live to tape in Wavelab Studio in Tucson, with Thoger Lund playing upright bass and Howe, who produced the album, backing her brilliantly on guitar, synthesizers, and piano. "I was staying in Tucson in a motel with no car, running alongside the freeway in the hot morning sun, and then we just went into the cool, dark studio and played. No rehearsals and no going back. It was magic. We planned to record ten of my songs, including a couple I'd just written. We ended up with twelve: one spontaneous cover, and an instrumental with all of us gathered around Howe's piano, which sounds like the soundtrack to a lost David Lynch film."It's apt that the album should be made in such a musically evocative setting, because another love affair that informs the record is that of Sylvie and the USA. Born in London, she’d felt the pull of America since childhood and ran away to LA in the late seventies to write about music, convinced she'd never have the nerve to perform it. She became renowned as a rock writer (she's the subject of a BBC documentary, _The Rock Chick_) and also as an acclaimed author. Her books include the cult fiction _Too Weird For Ziggy_ and biographies _Serge Gainsbourg: A Fistful of Gitanes_ and _I’m Your Man: The Life of Leonard Cohen_. Following numerous movements across the globe—including three years in a tumbledown French chateau—she now lives in San Francisco.“The main constant in my life, aside from escape, has been music,” Sylvie says, “writing about it in public and playing it in secret, until now.” On her intimate, mesmerizing debut she lays herself bare. "Clearly from my songs, my skin is thinner than a butterfly's wing, but these are true songs, and this is how they came out, alone in the dead of night, sad, sweet, and mysterious."
Lewis - Romantic Times
Lewis
Romantic Times
LP | 1985 | US | Reissue (Light In The Attic)
23,99 €*
Release:1985 / US – Reissue
Genre:Rock / Indie
Earlier this year, Light In The Attic released the mysterious, bewitching L’Amour, a 1983 private press record thought to be the only release by one of music’s true lost talents: Lewis.So lost, in fact, was Lewis, he eluded every effort to track him down. Scant details were known: just a series of possibly apocryphal stories about a sports car-driving Canadian with a model on his arm and a habit of skipping town when there were bills to be paid.Deciding that Lewis’ spider web-delicate songs demanded to be heard, we put the album out anyway, offering to present the due royalties to anyone who could prove they were Lewis.One sure thing was this: Lewis was a man of many names: Randall A. Wulff among them. Now we have either found another alias – or perhaps even his real name – on the sleeve of a completely unknown album.Sourced soon after the re-release of L’Amour, Romantic Times is the 1985 follow-up to L’Amour – and it’s released as Lewis Baloue. The name may be slightly different, but this is absolutely our man: a familiar blond posing on the sleeve, a familiar, tortured voice pouring his heart out over languid synths and synthetic waltz beats.Remastered from a sealed, vinyl copy of the ultra-rare album, the album was discovered in the vaults of DJ and collector Kevin “Sipreano” Howes in Vancouver, BC. It’s so rare that what is, at present, the only other known copy – found in the same Calgary store where Aaron Levin discovered a batch of sealed copies of L’Amour – is presently soaring into quadruple digits on eBay.Even engineer Dan Lowe, credited for working on the album at Calgary’s Thunder Road Studios, remembered little about the session other than that Lewis seemed to be “under the influence”. Yet the music is utterly captivating.The album further fleshes out the Lewis myth – we see him pictured in that white suit with his famous white Mercedes and a private jet too; we hear him focussing more intently on matters of the heart, and appearing to unravel in the process. “I felt like I was witnessing a full-blown exorcism of a phantom clad in the finest linen,” writes filmmaker and historian Jack D. Fleischer in his brand new liner notes. “This record went further [than L’Amour ]. It was a personal plea, of sorts. Something had gone wrong. Nerves were clearly exposed.”It paints Lewis, then, as being more like a David Lynch character than even his debut did, exposing the darkness beneath the sheen. The album is presently being readied for release to the throng of new fans Lewis has found, willingly or not. The man himself remains a total enigma.
Donnie & Joe Emerson - Still Dreamin' Wild: The Lost Recordings 1979-81
Donnie & Joe Emerson
Still Dreamin' Wild: The Lost Recordings 1979-81
LP | 2014 | US | Original (Light In The Attic)
23,99 €*
Release:2014 / US – Original
Genre:Organic Grooves
Some people have to wait for fame; some people wait even longer than most. Donnie and Joe Emerson are in a league of their own.As teenagers in Fruitland, Washington in the late ‘70s, the farming brothers dreamed of being heard. The synthesizers were sometimes crude and the 8-track recorder had its limitations, but the brothers aimed at nothing short of perfection in their home studio on the farm. They titled their 1979 debut Dreamin' Wild, and, as multi-instrumentalist Donnie later admitted, “Joe and I basically lived the dream of the title of the album.” The same goes for their parents who heavily believed in their sons' musical dreams, taking out a second mortgage on the farm and investing $100,000 in a dream that refused to die. But their privately funded, private press record sank without trace, the family lost most of their 1,600 acre farm, and as Joe focused on the family farming business, Donnie focused on his solo career.As for Dreamin' Wild, things began to change three decades later, when record collector Jack Fleischer bought a copy of the album for $5 at a Spokane thrift shop. Something about the brothers' smiles, bouffant hair, and matching white jumpsuits gave him a good feeling. Fleischer's blogging about the album brought it to the attention of cult musician Ariel Pink, who recorded his own version of standout track “Baby.” Eventually re-released on Light In The Attic and widely available for the first time, the album chimed louder a lifetime after its conception: Pitchfork described it as a “a godlike symphony to teen hood.” The New York Times flew out to the family farm, while Jimmy Fallon took to Twitter to proclaim his love for the duo.But Dreamin' Wild does not tell the full story. In a relatively short span of time (just two and half years) the boys put close to 70 songs down on tape, all recorded at that magical home studio on the farm. A dozen of them are included here on Still Dreamin' Wild: The Lost Recordings 1979-81 and ready to be enjoyed for the first time ever. With a familiar blend of FM rock, power pop, and new wave, these 12 tracks cover the entirety of that fruitful period, stretching from the second song Donnie ever recorded (“Everybody Knows It”) – to tracks documenting his temporary move to L.A. in 1981.Donnie's life story is in these songs. Where Dreamin' Wild captures the teenage experience, Still Dreamin' Wild tells a broader story, one in which teenage dreams turn to painful yearning. So where the Beach Boys indebted “Ooh Baby Yeah” is inspired by a teenage girlfriend, “Big Money” shows the emergence of a naive political awareness. Later, 1981's “One True Love” captures the sound of what Donnie described as “the city as imagined from the farm,” and the epic closing track, “Don't Disguise The Way You Feel” found Donnie after high school, feeling stifled and frustrated in the isolation of the countryside and mourning the loss of his friend and occasional backing vocalist Dwayne. It is, quite simply, heartbreaking.The long-belated success of Dreamin' Wild has given the Emerson brothere, still close and still the heart of a loving family, a new lease of life. They've finally taken their music on the road, performing at Seattle's Showbox followed by New York's Mercury Lounge. Still Dreamin' Wild proves that the album wasn't a fluke, and that Donnie's songwriting is as consistent as it is rare. All this time later, we finally have the pleasure of hearing the brothers' music. And the good news? They've still got the jumpsuits.
Brothers & Sisters, The - Dylan's Gospel
Brothers & Sisters, The
Dylan's Gospel
LP | 1969 | US | Reissue (Light In The Attic)
25,99 €*
Release:1969 / US – Reissue
Genre:Organic Grooves, Rock / Indie
Very essential stuff over here:Of all the great back catalogs in the history of rock, Bob Dylan’s is among the most covered, his acolytes ranging from The Byrds to Adele via Manfred Mann and Guns N’ Roses. But something tells us you won’t have heard anything quite like Dylan’s Gospel by The Brothers and Sisters, a choir of Los Angeles session singers brought gloriously to the fore for a very special, one-off record.Originally released in 1969 on Ode Records, this rare and sought-after album finds the California collective covering a clutch of Dylan classics in the era’s revolutionary gospel style. Produced by Lou Adler, soon to work his magic on Carole King’s mega-successful Tapestry, and arranged by Gene Page, noted for his work for Motown, the performers were largely unknown, but many went on to find great acclaim. Merry Clayton, the powerhouse singer best known for sparring with Mick Jagger on Rolling Stones’ “Gimme Shelter” (and star of the recent documentary 20 Feet from Stardom), appears here, as does Edna Wright of The Honeycones and Gloria Jones who recorded the original version of “Tainted Love” in 1965.The cast of 27 singers also includes Ruby Johnson, Shirley Matthews, Clydie King, Patrice Holloway, Julia Tillman and more. The tracklist includes some of the best-loved Dylan songs from the singer songwriter’s most productive decade, including “Lay Lady Lay”, “All Along The Watchtower”, “My Back Pages” and “Just Like A Woman”.The genesis of the project was Lou Adler, the music business visionary who staged the legendary Monterey International Pop Festival. He imagined a project that combined the songs of Dylan with L.A.‘s most sought after session singers, most of which began their singing in the Baptist churches of South Los Angeles. “Listening to Dylan’s songs, I felt there was a gospel-like feel to them, both spiritually and lyrically,” Adler says in the liner notes. “So those two ideas, to work with these singers and to explore that side of Dylan – came together.”Recording sessions at Sound Recorders Studios in Hollywood were a four-day party, with food, drink and far more musicians than were ordered, many of the singers bringing along cousins, mothers, partners and more. Carole King came to hear, as did Peggy Lipton and Papa John Phillips. It was a rock ‘n’ roll version of a gospel church. “Lou just put on a big, crazy party,” remembers Edna Wright. “He had all these people together, all this raw talent. And we were there for nothing but the love of singing.”Presented in this long-overdue reissue by Light In The Attic, this oft-overlooked album is a must for fans of Dylan. The word of Dylan has rarely sounded so stirring.
Bobby Charles - Bobby Charles
Bobby Charles
Bobby Charles
LP | 1972 | US | Reissue (Light In The Attic)
23,99 €*
Release:1972 / US – Reissue
Genre:Rock / Indie
Bobby Charles pioneered the musical genre known as ‘swamp rock’ – he wrote the early rock n roll classic “See You Later, Alligator” (best known via the version by Bill Haley & the Comets). Another early gem penned by Bobby Charles was “Walking to New Orleans” as recorded by Fats Domino. He also appeared at the legendary “Last Waltz” concert in 1976 – in which he performed “Down South in New Orleans” accompanied by The Band and Dr. John.But the main reason that musicians like Andy Cabic of Vetiver sing his praises (and cover his songs) is for Bobby’s 1972 self-titled album released on Bearsville. Despite numerous CD reissues through the years, this is the first time in decades that the seminal album has appeared in its original vinyl LP format.A virtual who’s who of classic ‘roots’ rock – the album features 10 Bobby Charles classics supported by the likes of Rick Danko, Levon Helm, Garth Hudson, and Richard Manuel of The Band, long time Neil Young sidekick Ben Keith, Bob Dylan’s former running mate Bob Neuwirth, session maverick Amos Garrett, the esteemed Dr. John, Geoff Muldaur and several others.But this is far from an all-star jam session – this is an ensemble record in the truest sense of the word – with each musician simply supporting the Louisiana vibe that flows thru the 10 song collection of country, blues, R&B, and folk that all have that distinctive Bobby Charles signature sound. Album also includes the slow burner “Street People” as featured on Country Funk 1969-1975, Volume 1.Perhaps Dr. John said it best “I think all of Bobby’s songs have something to offer at all times, for all people.”
Lee Hazlewood - There's A Dream I've Been Saving: Lee Hazlewood Industries 1966 - 1971
Lee Hazlewood
There's A Dream I've Been Saving: Lee Hazlewood Industries 1966 - 1971
Box Set | 2013 | US | Original (Light In The Attic)
103,99 €*
Release:2013 / US – Original
Genre:Rock / Indie
For more than a year now, Light In The Attic has been reissuing the solo work of this true American moustachioed maverick. Beyond restored versions of Lee’s debut Trouble is a Lonesome Town and the soundtrack A House Safe for Tigers, the lid has also been lifted on the rich, little-explored archives of the label Lee Hazlewood Industries (LHI), when Hazlewood was svengali and super-producer to a stable full of brilliant artists.This landmark box set is the ultimate artifact for Lee Hazlewood heads new and old, containing a lavishly packaged, expansive 172-page LP sized hard cover book. But every good book deserves a soundtrack and in this case it comes in the form of a four-CD anthology of the LHI label, along with the never-before-released 1970 film Cowboy in Sweden on DVD. The CDs feature Hazlewood songs familiar and less so; surprising covers, doleful duets and little heard LHI gold.One of the most impressive aspects of the LHI box set is the gorgeous 12”x12” LP sized book (perfect for your record shelf), packed with rare beautiful pictures of Lee, his artists (and the occasional horse). The pages roll out the full story of the LHI label, including interviews with Lee and Suzi Jane Hokum, re-assessments of key Hazlewood albums, and artist profiles for the label’s roster, lovingly written by renowned L.A. music journalist/novelist Jessica Hundley. In the illuminating text, a picture of Hazlewood emerges – fiercely talented, brutally independent, a rare, ornery, ruthless and visionary man.A Deluxe Edition of the box set contains all of the above housed in a cloth-bound clamshell box with reproductions of LHI-era artifacts including press photos and a reproduction plane ticket used by Hazlewood back in ‘70. But the true icing on the cake is three data discs which include just about every 45 single and every LP ever released onLHI — in both WAV and MP3 formats. At around 17 albums and 72 singles (totaling 305 songs!), that’s a whole lot of Lee.The deluxe edition includes the following:172 Page Hard Cover Book:- LP-sized cloth bound book with gold foil stamp- Over 150 rare &
unseen photos
+ In depth essays - LHI history, album breakdowns, 27 artist profiles, LHI timeline, and interviews with Lee & dozens of label alum.Cowboy in Sweden The Film, on DVD (1970, 60 mins):- First time available. New digital transfer from the original 16mm master negative at the Swedish Broadcasting Co. Fully restored in HD with re-mastered sound. Region Free.4 CDs (107 Tracks):- Meticulously Re-mastered. Analog transfers captured at 24-bit/96-kHz. 95% of transfers from original analog master tapes (remainder transferred from mint vinyl). - DISCS 1 & 2: Everything Lee recorded for LHI, including every 45 single and album (Cowboy in Sweden, Forty, The Cowboy & The Lady, and Requiem For an Almost Lady), plus a handful of unreleased tracks.- DISCS 3 & 4: Key tracks from the LHI stable
 of artists, including Suzi Jane Hokom, The Kitchen Cinq, Ann-Margret, Honey Ltd., The International Submarine Band, Arthur, The Aggregation, Sanford Clark, Lynn Castle, The Surprise Package, Virgil Warner, and Hamilton Streetcar, amongst many others.- 14 unreleased tracksFrom Lee’s Personal ‘Stache:- Flexi disc featuring unheard Lee ‘studio chatter’ (“Play it like a cowboy song”)- Reproduction of Lee’s original embossed LHI business card- 5 random copies include a “Golden Ticket” for a free subscription to Light In The Attic’s Lee Hazlewood Archive Series
V.A. - I Am The Center: Private Issue New Age In America 1950-1990
V.A.
I Am The Center: Private Issue New Age In America 1950-1990
3LP | 2013 | US | Original (Light In The Attic)
49,99 €*
Release:2013 / US – Original
Genre:Rock / Indie
Received an 8.3 Best New Reissue rating from Pitchfork.Forget everything you know, or think you know, about new age, a genre that has become one of the defining musical-archaeological explorations of the past decade."I Am The Center: Private Issue New Age In America 1950-1990" is the first major anthology to survey the golden age of new age and reveal the unbelievable truth about the genre. For new age, at its best, is a reverberation of psychedelic music, and great by any standard. This is analog, handmade music communicating soul and spirit, often done on limited means and without commercial potential, self-published and self-distributed. Before it became big business and devolved into the spaced out elevator music we know and loathe today, this was the real thing.From mathematical musical algorithms to airport murder mysteries to Henry Mancini and Bugs Bunny, the connections to mainstream culture run in curious directions. (Did you know, for instance, that a track from the first modern private press new age album is featured on the Blade Runner soundtrack? It’s called “Pompeii, 76 A.D.”, and we’ve got it here.)I Am The Center is a knowing, but never cynical overview that invites listeners at last to the mainspring of a misunderstood genre’s greatest lights. Many of the biggest names are present — Iasos, inter-dimentional channeler of “paradise music”; Laraaji, discovered by Brian Eno playing for spare change in Washington Square Park; and the recently famous JD Emmanuel, icon to a new generation of drone, ambient, noise musicians. Call it what you will — before it was anything else, it was new age.Lovingly conceived and lavishly presented, I Am The Center features stunning paintings by the legendary visual artist Gilbert Williams, and liner notes by producer Douglas Mcgowan, who weaves the words and images of the wizards and sorceresses of new age into a prismatic portrait of music that can finally be recognized for what it is: great American folk art.
National Wake - Walk In Africa 1979-1981
National Wake
Walk In Africa 1979-1981
2LP | 2013 | US | Original (Light In The Attic)
27,99 €*
Release:2013 / US – Original
Genre:Rock / Indie
The South Africa of the late 1970s was neither the right place nor time to launch a mixed-race punk band. Yet, following the student-inspired Soweto Uprising of 1976, it was also exactly the right conditions to foster a band like National Wake, one formed in an underground commune, and one whose very name exists in protest at the divisive, racist apartheid regime. Never before collected together, Light In The Attic is set to release National Wake’s full body of work as Walk In Africa 1979-81.Featured heavily in the Punk In Africa documentary, National Wake played punk, reggae and tropical funk, equally at home in the city’s rock underground and the township nightclub circuit. Ivan Kadey started the band with two brothers, Gary and Punka Khoza. The three were from different worlds – while Ivan was an outsider, a Jewish orphan born in the traditional Johannesburg immigrant neighborhood, Gary, Punka and their family were forcibly moved to the troubled township of Soweto under the apartheid regime. Later joined by guitarist Steve Moni, the whole band grew up against a backdrop of township unrest, social upheaval and suburban tedium that characterized apartheid-era South Africa.National Wake released just one album, in 1981. It sold approximately 700 copies before being withdrawn under government pressure. The band subsequently disintegrated, but their influence could be traced in the racially mixed post-punk underground centered around Rockey Street in Johannesburg throughout the 1980s, their legacy transmitted through fanzines and underground cassette trading.Sadly, Gary and Punka Khoza both passed away in their 40s. Kadey now works as an architect in Los Angeles, but his attention eventually turned back to the band as their legacy grew in the digital era, with the emergence of specialized music websites and Punk In Africa leading to their rediscovery. Czech State Radio memorably described the band as “perhaps the most dissident music scene of the 20th century: a multi-racial punk band in a fascist police state.”In 2011, Kadey re-released the band’s self-titled album, but spoke about having more than 20 tracks that had never seen the light of day – until now. “All of these recordings put together they speak of the whole evolution of the band,” he has said. “From a sort of naive, almost belief that we could miraculously change everything to realizing what a struggle it was, and what the country was going through and what it would go through.”
Roky Erickson - Don't Slander Me
Roky Erickson
Don't Slander Me
2LP | 1984 | US | Reissue (Light In The Attic)
28,99 €*
Release:1984 / US – Reissue
Genre:Rock / Indie
Celebrating a creative purple patch by a singular performer, Light In The Attic is to reissue the three Roky Erickson albums orchestrated by Orb Productions, Craig Luckin’s San Francisco-based music company. In revisiting "The Evil One" (LITA 097), "Don’t Slander Me" (LITA 098) and "Gremlins Have Pictures" (LITA099), we hold a lens to a unique artist beloved of Sonic Youth, Spacemen 3, ZZ Top, Jesus And Mary Chain, The Black Angels, Jack White and many more.
Honey Ltd. - The Complete LHI Recordings
Honey Ltd.
The Complete LHI Recordings
2LP | 1968 | US | Reissue (Light In The Attic)
21,99 €*
Release:1968 / US – Reissue
Genre:Rock / Indie
Lee Hazlewood’s LHI label only put out interesting albums. Yet despite the psychedelic cowboy’s success with Nancy Sinatra and more, being on Lee Hazlewood Industries was no fast-track to success. Gorgeous and talented Detroit, Michigan girl group Honey Ltd had all the makings of a hit band, yet they disappeared after releasing just one album in 1968, a vinyl rarity that now regularly fetches upwards of $2,000.Light In The Attic Records is now looking to set the record straight. Having previously explored both the back catalog of Lee Hazlewood and his LHI label via the You Turned My Head Around 45s Box Set, Honey Ltd’s The Complete LHI Recordingspresents everything the group ever recorded. Fans of The Ronettes, The Shangri-Las and Pentangle are in for a treat – Honey Ltd’s music blended social commentary with harmony-drenched, psych-soul pop. Even opening track, ‘Warrior’, describes the mood of the times, as America sunk into the Vietnam war: “We must kill more people; strong men are what we need!"Laura Polkinghome, Marsha Jo Temmer and sisters Joan and Alexandra Sliwin are the girls with the angelic voices. Hailing from Detroit, the four members of Honey Ltd grew up in a culture of soul music and dance shows, yet forming a band was never part of the plan. It simply happened after they sung together in a Wayne State University cafeteria and found they’d silenced the room. By 1967 they had formed a group known as the Mama Cats and were playing shows with local singer Bob Seger. By 1968, against a backdrop of rioting in Detroit, they’d hauled over to Los Angeles to give music a go, and it’s there that they hitch-hiked to an audition with Lee Hazlewood on Sunset Boulevard. At the time, Lee Hazlewood Industries was in its prime: the money flowed and the roster swelled. “I think Lee just sat there for a while and listened, looking at us,” Temmer recalls. “He said, ‘Yeah, I think we can do something.’ You know – immediately!” Before long, LHI had the band in the studio with crack session music unit The Wrecking Crew.These were not enlightened times for girl groups. The group were re-named Honey Ltd by Hazlewood, and were put to work on an album without even realizing it. The band were under the impression they were simply recording singles. As a result, the band were unphased by Honey Ltd’s commercial failure.The parent label, however, did notice the album’s failure but the girls continued on. By the end of 1968, the band joined Bob Hope on the USO tour and headed to Thailand to perform for soldiers. In 1969, Alex married and quit the band, their tenure onLHI was effectively terminated and the remaining members regrouped as country-rock group Eve. But like their music, the girls’ outlook remained resolutely sunny.“Its all a karmic equation, isn’t it?" Temmer recalled. “So many things to experience and learn and humbly let go of in this journey. Our friendship is based on love – we love each other… always have… always will.”
Gold Leaves / Lee Hazlewood - Won't You Tell Your Dreams
Gold Leaves / Lee Hazlewood
Won't You Tell Your Dreams
7" | 2012 | US | Original (Light In The Attic)
8,09 €* 8,99 € -10%
Release:2012 / US – Original
Genre:Organic Grooves
A-side is produced by Gold Leaves, engineered by Chris Early, and recorded in Seattle in September 2012.  B-side features Lee's original version as remastered by John Baldwin for our recent compilation Lee Hazlewood - The LHI Years: Singles, Nudes, & Backsides (1968-71). 
Marcos Valle - Marcos Valle
Marcos Valle
Marcos Valle
LP | 2012 | US | Reissue (Light In The Attic)
23,99 €*
Release:2012 / US – Reissue
Genre:Organic Grooves
Evolving from samba’s percussive pulse in the late 1950s, bossa nova (literal translation: new trend), is Brazil’s internationally accepted gift to the global melting pot of music. Initially brought to prominence by the likes of Antônio Carlos Jobim, João Gilberto, and João Donato, by the mid-1960s, there was an emerging pool of youthful talent ready to make their voices heard. Marcos Valle and his lyricist brother Paulo Sergio were no exception. After signing to Odeon Records (a subsidiary of EMI) the pair penned a classic of the South American songbook, “Samba De Verão”—known in English as “So Nice (Summer Samba).” A musical trip to the United States in 1966, where the singer worked with Sergio Mendes and jazz giant Verve Records, provided even more inspiration. By the dawn of the 1970s, the multi-talented Valle was entering a new era, ready to test the government censors (Brazil was under strict military rule since a coup d’état in 1964) and express a socially aware stance and a playful hodge-podge of musical styles including samba, bossa nova, baião (a rhythmic beat from the rural northeast of Brazil), black American music, and rock.Marcos Valle was originally released in 1970 and not only features a seductive cover image of Marcos reading the local papers with a bottle of liquor on a side table, but a dynamic musical backing from some of Brazil’s most gifted players. Hip-hop fans may even recognize the opening horn blasts of “Ele E Ela,” sampled to great effect on Jay Z’s “Thank You.” Any way you spin it, we at Light In the Attic are extremely proud to present Marcos Valle as part of our four-album Marcos Valle reissue campaign.Consisting of an ambitious string of early 1970s landmark studio sessions (sympathetic in spirit to Stevie Wonder and Marvin Gaye’s game changing work from the same era) and released on CD and LP, Marcos Valle (including a rare bonus track on the CD version) features extensive liner notes by San Francisco-based writer Allen Thayer (Wax Poetics) with exclusive interview content and song-by-song breakdown from Marcos himself. Fans new and old will finally have easy breezy access to these once hard-to-find Brazilian classics.With legendary progressive rock group Som Imaginário backing the Valle brothers’ animated music and lyrics, Marcos Valle is a welcome addition to any South American friendly record collection and sits proudly with the best of Brazil. File after Os Mutantes and before Caetano Veloso.
Mark Lanegan / Karen Dalton - Same Old Man
Mark Lanegan / Karen Dalton
Same Old Man
7" | 2012 | US | Original (Light In The Attic)
8,99 €*
Release:2012 / US – Original
Genre:Organic Grooves
Celebrrrating Light In The Attic’s 10 year anniversary in 2012, we are releasing a series of very special colored vinyl 7”s and digital downloads. The series features contemporary artists covering a track reissued by L-I-T-A on the A-side, plus the original version on the B-side.On this release, Screaming Trees man Mark Lanegan applies his tobacco-flavored tones to ‘Same Old Man’, a traditional made famous by the haunting New York singer-songwriter Karen Dalton. What Dalton achieves with the traditional instruments of America (notably her celebrated banjo) in her 1971 arrangement, Lanegan re-imagines with strings, droning Indian tones, sitars and sub-continent-sized production.A side is produced by Alain Johannes and recorded at 11 AD, Los Angeles, CA, July 2012. B side features the original Karen Dalton version as remastered by Dave Cooley for our reissue of her “I’m My Own Time” album from 1971.
Iggy Pop & Zig Zags / Betty Davis - If I'm In Luck I Might Get Picked Up
Iggy Pop & Zig Zags / Betty Davis
If I'm In Luck I Might Get Picked Up
7" | 2012 | US | Original (Light In The Attic)
8,99 €*
Release:2012 / US – Original
Genre:Organic Grooves, Rock / Indie
Celebrrrating Light In The Attic’s 10 year anniversary in 2012, we are releasing a series of very special colored vinyl 7”s and digital downloads. The series features contemporary artists covering a track reissued by L-I-T-A on the A-side, plus the original version on the B-side.To launch the series, we asked Los Angeles-based scuzzy punks Zig Zags, whose debut 7" came out on Mexican Summer earlier this year, to team up with legendary punk rock icon Iggy Pop (yes, THAT Iggy Pop!). With this, we give you Iggy Pop and Zig Zags’ take on Betty Davis’ “If I’m In Luck I Might Get Picked Up” from her self-titled debut album (LITA 026).Digging deep into the grooves of the original, Zig Zags discovered a secret heavy Sabbath vibe lurking just below the funk surface. Mixing that with their usual sludge-punk leanings, the god-like Iggy Pop was brought in to sing. A natural choice.A side was recorded by Dan Horne (Beachwood Sparks), mixed by Thom Monahan (Vetiver, Pernice Bros, Devendra Banhart), and mastered by Dave Cooley (Elysian Masters). B side features the original Dave Cooley remastering from 2007.
Ray Stinnett - A Fire Somewhere
Ray Stinnett
A Fire Somewhere
2LP | 1971 | US | Reissue (Light In The Attic)
26,09 €* 28,99 € -10%
Release:1971 / US – Reissue
Genre:Rock / Indie
A hippie-fied, soul-rock, folk-rock, psych-rock gem lost in the vaults for four decades, A Fire Somewhere by Ray Stinnett (best known as a member of ‘60s outfit Sam The Sham & The Pharaohs) sounds as fresh as the day it was cut, and comes with extensive liner-notes detailing the fascinating life of a little-documented ‘60s rock voyager.Born in Memphis in 1944, Ray Stinnett got his first guitar, aged 12, from Nathan Novak’s pawn shop, where Elvis got his first guitar. Heading back down Beale Street afterwards, the family stopped at a light and a huge pink Cadillac pulled up beside them. “And oh my god – it was Elvis!” recalls Ray, “So I held up my guitar and shouted, ‘Hey Elvis!’ and he looks over and says, “Hey cat.” Ray told his father he was going to work hard and make a gold record… just like Elvis.Before long, he was putting the plan into action, first in teen group Johnny and the Electros, then as a duo with drummer Jerry Patterson, playing nightly at honkytonks, roadhouses, beer joints, nightclubs and the many Memphis recording studios. He achieved his promise with Sam The Sham & The Pharaohs – Wooly Bully was the number one selling record of 1965. At 21, Stinnett was living a life of world tours and screaming fans – the whole mania. The wheels fell off a year later, amid managerial disputes. The four Pharaohs (including Ray) parted ways with Sam, wrote two stinging rebukes (“The Hanging” and “You Sure Have Changed”) and released them as The Violations. Ray became more and more of a prolific writer.By 1967, the summer of love, Ray left for Haight Ashbury in San Francisco with his wife and young son, taking up residence at the legendary Morning Star Ranch, where Ray focused on finding his true voice. Returning to Memphis a year later, Ray formed a working friendship with Booker T Jones, who produced Ray’s unreleased Sun Tree at Pepper West album. Eventually, when Jones moved to Malibu and took a contract with A&M, he lined up a deal for his old friend.Still working in Memphis with (old) friends Jerry Paterson and Mike Plunk on bass, along with Booker T. and co-mixer/engineer Richard Rosebrough (Chris Bell, Big Star), Ray channelled his experiences in the pop machine, at Morningstar and beyond into the songs that would become A Fire Somewhere. It funnelled the vast experiences of this pop star, cosmic traveller and grounded, loving father.The songs contained the fried country twang and boogie-woogie grooves of his hometown and of his youth, but were also threaded through with the new psychedelia – shreds of distorted guitar, looping experimental jams and acoustic renditions. “Art is a reflection of life,” says Ray of the making of A Fire Somewhere, “and my life was full of reflection at this time.” And it’s perhaps exactly that fact which kept this incredible record unreleased for all these years.By summer, the album was ready for release. By winter, it remained on the shelf. A&M reassured Ray that they were going to make him a superstar. Ray had already done that; he just wanted the songs released. Soon, they hit an impasse. Ray took his tapes and songs and went on with his life. In the end, A&M’s loss – is our gain. Listen, and enjoy, this message from another time, and from an old head on young shoulders. “It’s a torch that’s been carried forty years through the desert, waiting for this moment to arrive,” says Ray.
V.A. - Country Funk Volume 1: 1969 - 1975
V.A.
Country Funk Volume 1: 1969 - 1975
2LP | 2012 | US | Original (Light In The Attic)
28,99 €*
Release:2012 / US – Original
Genre:Organic Grooves, Rock / Indie
What in the hell is country funk you ask? The answer is a complicated one, in part due to the fact that Country Funk is an inherently defiant genre, escaping all efforts at easy categorization. The style encompasses the elation of gospel with the sexual thrust of the blues, country hoedown harmony with inner city grit. It is alternately playful and melancholic, slow jammin’, and booty shakin’. It is both studio slick and barroom raw. And while these all may seem unlikely combinations at first glance, upon close listen, it all makes sweet sense. Light In The Attic presents Country Funk 1969-1975, a melting pot concoction of the music of Dale Hawkins, John Randolph Marr, Cherokee, Johnny Adams, Mac Davis, Bob Darin, Jim Ford, Gray Fox, Link Wray, Bobby Charles, Tony Joe White, Dennis The Fox, Larry Jon Wilson, Bobbie Gentry, Gritz, and Johnny Jenkins.Featuring extensive liner notes by Jessica Hundley (MOJO, The New York Times, Vogue), original album/label artwork, and new illustrations by Jess Rotter (JessRotter.com, Rotter & Friends), this down home package is not only a treat for the ears, but a feast for the eyes. Think of this as a fantasyland where the Josie-era Meters back young Elvis singing Kris Kristofferson-penned slices of rustic American life and you’ll begin to understand the country funk vibe. It’s from the swamp to the city and all points in between.
Monks - Black Monk Time
Monks
Black Monk Time
2LP | 2012 | US | Reissue (Light In The Attic)
26,99 €*
Release:2012 / US – Reissue
Genre:Rock / Indie
Today, “garage,” “psych,” and “punk” are three overused words to say the least. They’re dropped from every direction to brand, market, and sell, but looking back to the mid-1960s, there was only one group of musical mavericks that clearly defined them. The Monks were five beat playing American GIs stationed in Germany who, after their discharge, decided to stay and continue their musical mission. Meeting up with a team of local managers, they transformed themselves and their sound into a holy racket like the world had never known. This five-person order literally birthed the above genres through a fuzz-drenched evolution of sound, bursting with social commentary and future primitive rhythms. Krautrock? It started here. Do we hear non-believers? We are NOT making this up. If you aren’t already converted, it won’t take long…Light In The Attic is ecstatic to present the Monks recorded legacy through lavishly packaged and lovingly researched reissue of their landmark studio album Black Monk Time (back in print on 2xLP!).
V.A. - Listen, Whitey! The Sounds Of Black Power 1967-1974
V.A.
Listen, Whitey! The Sounds Of Black Power 1967-1974
2LP | 2012 | US | Original (Light In The Attic)
25,99 €*
Release:2012 / US – Original
Genre:Organic Grooves, Rock / Indie
Listen, Whitey! is cross-cultural overview that sees Bob Dylan’s out of print 1971 single “George Jackson” reissued for the first time along with several selections from Motown’s long forgotten ‘Black Forum’ label – Motown’s early 70’s Black Power militant imprint that has never been documented until now with provocative recordings from SNCC spokesman Stokely Carmichael, outspoken African-American poet Amiri Baraka, and Black Panther Party singer/songwriter Elaine Brown.
Louvin Brothers, The - Satan Is Real
Louvin Brothers, The
Satan Is Real
LP | 1959 | US | Reissue (Light In The Attic)
23,99 €*
Release:1959 / US – Reissue
Genre:Rock / Indie
Bolstered by one of the most celebrated and startlingly unique record covers ever, 1959’s Satan Is Real delves into a strange netherworld of country that no longer exist..
Jane Birkin - Di Doo Dah
Jane Birkin
Di Doo Dah
CD | 1973 | US | Reissue (Light In The Attic)
16,19 €* 17,99 € -10%
Release:1973 / US – Reissue
Genre:Organic Grooves
Light In The Attic is excited to release Jane Birkin’s debut solo album and pinnacle collaboration between Jane, Serge Gainsbourg & Jean Claude Vannier!
Serge Gainsbourg - Histoire de Melody Nelson
Serge Gainsbourg
Histoire de Melody Nelson
LP | 1971 | US | Reissue (Light In The Attic)
26,99 €*
Release:1971 / US – Reissue
Genre:Organic Grooves
Arguably Ganinsbourg greatest rock-tinged album finally reissued by Light in the Attic!
Rodriguez - Coming From Reality
Rodriguez
Coming From Reality
LP | 1971 | US | Reissue (Light In The Attic)
25,99 €*
Release:1971 / US – Reissue
Genre:Organic Grooves, Rock / Indie
The final record Rodriguez recorded for the Sussex label in 1971. Unearthed, once again by LITA, its another treat for fans new and old, designed - at the time - as the mans vision of the perfect pop album!
Betty Davis - Betty Davis
Betty Davis
Betty Davis
LP | 1973 | US | Reissue (Light In The Attic)
23,99 €*
Release:1973 / US – Reissue
Genre:Organic Grooves
Betty recorded some of the finest punk-funk of all time, introduced Miles to Hendrix, and inspired generations ... first official Betty Davis reissues, mastered from the original tapes, previously unreleased bonus tracks on 7inch, Ice Cube, Talib Kweli, and Ludacris have rhymed over these tracks ... new notes from Oliver Wang (O-Dub/Soul Sides), including Betty's second interview in over 25 years!
Betty Davis - Betty Davis
Betty Davis
Betty Davis
CD | 2007 | US | Reissue (Light In The Attic)
15,99 €*
Release:2007 / US – Reissue
Genre:Organic Grooves
'Betty was a G for real.' - Ice Cube ... 'When i first saw her album cover i fell in love.' - Rick James
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Light In The Attic Vinyl, CD & Tape

Light In The Attic ist ein 2002 von Matt Sullivan und Josh Wright gegründetes, auf Reissues, Raritäten und Besonderes spezialisiertes US-amerikanisches Plattenlabel aus Seattle, Washington. Während einer Europareise als Teenager entdeckte Matt Sullivan die Faszination alter Schallplatten und ein überbordendes Interesse für Musik. Ein Autounfall in Spanien führte ihn in eine Situation, in der er mit nichts weiter konfrontiert war als mit Musik. Einige Jahre später, Sullivan war gerade arbeitslos geworden und die Dotcom-Industrie erlebte ihr erstes Hallodri, war die Zeit günstig, aus der Passion ein Geschäft zu machen. Die Idee von Light In the Attic war es mit großer Hingabe sich qualitativ hochwertigen Wiederveröffentlichungen und auch neuen Talenten zu widmen. So wurden vergessene, übersehene oder auch unvergessliche Aufnahmen von u.a. The Free Design, Serge Gainsbourg, Lee Hazlewood, Monks, Betty Davis oder Thin Lizzy wieder einem Publikum zugänglich gemacht. Darunter waren aber auch obskure Geschichten wie Compilations zu dem weitgehend unentdeckten Genre »Country Funk« oder zu Reggae aus Toronto wie er dort zwischen 1967 und 1974 gespielt wurde.

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