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Light In The Attic Vinyl, CD & Tape 52 Items

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Hiroshi Yoshimura - GREEN HHV EU Exclusive Clear Vinyl Edition
Hiroshi Yoshimura
GREEN HHV EU Exclusive Clear Vinyl Edition
LP | 1986 | US | Reissue (Light In The Attic)
35,99 €*
Release:1986 / US – Reissue
Genre:Electronic / Dance
Preorder 27.06.2020
Limited Edition of 500 with 250 for the European market only available at HHV. This one will go very fast. Limited to one per customer.

Empire Of Signs

Originally released in 1986, GREEN is one of Hiroshi Yoshimura's most well-loved recordings and a favorite of the ambient pioneer himself. Barely known outside of his home country during his lifetime, the late Japanese ambient music pioneer Hiroshi Yoshimura has seen his global stature rise steadily in the past few years. The 2017 reissue of his lauded debut, Music For Nine Post Cards, along with algorithmically created playlists and recommendations has helped ignite a renaissance in his acclaimed body of work, much of which has never been released outside of Japan. Known for his sound design and environmental music, Yoshimura worked on a number of commissions following the 1982 release of Music For Nine Post Cards, including works for museums, galleries, public spaces, TV shows, video art, fashion shows, and even a cosmetics company.

GREEN is a favorite of the artist himself. Recorded over the winter of 1985-86 at Yoshimura’s home studio, the compositions unfold at an unhurried pace, a stark contrast to the busy city life of Tokyo. As Yoshimura explained in the original liner notes, the album title in the context of this body of work is not meant to be seen as a color, but is rather used to convey “the comfortable scenery of the natural cycle known as GREEN”—which perfectly encapsulates the soothing and warm sounds contained on the album, although it was created utilizing Yamaha FM synthesizers, known for their crisp digital tones.

This edition marks the first reissue of the highly sought-after and impossible to find album. It features the original mix preferred by Yoshimura himself, previously available only on the initial Japanese vinyl release (a limited edition remixed version of the album, with added sound effects, was released on CD in the US). Additionally, this release is the first in our ongoing series, WATER COPY, focusing on the works of Hiroshi Yoshimura.
Hiroshi Yoshimura - GREEN Swirl Edition
Hiroshi Yoshimura
GREEN Swirl Edition
LP | 1986 | US | Reissue (Light In The Attic)
35,99 €*
Release:1986 / US – Reissue
Genre:Electronic / Dance
Preorder 27.06.2020
First ever reissue of this groundbreaking ambient work
Produced in full cooperation with Yoshimura’s estate
Remastered for vinyl and pressed at RTI
Unseen original handwritten track notes by Yoshimura.

Barely known outside of his home country during his lifetime, the late Japanese ambient music pioneer Hiroshi Yoshimura has seen his global stature rise steadily in the past few years. The 2017 reissue of his lauded debut, Music For Nine Post Cards, along with a slow building cult internet following has helped ignite a renaissance in his acclaimed body of work, much of which has never been released outside of Japan. Known for his sound design and environmental music, Yoshimura worked on a number of commissions following the 1982 release of Music For Nine Post Cards, including works for museums, galleries, public spaces, TV shows, video art, fashion shows, and even a cosmetics company.

Originally released in 1986, GREEN is one of Hiroshi Yoshimura’s most well-loved recordings and a favorite of the artist himself. Recorded over the winter of 1985-86 at Yoshimura’s home studio, the compositions unfold at an unhurried pace, a stark contrast to the busy city life of Tokyo. As Yoshimura explained in the original liner notes, the album title in the context of this body of work is not meant to be seen as a color, but is rather used to convey “the comfortable scenery of the natural cycle known as GREEN”—which perfectly encapsulates the soothing and warm sounds contained on the album, although it was created utilizing Yamaha FM synthesizers, known for their crisp digital tones.

This edition marks the first reissue of the highly sought-after and impossible to find album. It features the original mix preferred by Yoshimura himself, previously available only on the initial Japanese vinyl release (a limited edition remixed version of the album, with added sound effects, was released on CD in the US). Additionally, this release is the first in our ongoing series, WATER COPY, focusing on the works of Hiroshi Yoshimura.
V.A. - Pacific Breeze 2: Japanese City Pop, AOR & Boogie 1972-1986 Violet Sky Edition
V.A.
Pacific Breeze 2: Japanese City Pop, AOR & Boogie 1972-1986 Violet Sky Edition
2LP | 2020 | US | Original (Light In The Attic)
49,99 €*
Release:2020 / US – Original
Genre:Organic Grooves, Rock / Indie, Pop
Preorder 15.05.2020
When Light In The Attic released _Pacific Breeze: Japanese City Pop, AOR & Boogie 1976-1986_ in 2019, it was the first collection of its kind to be released outside Japan. It proved to be just what music fans had been waiting for—a compilation of sought-after tracks that had been nearly impossible to obtain unless you were well-connected with dealers and collectors, or traveled regularly to the countless record stores in Japan. _Pacific Breeze_ included Minako Yoshida, Taeko Ohnuki, Hiroshi Sato and Haruomi Hosono among other key players of ‘70s-’80s Japanese City Pop, the nebulous genre that encompassed an “amalgam of AOR, R&B, jazz fusion, funk, boogie and disco, all a touch dizzy with tropical euphoria,” as we described it the first time around.

With _Pacific Breeze 2: Japanese City Pop, AOR & Boogie 1972-1986_ we dig deeper into those sounds of bubble-era Japan. From the proto-City Pop funk of Bread & Butter and Eiichi Ohtaki to the crate-digger favorites Eri Ohno and Piper, the latest entry in Light In The Attic’s Japan Archival Series brings another set of sought-after tunes, most of which have never before been available outside of Japan. Tomoko Aran and Anri, also included in this compilation, are just a few of the artists who have gained popularity in recent years thanks to Vaporwave, the meme-genre that heavily samples Japanese City Pop to create its particular aesthetic.

_Pacific Breeze 2_ once again feature the artwork of renowned Tokyo-based illustrator Hiroshi Nagai, whose iconic images of resort living have become synonymous with City Pop. Nagai’s urban tropical imagery is a perfect match for the expertly curated tunes, evoking a certain sense of nostalgia for the leisure lifestyles of ‘70s-’80s Tokyo, while simultaneously being perfectly in tune with the current zeitgeist.
Hiroshi Yoshimura - GREEN Black Edition
Hiroshi Yoshimura
GREEN Black Edition
LP | 1986 | US | Reissue (Light In The Attic)
29,99 €*
Release:1986 / US – Reissue
Genre:Electronic / Dance
Preorder 27.06.2020
First ever reissue of this groundbreaking ambient work
Produced in full cooperation with Yoshimura’s estate
Remastered for vinyl and pressed at RTI
Unseen original handwritten track notes by Yoshimura. Barely known outside of his home country during his lifetime, the late Japanese ambient music pioneer Hiroshi Yoshimura has seen his global stature rise steadily in the past few years. The 2017 reissue of his lauded debut, Music For Nine Post Cards, along with a slow building cult internet following has helped ignite a renaissance in his acclaimed body of work, much of which has never been released outside of Japan. Known for his sound design and environmental music, Yoshimura worked on a number of commissions following the 1982 release of Music For Nine Post Cards, including works for museums, galleries, public spaces, TV shows, video art, fashion shows, and even a cosmetics company.

Originally released in 1986, GREEN is one of Hiroshi Yoshimura’s most well-loved recordings and a favorite of the artist himself. Recorded over the winter of 1985-86 at Yoshimura’s home studio, the compositions unfold at an unhurried pace, a stark contrast to the busy city life of Tokyo. As Yoshimura explained in the original liner notes, the album title in the context of this body of work is not meant to be seen as a color, but is rather used to convey “the comfortable scenery of the natural cycle known as GREEN”—which perfectly encapsulates the soothing and warm sounds contained on the album, although it was created utilizing Yamaha FM synthesizers, known for their crisp digital tones.

This edition marks the first reissue of the highly sought-after and impossible to find album. It features the original mix preferred by Yoshimura himself, previously available only on the initial Japanese vinyl release (a limited edition remixed version of the album, with added sound effects, was released on CD in the US). Additionally, this release is the first in our ongoing series, WATER COPY, focusing on the works of Hiroshi Yoshimura.
Donnie & Joe Emerson - Baby Heart Shaped Vinyl Edition
Donnie & Joe Emerson
Baby Heart Shaped Vinyl Edition
7" | 2020 | US | Original (Light In The Attic)
19,99 €*
Release:2020 / US – Original
Genre:Organic Grooves
Limited Edition “Baby” Heart Shaped 7-inch vinyl. B-Side Previously unreleased anywhere! 1k units produced worldwide
BadBadNotGood / Majestics - Key To Love (Is Understanding) Pink Vinyl Edition
BadBadNotGood / Majestics
Key To Love (Is Understanding) Pink Vinyl Edition
7" | 2020 | US | Original (Light In The Attic)
13,99 €*
Release:2020 / US – Original
Genre:Organic Grooves
Preorder 03.04.2020
Latest release in Light In The Attic’s Cover Series
Artwork by Robbie SimonPressed on “Majestic Pink” wax
45 RPM single housed in a heavy, uncoated sleeve

The latest installment of Light In The Attic’s exclusive vinyl and digital singles series features Toronto’s BADBADNOTGOOD with Jonah Yano on vocals covering “Key To Love (Is Understanding),” originally recorded in 1982 by Milwaukee’s funk/soul pioneers Majestics. The newly recorded cover and the original version are available for streaming and on “Majestic Pink” 7” vinyl.
“As lovers of old soul, funk and rare recordings, ‘Key to Love’ has always been a song that has had an impact on our heart and ears,” BADBADNOTGOOD said. “We hope our version relays how special this song is and gives it some new listeners and a second life […] It’s an incredibly beautiful song that deserves to be heard, and we hope to play a small part in that.”
The original Majestics single is highly sought after by diggers and DJs worldwide not only for “Key To Love (Is Understanding) but also for ”Class A”, which is considered the first-ever rap recording to come out of Milwaukee.
“It is a pleasant surprise,” Donald Cooper of Majestics said upon hearing BADBADNOTGOOD’s version of the song. “They did a good job and it was well done with their own slight personal twist […] [it’s] an honor to be recognized."
The single follows Mac DeMarco’s cover of Haruomi Hosono’s “Honey Moon” in the series, which features artwork conceptualized by Los Angeles-based fine artist Robbie Simon. These tunes come on the heels of widely popular past entries in the series, including pop-auteur Ariel Pink with future-funk pioneer Dâm Funk covering Donnie & Joe Emerson’s eternal anthem “Baby,” the inimitable Mark Lanegan covering the melancholy folk of Karen Dalton, and the one-and-only Iggy Pop with the Zig Zags transforming Betty Davis’ dirty funk into a heavy Sabbath grind.
Hiroshi Yoshimura - GREEN Green Edition
Hiroshi Yoshimura
GREEN Green Edition
LP | 1986 | US | Reissue (Light In The Attic)
46,99 €*
Release:1986 / US – Reissue
Genre:Electronic / Dance
Preorder 27.06.2020
First ever reissue of this groundbreaking ambient work
Produced in full cooperation with Yoshimura’s estate
Remastered for vinyl and pressed at RTI
Unseen original handwritten track notes by Yoshimura.

Barely known outside of his home country during his lifetime, the late Japanese ambient music pioneer Hiroshi Yoshimura has seen his global stature rise steadily in the past few years. The 2017 reissue of his lauded debut, Music For Nine Post Cards, along with a slow building cult internet following has helped ignite a renaissance in his acclaimed body of work, much of which has never been released outside of Japan. Known for his sound design and environmental music, Yoshimura worked on a number of commissions following the 1982 release of Music For Nine Post Cards, including works for museums, galleries, public spaces, TV shows, video art, fashion shows, and even a cosmetics company.

Originally released in 1986, GREEN is one of Hiroshi Yoshimura’s most well-loved recordings and a favorite of the artist himself. Recorded over the winter of 1985-86 at Yoshimura’s home studio, the compositions unfold at an unhurried pace, a stark contrast to the busy city life of Tokyo. As Yoshimura explained in the original liner notes, the album title in the context of this body of work is not meant to be seen as a color, but is rather used to convey “the comfortable scenery of the natural cycle known as GREEN”—which perfectly encapsulates the soothing and warm sounds contained on the album, although it was created utilizing Yamaha FM synthesizers, known for their crisp digital tones.

This edition marks the first reissue of the highly sought-after and impossible to find album. It features the original mix preferred by Yoshimura himself, previously available only on the initial Japanese vinyl release (a limited edition remixed version of the album, with added sound effects, was released on CD in the US). Additionally, this release is the first in our ongoing series, WATER COPY, focusing on the works of Hiroshi Yoshimura.
Hiroshi Yoshimura - GREEN
Hiroshi Yoshimura
GREEN
Tape | 1986 | US | Reissue (Light In The Attic)
16,99 €*
Release:1986 / US – Reissue
Genre:Electronic / Dance
Preorder 27.06.2020
First ever reissue of this groundbreaking ambient work
Produced in full cooperation with Yoshimura’s estate
Remastered for vinyl and pressed at RTI
Unseen original handwritten track notes by Yoshimura.

Barely known outside of his home country during his lifetime, the late Japanese ambient music pioneer Hiroshi Yoshimura has seen his global stature rise steadily in the past few years. The 2017 reissue of his lauded debut, Music For Nine Post Cards, along with a slow building cult internet following has helped ignite a renaissance in his acclaimed body of work, much of which has never been released outside of Japan. Known for his sound design and environmental music, Yoshimura worked on a number of commissions following the 1982 release of Music For Nine Post Cards, including works for museums, galleries, public spaces, TV shows, video art, fashion shows, and even a cosmetics company.

Originally released in 1986, GREEN is one of Hiroshi Yoshimura’s most well-loved recordings and a favorite of the artist himself. Recorded over the winter of 1985-86 at Yoshimura’s home studio, the compositions unfold at an unhurried pace, a stark contrast to the busy city life of Tokyo. As Yoshimura explained in the original liner notes, the album title in the context of this body of work is not meant to be seen as a color, but is rather used to convey “the comfortable scenery of the natural cycle known as GREEN”—which perfectly encapsulates the soothing and warm sounds contained on the album, although it was created utilizing Yamaha FM synthesizers, known for their crisp digital tones.

This edition marks the first reissue of the highly sought-after and impossible to find album. It features the original mix preferred by Yoshimura himself, previously available only on the initial Japanese vinyl release (a limited edition remixed version of the album, with added sound effects, was released on CD in the US). Additionally, this release is the first in our ongoing series, WATER COPY, focusing on the works of Hiroshi Yoshimura.
V.A. - Pacific Breeze 2: Japanese City Pop, AOR & Boogie 1972-1986 Black Edition
V.A.
Pacific Breeze 2: Japanese City Pop, AOR & Boogie 1972-1986 Black Edition
2LP | 2020 | US | Original (Light In The Attic)
38,99 €*
Release:2020 / US – Original
Genre:Organic Grooves, Pop
Preorder 15.05.2020
When Light In The Attic released _Pacific Breeze: Japanese City Pop, AOR & Boogie 1976-1986_ in 2019, it was the first collection of its kind to be released outside Japan. It proved to be just what music fans had been waiting for—a compilation of sought-after tracks that had been nearly impossible to obtain unless you were well-connected with dealers and collectors, or traveled regularly to the countless record stores in Japan. _Pacific Breeze_ included Minako Yoshida, Taeko Ohnuki, Hiroshi Sato and Haruomi Hosono among other key players of ‘70s-’80s Japanese City Pop, the nebulous genre that encompassed an “amalgam of AOR, R&B, jazz fusion, funk, boogie and disco, all a touch dizzy with tropical euphoria,” as we described it the first time around.
With _Pacific Breeze 2: Japanese City Pop, AOR & Boogie 1972-1986_ we dig deeper into those sounds of bubble-era Japan. From the proto-City Pop funk of Bread & Butter and Eiichi Ohtaki to the crate-digger favorites Eri Ohno and Piper, the latest entry in Light In The Attic’s Japan Archival Series brings another set of sought-after tunes, most of which have never before been available outside of Japan. Tomoko Aran and Anri, also included in this compilation, are just a few of the artists who have gained popularity in recent years thanks to Vaporwave, the meme-genre that heavily samples Japanese City Pop to create its particular aesthetic.

_Pacific Breeze 2_ once again feature the artwork of renowned Tokyo-based illustrator Hiroshi Nagai, whose iconic images of resort living have become synonymous with City Pop. Nagai’s urban tropical imagery is a perfect match for the expertly curated tunes, evoking a certain sense of nostalgia for the leisure lifestyles of ‘70s-’80s Tokyo, while simultaneously being perfectly in tune with the current zeitgeist.
V.A. - Pacific Breeze: Japanese City Pop, AOR & Boogie 1976-1986 Black Vinyl Edition
V.A.
Pacific Breeze: Japanese City Pop, AOR & Boogie 1976-1986 Black Vinyl Edition
2LP | 2019 | US | Original (Light In The Attic)
38,99 €*
Release:2019 / US – Original
Genre:Organic Grooves, Rock / Indie, Pop
Preorder 01.05.2020
• Cover art by famed artist Hiroshi Nagai
• Extensive liner notes and bios
• Compiled by Andy Cabic (Vetiver), Zach Cowie (DJ & music supervisor) and Mark “Frosty” McNeill (dublab)
• 2xLP housed in a deluxe wide spine jacket with over sized fold-out booklet, full color printed inner sleeves, and custom die-cut obi card
• Remastered audio

Pacific Breeze documents Japan’s blast into the stratosphere. By the 1960s, the nation had achieved a postwar miracle, soaring to become the world’s second largest economy. Thriving tech exports sent The Rising Sun over the moon. Its pocket cassette players, bleeping video games, and gleaming cars boomed worldwide, wooing pleasure points and pumping Japanese pockets full of yen.

Japan’s financial buoyancy also permeated its popular culture, birthing an audio analog called City Pop. This new sound arose in the mid ’70s and ruled through the ’80s, channeling the country’s contemporary psyche. It was sophisticated music mirroring Japan’s punch-drunk prosperity. City Pop epitomized the era, providing a soundtrack for emerging urbanites. An optimistic spirit buzzed through the music in neon-bathed, gauzy tableaus coated with groove-heavy strokes.

Pacific Breeze is an expertly compiled collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between. Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.

Many of the key City Pop players evolved from the Japanese New Music scene of the early ’70s, as heard on Light In The Attic’s acclaimed Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, “Deconstructing the line between imitation and authenticity.” Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.
V.A. - Kankyo Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990
V.A.
Kankyo Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990
3LP | 2018 | US | Original (Light In The Attic)
59,99 €*
Release:2018 / US – Original
Genre:Organic Grooves
Preorder 03.04.2020
Nominated for a Grammy!

* First-ever fully licensed collection of this music outside of Japan
* Extensive liner notes and artist bios, including an essay by Spencer Doran
* 3xLP with deluxe Stoughton “tip-on” jackets and slipcase
* Cover photo by Osamu Murai features buildings designed by Fumihiko Maki
* Product Shots by Jean-Claude Vorgeack

Description:
Light In The Attic’s Japan Archival Series continues with Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990, an unprecedented overview of the country’s vital minimal, ambient, avant-garde, and New Age music – what can collectively be described as kankyō ongaku, or environmental music. The collection features internationally acclaimed artists such as Haruomi Hosono, Ryuichi Sakamoto and Joe Hisaishi, as well as other pioneers like Hiroshi Yoshimura, Yoshio Ojima and Satoshi Ashikawa, who deserve a place alongside the indisputable giants of these genres.

In the 1970s, the concepts of Brian Eno’s “ambient” and Erik Satie’s “furniture music” began to take hold in the minds of artists and musicians around Tokyo. Emerging fields like soundscape design and architectural acoustics opened up new ways in which sound and music could be consumed. For artists like Yoshimura, Ojima and Ashikawa, these ideas became the foundation for their musical works, which were heard not only on records and in live performances, but also within public and private spaces where they intermingled with the sounds and environments of everyday life. The bubble economy of 1980s Japan also had a hand in the advancement of kankyō ongaku. In an attempt to cultivate an image of sophisticated lifestyle, corporations with expendable income bankrolled various art and music initiatives, which opened up new and unorthodox ways in which artists could integrate their avant-garde musical forms into everyday life: in-store music for Muji, promo LP for a Sanyo AC unit, a Seiko watch advert, among others that can be heard in this collection.

Kankyō Ongaku is expertly compiled by Spencer Doran (Visible Cloaks) who, with a series of revelatory mixtapes as well as his label Empire of Signs (Music For Nine Postcards), has been instrumental in shepherding interest in this music outside of Japan. Together with Light In The Attic’s celebrated anthologies I Am The Center and The Microcosm, Kankyō Ongaku helps to broaden our understanding of this quietly profound music, regardless of the environment in which it’s heard.
V.A. - Pacific Breeze 2: Japanese City Pop, AOR & Boogie 1972-1986 Pink
V.A.
Pacific Breeze 2: Japanese City Pop, AOR & Boogie 1972-1986 Pink
2LP | 2020 | US | Original (Light In The Attic)
43,99 €*
Release:2020 / US – Original
Genre:Organic Grooves, Rock / Indie, Pop
Preorder 15.05.2020
When Light In The Attic released _Pacific Breeze: Japanese City Pop, AOR & Boogie 1976-1986_ in 2019, it was the first collection of its kind to be released outside Japan. It proved to be just what music fans had been waiting for—a compilation of sought-after tracks that had been nearly impossible to obtain unless you were well-connected with dealers and collectors, or traveled regularly to the countless record stores in Japan. _Pacific Breeze_ included Minako Yoshida, Taeko Ohnuki, Hiroshi Sato and Haruomi Hosono among other key players of ‘70s-’80s Japanese City Pop, the nebulous genre that encompassed an “amalgam of AOR, R&B, jazz fusion, funk, boogie and disco, all a touch dizzy with tropical euphoria,” as we described it the first time around.

With _Pacific Breeze 2: Japanese City Pop, AOR & Boogie 1972-1986_ we dig deeper into those sounds of bubble-era Japan. From the proto-City Pop funk of Bread & Butter and Eiichi Ohtaki to the crate-digger favorites Eri Ohno and Piper, the latest entry in Light In The Attic’s Japan Archival Series brings another set of sought-after tunes, most of which have never before been available outside of Japan. Tomoko Aran and Anri, also included in this compilation, are just a few of the artists who have gained popularity in recent years thanks to Vaporwave, the meme-genre that heavily samples Japanese City Pop to create its particular aesthetic.

_Pacific Breeze 2_ once again feature the artwork of renowned Tokyo-based illustrator Hiroshi Nagai, whose iconic images of resort living have become synonymous with City Pop. Nagai’s urban tropical imagery is a perfect match for the expertly curated tunes, evoking a certain sense of nostalgia for the leisure lifestyles of ‘70s-’80s Tokyo, while simultaneously being perfectly in tune with the current zeitgeist.
Black Angels, The - Passover
Haruomi Hosono - Hosono House
Haruomi Hosono
Hosono House
LP | 1973 | US | Reissue (Light In The Attic)
29,99 €*
Release:1973 / US – Reissue
Genre:Rock / Indie
The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono has put his unmistakable stamp on hundreds of recordings as a session player, producer, and auteur of his own idiosyncratic musical world. Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums.

After Happy End’s amicable break up in 1973, Hosono released Hosono House, an intimate slice of Japanese Americana recorded at home with a back-to-basics approach akin to Music from Big Pink or McCartney. While his former band helped pave the way for the rise of “city pop” that reflected upon urban themes and city life, Hosono took a 180 degree turn towards the countryside for his highly-regarded first solo album. Located an hour from Tokyo in Sayama, Saitama Prefecture, the actual Hosono House was one of several American-style houses originally built for the families of troops stationed at the nearby Johnson Air Base, active during the post-war occupation years. By the early ‘70s this small community had become a hub for creative types looking for a break from Tokyo’s hustle and bustle – and cheaper rent. For Hosono, this was as close as he could get to living in America without leaving his home country. With rooms filled to the edges with recording gear, the house became a live-in studio for Hosono and his crack band – soon to become known as the in-demand session group Tin Pan Alley. The songs on Hosono House display the breadth of Hosono’s talents, from the hushed acoustic folk of “Rock-A-Bye My Baby” and the country twang of “Boku Wa Chotto” to the New Orleans funk of “Fuyu Koe” and the unexpected breakbeats in “Bara To Yajuu.” Lauded by artists such as Jim O’Rourke and Devendra Banhart, Hosono House remains a touchstone of the early phase of Hosono’s career.

Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO), who made their debut in 1978. Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.
V.A. - Stone Crush: Memphis Modern Soul 1977-1987 Galaxy Haze & Red Vinyl Edition
V.A.
Stone Crush: Memphis Modern Soul 1977-1987 Galaxy Haze & Red Vinyl Edition
2LP | 2020 | US | Original (Light In The Attic)
40,99 €*
Release:2020 / US – Original
Genre:Organic Grooves
We recommend to pre-order this item as there are only 500 copies made of each variant.

Definitive anthology of Memphis’ Modern Soul Scene
Compiled by Daniel Mathis and Chad Weekley
Liner notes by Memphis curator/writer Andria Lisle and Grammy Award-winning writer Robert Gordon
Unseen archive photos/ephemera
Vinyl housed in a gatefold jacket with 24 page full color book. Limited to 500 colored copies.
Memphis has always been a studio town, where making hit records looked easy. An unknown Elvis could walk into Sun Studios and cut a side, while Willie Mitchell worked his magic around the corner at the Hi Records studio. This vast studio ecosystem meant that even when Stax Records folded in 1975, everybody still knew somebody who could get them into a real recording facility. The city’s largest player in the business was gone, but the possibilities that it introduced were not.
Stone Crush is the definitive overview of Memphis’ modern soul scene of the post-Stax years. It’s a collection of funky tracks of hope—from dentist O.T. Sykes, who traded dental work for studio time, to the ad-man who moonlighted as the visionary mastermind behind Captain Fantastic & Starfleet, few of them ever had anything to do with a hit, but across the board, each believed. Like Cato Walker, whose father’s gig as B.B. King’s driver got him an in, and The Bar-Kays’ former costume maker Libra, some had tangential connections to the city’s deep-rooted music scene that gave them a head start on their hopeful path to fame. Over a decade in the making, Stone Crush is an expertly curated compilation of these home-grown slices of Memphis stylings, from roller skate boogie to private press soul to bedroom funk—rare sides whose original copies are considered holy grails by DJs and collectors all over. This collection does more than transport us to a time gone by. It helps us hear what couldn’t be heard then.
V.A. - Kearney Barton: Architect Of The Northwest Sound Green Vinyl Edition
V.A.
Kearney Barton: Architect Of The Northwest Sound Green Vinyl Edition
2LP | 2020 | Original (Light In The Attic)
43,99 €*
Release:2020 / Original
Genre:Organic Grooves, Rock / Indie, Pop
• Remastered and restored audio
• Booklet with liner notes and rare archive photos
• Includes previously unreleased tracks When Seattle-based recording engineer Kearney Barton died in 2012, the 80 year-old studio veteran had spent the past 50 years recording the cream of the Seattle music scene through the decades. The Fleetwoods, Quincy Jones, The Ventures, The Wailers, The Sonics, Ann Wilson (Heart), The Frantics, The Kingsmen, and Dave Lewis to name a few. Barton also captured Seattle’s vibrant 1960s-70s R&B and soul scene, including Black On White Affair and Soul Swingers, among others, as documented in Light in the Attic’s Wheedle’s Groove series. In his later years Barton’s old school reputation drew in contemporary bands like Young Fresh Fellows, The Smugglers, The Minus 5, and The A-Bones into his studio. Essentially, when a local unknown band wanted to make a demo tape, or record their debut album, or perhaps someone just wanted to capture their uncle playing banjo or their kid sister’s first songs, they’d go to Barton’s studio.
There were 7,000 reel-to-reel tapes piled up in Barton’s house at the time of his passing. The University of Washington carefully cataloged these tapes, and former Sub Pop employee Dan Trager (who had learned the art of recording from Kearney years earlier as a student) began listening and taking notes. With input from a team drawn from the university and Light in the Attic, Dan compiled a shortlist of essential tracks that would form the basis of this compilation.
Kearney Barton: Architect of the Northwest Sound is a comprehensive document of Seattle in the 1960s, 70s, and 80s. It is also a testament to Barton’s life-long dedication to the art of recording. It includes long out of print recordings originally released by local labels such as Jerden, Topaz, Piccadilly, and Etiquette Records. It covers a wide range of genres: sitar and balalaika players, gospel church choirs, unknown garage bands, steel drums, obscure soul artists and teenage a cappella singers. There’s also some familiar names here: Sonics, Wailers, a young pre-Heart Ann Wilson, Larry Coryell making his first ever studio recordings with Chuck Mahaffay, the Hudson Brothers long before they were on TV.
“However diverse, there is a commonality that stands out among his recordings: hardcore analog fidelity,” says University of Washington archivist John Vallier. “It sounds like you are in the room with the drums, bass, guitar, and vocals. The mix is minimum. It’s a raw, sonic reality, even if the band is poppy and jangly. It’s an honest sound that doesn’t sugarcoat what’s being performed. That’s Kearney, too.”
Kearney Barton - Architect Of The Northwest Sound Black Vinyl Edition
Kearney Barton
Architect Of The Northwest Sound Black Vinyl Edition
2LP | 2020 | Original (Light In The Attic)
35,99 €*
Release:2020 / Original
Genre:Organic Grooves, Rock / Indie, Pop
Remastered and restored audio
Booklet with liner notes and rare archive photos Includes previously unreleased tracks When Seattle-based recording engineer Kearney Barton died in 2012, the 80 year-old studio veteran had spent the past 50 years recording the cream of the Seattle music scene through the decades. The Fleetwoods, Quincy Jones, The Ventures, The Wailers, The Sonics, Ann Wilson (Heart), The Frantics, The Kingsmen, and Dave Lewis to name a few. Barton also captured Seattle’s vibrant 1960s-70s R&B and soul scene, including Black On White Affair and Soul Swingers, among others, as documented in Light in the Attic’s Wheedle’s Groove series. In his later years Barton’s old school reputation drew in contemporary bands like Young Fresh Fellows, The Smugglers, The Minus 5, and The A-Bones into his studio. Essentially, when a local unknown band wanted to make a demo tape, or record their debut album, or perhaps someone just wanted to capture their uncle playing banjo or their kid sister’s first songs, they’d go to Barton’s studio.
There were 7,000 reel-to-reel tapes piled up in Barton’s house at the time of his passing. The University of Washington carefully cataloged these tapes, and former Sub Pop employee Dan Trager (who had learned the art of recording from Kearney years earlier as a student) began listening and taking notes. With input from a team drawn from the university and Light in the Attic, Dan compiled a shortlist of essential tracks that would form the basis of this compilation.
Kearney Barton: Architect of the Northwest Sound is a comprehensive document of Seattle in the 1960s, 70s, and 80s. It is also a testament to Barton’s life-long dedication to the art of recording. It includes long out of print recordings originally released by local labels such as Jerden, Topaz, Piccadilly, and Etiquette Records. It covers a wide range of genres: sitar and balalaika players, gospel church choirs, unknown garage bands, steel drums, obscure soul artists and teenage a cappella singers. There’s also some familiar names here: Sonics, Wailers, a young pre-Heart Ann Wilson, Larry Coryell making his first ever studio recordings with Chuck Mahaffay, the Hudson Brothers long before they were on TV.
“However diverse, there is a commonality that stands out among his recordings: hardcore analog fidelity,” says University of Washington archivist John Vallier. “It sounds like you are in the room with the drums, bass, guitar, and vocals. The mix is minimum. It’s a raw, sonic reality, even if the band is poppy and jangly. It’s an honest sound that doesn’t sugarcoat what’s being performed. That’s Kearney, too.”
Donnie & Joe Emerson - Dreamin' Wild Blue Vinyl Edition
Donnie & Joe Emerson
Dreamin' Wild Blue Vinyl Edition
LP | 1979 | US | Reissue (Light In The Attic)
28,99 €*
Release:1979 / US – Reissue
Genre:Organic Grooves
40th Anniversary Edition
Pressed on Baby Blue Wax
LP include detailed liner notes by Dave Segal, interviewing the Emersons plus unseen photos
Housed in gatefold “tip-on” jacket, with insert and includes download card for full album

“‘Baby’ has been a staple on just about every playlist/mixtape I’ve assembled in the past 3 years. It is nothing short of sublime.” – Ariel Pink
“This is one of those LPs that helps one understand why people bother to even look for records to begin with… lovely, surprising mix of folk, soul, psych and funk.” – Oliver Wang, Soul-Sides
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.
This rare slice of bedroom-funk gets the usual Light In The Attic treatment with newly remastered audio, detailed liner notes, and expanded original album art with loads of photos from the Emerson’s collection. Be sure to also check out the short documentary (above), Rock and Roll Farmers.
Jim Sullivan - Jim Sullivan Mystery Blue Vinyl Edition
Jim Sullivan
Jim Sullivan Mystery Blue Vinyl Edition
LP | 1972 | US | Reissue (Light In The Attic)
31,99 €*
Release:1972 / US – Reissue
Genre:Rock / Indie
Mastered from the original analog tapes
Deluxe Stoughton “tip-on” jacket with debossing
Vinyl pressed at RTI
All tracks previously unreleased
Booklet with liner notes and rare archive photos

On March 4, 1975, Jim Sullivan mysteriously disappeared outside Santa Rosa, New Mexico. His VW bug was found abandoned, his motel room untouched. Some think he got lost. Some think the mafia bumped him. Some even think he was abducted by aliens.

By coincidence–or perhaps not–Jim’s 1969 debut album was titled U.F.O.. Released in tiny numbers on a private label, it too was truly lost until Light In The Attic Records began a years-long quest to re-release it–and to solve the mystery of Sullivan’s disappearance. Only one of those things happened, and you can guess which…

Light In The Attic’s reissue of U.F.O. introduced the world to an overlooked masterwork and won Sullivan, posthumously (presumably), legions of new fans. Those new admirers are in for a real treat: a lavish, first-time release of a previously unheard 1969 studio session.

If The Evening Were Dawn contains 10 acoustic solo recordings that have never seen the light of day. Whereas U.F.O. was bolstered by legendary sessioneers The Wrecking Crew, this is Jim Sullivan on his own terms, stripped down and soulful as ever. Recorded at a Los Angeles studio circa 1969, the session contains acoustic versions of a handful of U.F.O. tracks alongside a half dozen previously unheard songs. This, then, is the closest thing to those fabled Malibu bar performances at which Sullivan was first noticed.

According to his widow, Barbara, this was the album Jim always hoped to record. It serves as an unprecedented glimpse into the mysterious, larger-than-life figure who’s become the stuff of legends.

While Sullivan’s disappearance remains unsolved, his music endures and is finally gaining him the recognition he deserves, albeit long overdue. This recording serves as an unexpected missing piece of the puzzle; this is Jim Sullivan’s true swan song.
V.A. - Pacific Breeze: Japanese City Pop, AOR & Boogie 1976-1986 Tricolored Vinyl Edition
V.A.
Pacific Breeze: Japanese City Pop, AOR & Boogie 1976-1986 Tricolored Vinyl Edition
2LP | 2019 | US | Original (Light In The Attic)
48,99 €*
Release:2019 / US – Original
Genre:Organic Grooves
Preorder 15.05.2020
Cover art by famed artist Hiroshi Nagai
• Extensive liner notes and bios
• Compiled by Andy Cabic (Vetiver), Zach Cowie (DJ & music supervisor) and Mark “Frosty” McNeill (dublab)
• 2xLP housed in a deluxe wide spine jacket with over sized fold-out booklet, full color printed inner sleeves, and custom die-cut obi card
• Remastered audio
• Digital mockups are not an exact representation of the colors “Beach Ball” tricolor wax (Blue, Yellow, Red) Pacific Breeze documents Japan’s blast into the stratosphere. By the 1960s, the nation had achieved a postwar miracle, soaring to become the world’s second largest economy. Thriving tech exports sent The Rising Sun over the moon. Its pocket cassette players, bleeping video games, and gleaming cars boomed worldwide, wooing pleasure points and pumping Japanese pockets full of yen.

Japan’s financial buoyancy also permeated its popular culture, birthing an audio analog called City Pop. This new sound arose in the mid ’70s and ruled through the ’80s, channeling the country’s contemporary psyche. It was sophisticated music mirroring Japan’s punch-drunk prosperity. City Pop epitomized the era, providing a soundtrack for emerging urbanites. An optimistic spirit buzzed through the music in neon-bathed, gauzy tableaus coated with groove-heavy strokes.

Pacific Breeze is an expertly compiled collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between. Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.

Many of the key City Pop players evolved from the Japanese New Music scene of the early ’70s, as heard on Light In The Attic’s acclaimed Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, “Deconstructing the line between imitation and authenticity.” Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.
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)
14,99 €*
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.
Hiroshi Yoshimura - GREEN
Hiroshi Yoshimura
GREEN
CD | 1986 | US | Reissue (Light In The Attic)
18,99 €*
Release:1986 / US – Reissue
Genre:Electronic / Dance
Preorder 27.06.2020
First ever reissue of this groundbreaking ambient work
Produced in full cooperation with Yoshimura’s estate
Remastered for vinyl and pressed at RTI
Unseen original handwritten track notes by Yoshimura.

Barely known outside of his home country during his lifetime, the late Japanese ambient music pioneer Hiroshi Yoshimura has seen his global stature rise steadily in the past few years. The 2017 reissue of his lauded debut, Music For Nine Post Cards, along with a slow building cult internet following has helped ignite a renaissance in his acclaimed body of work, much of which has never been released outside of Japan. Known for his sound design and environmental music, Yoshimura worked on a number of commissions following the 1982 release of Music For Nine Post Cards, including works for museums, galleries, public spaces, TV shows, video art, fashion shows, and even a cosmetics company.

Originally released in 1986, GREEN is one of Hiroshi Yoshimura’s most well-loved recordings and a favorite of the artist himself. Recorded over the winter of 1985-86 at Yoshimura’s home studio, the compositions unfold at an unhurried pace, a stark contrast to the busy city life of Tokyo. As Yoshimura explained in the original liner notes, the album title in the context of this body of work is not meant to be seen as a color, but is rather used to convey “the comfortable scenery of the natural cycle known as GREEN”—which perfectly encapsulates the soothing and warm sounds contained on the album, although it was created utilizing Yamaha FM synthesizers, known for their crisp digital tones.

This edition marks the first reissue of the highly sought-after and impossible to find album. It features the original mix preferred by Yoshimura himself, previously available only on the initial Japanese vinyl release (a limited edition remixed version of the album, with added sound effects, was released on CD in the US). Additionally, this release is the first in our ongoing series, WATER COPY, focusing on the works of Hiroshi Yoshimura.
V.A. - Pacific Breeze 2: Japanese City Pop, AOR & Boogie 1972-1986
V.A.
Pacific Breeze 2: Japanese City Pop, AOR & Boogie 1972-1986
CD | 2020 | US | Original (Light In The Attic)
16,99 €*
Release:2020 / US – Original
Genre:Organic Grooves, Rock / Indie, Pop
Preorder 15.05.2020
When Light In The Attic released _Pacific Breeze: Japanese City Pop, AOR & Boogie 1976-1986_ in 2019, it was the first collection of its kind to be released outside Japan. It proved to be just what music fans had been waiting for—a compilation of sought-after tracks that had been nearly impossible to obtain unless you were well-connected with dealers and collectors, or traveled regularly to the countless record stores in Japan. _Pacific Breeze_ included Minako Yoshida, Taeko Ohnuki, Hiroshi Sato and Haruomi Hosono among other key players of ‘70s-’80s Japanese City Pop, the nebulous genre that encompassed an “amalgam of AOR, R&B, jazz fusion, funk, boogie and disco, all a touch dizzy with tropical euphoria,” as we described it the first time around.

With _Pacific Breeze 2: Japanese City Pop, AOR & Boogie 1972-1986_ we dig deeper into those sounds of bubble-era Japan. From the proto-City Pop funk of Bread & Butter and Eiichi Ohtaki to the crate-digger favorites Eri Ohno and Piper, the latest entry in Light In The Attic’s Japan Archival Series brings another set of sought-after tunes, most of which have never before been available outside of Japan. Tomoko Aran and Anri, also included in this compilation, are just a few of the artists who have gained popularity in recent years thanks to Vaporwave, the meme-genre that heavily samples Japanese City Pop to create its particular aesthetic.

_Pacific Breeze 2_ once again feature the artwork of renowned Tokyo-based illustrator Hiroshi Nagai, whose iconic images of resort living have become synonymous with City Pop. Nagai’s urban tropical imagery is a perfect match for the expertly curated tunes, evoking a certain sense of nostalgia for the leisure lifestyles of ‘70s-’80s Tokyo, while simultaneously being perfectly in tune with the current zeitgeist.
Jim Sullivan - If The Evening Were Drawn Orange Vinyl Edition
Jim Sullivan
If The Evening Were Drawn Orange Vinyl Edition
2LP | 2019 | US | Original (Light In The Attic)
39,19 €* 48,99 € -20%
Release:2019 / US – Original
Genre:Rock / Indie
Mastered from the original analog tapes
All tracks previously unreleased

Booklet with liner notes and rare archive photos
Deluxe die cut Stoughton “tip-on” jacket with embossed lettering /
Vinyl pressed at RTI
Jim Sullivan - Jim Sullivan Orange Vinyl Edition
Lee Hazlewood - 400 Miles From L.A. 1955-56
Lee Hazlewood
400 Miles From L.A. 1955-56
2LP | 2019 | US | Original (Light In The Attic)
36,99 €*
Release:2019 / US – Original
Genre:Organic Grooves
Light in the Attic Records is proud to continue it’s Lee Hazlewood archival series with 400 Miles From L.A.
1955-56, a collection of previously unknown intimate recordings, never intended for release. Lee sings, plays
guitar and even presses the record button on the tape machine. These are rural sketches and small town dreams,
captured in an innocent time before the path ahead was clear.
V.A. - Kankyo Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990 Clear Vinyl Edition
V.A.
Kankyo Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990 Clear Vinyl Edition
3LP | 2019 | US | Original (Light In The Attic)
99,99 €*
Release:2019 / US – Original
Genre:Electronic / Dance
Nominated for a Grammy!

* First-ever fully licensed collection of this music outside of Japan
* Extensive liner notes and artist bios, including an essay by Spencer Doran
* 3xLP with deluxe Stoughton “tip-on” jackets and slipcase
* 2xCD housed in a custom 7”x 7” hardbound book
* Cover photo by Osamu Murai features buildings designed by Fumihiko Maki
* Product Shots by Jean-Claude Vorgeack

Description:
Light In The Attic’s Japan Archival Series continues with Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990, an unprecedented overview of the country’s vital minimal, ambient, avant-garde, and New Age music – what can collectively be described as kankyō ongaku, or environmental music. The collection features internationally acclaimed artists such as Haruomi Hosono, Ryuichi Sakamoto and Joe Hisaishi, as well as other pioneers like Hiroshi Yoshimura, Yoshio Ojima and Satoshi Ashikawa, who deserve a place alongside the indisputable giants of these genres.

In the 1970s, the concepts of Brian Eno’s “ambient” and Erik Satie’s “furniture music” began to take hold in the minds of artists and musicians around Tokyo. Emerging fields like soundscape design and architectural acoustics opened up new ways in which sound and music could be consumed. For artists like Yoshimura, Ojima and Ashikawa, these ideas became the foundation for their musical works, which were heard not only on records and in live performances, but also within public and private spaces where they intermingled with the sounds and environments of everyday life. The bubble economy of 1980s Japan also had a hand in the advancement of kankyō ongaku. In an attempt to cultivate an image of sophisticated lifestyle, corporations with expendable income bankrolled various art and music initiatives, which opened up new and unorthodox ways in which artists could integrate their avant-garde musical forms into everyday life: in-store music for Muji, promo LP for a Sanyo AC unit, a Seiko watch advert, among others that can be heard in this collection.

Kankyō Ongaku is expertly compiled by Spencer Doran (Visible Cloaks) who, with a series of revelatory mixtapes as well as his label Empire of Signs (Music For Nine Postcards), has been instrumental in shepherding interest in this music outside of Japan. Together with Light In The Attic’s celebrated anthologies I Am The Center and The Microcosm, Kankyō Ongaku helps to broaden our understanding of this quietly profound music, regardless of the environment in which it’s heard.
Haruomi Hosono - Paraiso
Haruomi Hosono
Paraiso
LP | 1978 | EU | Reissue (Light In The Attic)
29,99 €*
Release:1978 / EU – Reissue
Genre:Organic Grooves
The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter and producer. Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with Hosono House, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom.
Following Tropical Dandy (1975) and Bon Voyage Co. (1976), Paraiso is the concluding saga in his “Tropical Trilogy.” The album can be seen as a turning point in Haruomi Hosono’s career, having been newly signed to Alfa Records by label head Kunihiko Murai. Hosono expands on the Van Dyke Parks-inspired tropical funk styles explored in the previous albums, and arrives at a captivating fusion sound that’s at times equally earthy and exotic. Hinting at the breakthrough sounds he would perfect with Yellow Magic Orchestra, Hosono uses synthesizers to provide otherworldly textures and a spiritual undertone to songs like “Femme Fatale” and the title track. On his Caribbean-style take on the Okinawan folk song “Asatoya Yunta” and the synth/gamelan workout of “Shambhala Signal,” Hosono takes traditional melodies and mixes them into his own inimitable stew. Featuring a host of well-known musicians like Taeko Ohnuki, Hiroshi Sato and his future bandmates Yukihiro Takahashi and Ryuichi Sakamoto, Paraiso perfectly encapsulates Hosono’s eccentric worldview that has shaped his solo career, right before his techno-pop project would blast him into the stratosphere.
Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno. Admired by artists ranging from Devendra Banhart to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.
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).
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.
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.
V.A. - Stone Crush: Memphis Modern Soul 1977-1987
V.A.
Stone Crush: Memphis Modern Soul 1977-1987
CD | 2020 | US | Original (Light In The Attic)
16,99 €*
Release:2020 / US – Original
Genre:Organic Grooves
Definitive anthology of Memphis’ Modern Soul Scene
Compiled by Daniel Mathis and Chad Weekley
Liner notes by Memphis curator/writer Andria Lisle and Grammy Award-winning writer Robert Gordon
Unseen archive photos/ephemera
CD with 40 page full color book
Memphis has always been a studio town, where making hit records looked easy. An unknown Elvis could walk into Sun Studios and cut a side, while Willie Mitchell worked his magic around the corner at the Hi Records studio. This vast studio ecosystem meant that even when Stax Records folded in 1975, everybody still knew somebody who could get them into a real recording facility. The city’s largest player in the business was gone, but the possibilities that it introduced were not.
Stone Crush is the definitive overview of Memphis’ modern soul scene of the post-Stax years. It’s a collection of funky tracks of hope—from dentist O.T. Sykes, who traded dental work for studio time, to the ad-man who moonlighted as the visionary mastermind behind Captain Fantastic & Starfleet, few of them ever had anything to do with a hit, but across the board, each believed. Like Cato Walker, whose father’s gig as B.B. King’s driver got him an in, and The Bar-Kays’ former costume maker Libra, some had tangential connections to the city’s deep-rooted music scene that gave them a head start on their hopeful path to fame. Over a decade in the making, Stone Crush is an expertly curated compilation of these home-grown slices of Memphis stylings, from roller skate boogie to private press soul to bedroom funk—rare sides whose original copies are considered holy grails by DJs and collectors all over. This collection does more than transport us to a time gone by. It helps us hear what couldn’t be heard then.
V.A. - Stone Crush: Memphis Modern Soul 1977-1987 Black Vinyl Edition
V.A.
Stone Crush: Memphis Modern Soul 1977-1987 Black Vinyl Edition
LP | 2020 | US | Original (Light In The Attic)
35,99 €*
Release:2020 / US – Original
Genre:Organic Grooves
We recommend to pre-order this item as there are only 500 copies made of each variant.

Definitive anthology of Memphis’ Modern Soul Scene
Compiled by Daniel Mathis and Chad Weekley
Liner notes by Memphis curator/writer Andria Lisle and Grammy Award-winning writer Robert Gordon
Unseen archive photos/ephemera
Vinyl housed in a gatefold jacket with 24 page full color book. Limited to 500 black copies,
Memphis has always been a studio town, where making hit records looked easy. An unknown Elvis could walk into Sun Studios and cut a side, while Willie Mitchell worked his magic around the corner at the Hi Records studio. This vast studio ecosystem meant that even when Stax Records folded in 1975, everybody still knew somebody who could get them into a real recording facility. The city’s largest player in the business was gone, but the possibilities that it introduced were not.
Stone Crush is the definitive overview of Memphis’ modern soul scene of the post-Stax years. It’s a collection of funky tracks of hope—from dentist O.T. Sykes, who traded dental work for studio time, to the ad-man who moonlighted as the visionary mastermind behind Captain Fantastic & Starfleet, few of them ever had anything to do with a hit, but across the board, each believed. Like Cato Walker, whose father’s gig as B.B. King’s driver got him an in, and The Bar-Kays’ former costume maker Libra, some had tangential connections to the city’s deep-rooted music scene that gave them a head start on their hopeful path to fame. Over a decade in the making, Stone Crush is an expertly curated compilation of these home-grown slices of Memphis stylings, from roller skate boogie to private press soul to bedroom funk—rare sides whose original copies are considered holy grails by DJs and collectors all over. This collection does more than transport us to a time gone by. It helps us hear what couldn’t be heard then.
Jim Sullivan - If The Evening Were Drawn Black Vinyl Edition
Jim Sullivan
If The Evening Were Drawn Black Vinyl Edition
LP | 2019 | US | Original (Light In The Attic)
28,99 €*
Release:2019 / US – Original
Genre:Rock / Indie
Mastered from the original analog tapes
All tracks previously unreleased
Booklet with liner notes and rare archive photos
Deluxe die cut Stoughton “tip-on” jacket with embossed lettering
Vinyl pressed at RTI

On March 4, 1975, Jim Sullivan mysteriously disappeared outside Santa Rosa, New Mexico. His VW bug was found abandoned, his motel room untouched. Some think he got lost. Some think the mafia bumped him. Some even think he was abducted by aliens.

By coincidence–or perhaps not–Jim’s 1969 debut album was titled U.F.O.. Released in tiny numbers on a private label, it too was truly lost until Light In The Attic Records began a years-long quest to re-release it–and to solve the mystery of Sullivan’s disappearance. Only one of those things happened, and you can guess which…

Light In The Attic’s reissue of U.F.O. introduced the world to an overlooked masterwork and won Sullivan, posthumously (presumably), legions of new fans. Those new admirers are in for a real treat: a lavish, first-time release of a previously unheard 1969 studio session.

If The Evening Were Dawn contains 10 acoustic solo recordings that have never seen the light of day. Whereas U.F.O. was bolstered by legendary sessioneers The Wrecking Crew, this is Jim Sullivan on his own terms, stripped down and soulful as ever. Recorded at a Los Angeles studio circa 1969, the session contains acoustic versions of a handful of U.F.O. tracks alongside a half dozen previously unheard songs. This, then, is the closest thing to those fabled Malibu bar performances at which Sullivan was first noticed.

According to his widow, Barbara, this was the album Jim always hoped to record. It serves as an unprecedented glimpse into the mysterious, larger-than-life figure who’s become the stuff of legends.

While Sullivan’s disappearance remains unsolved, his music endures and is finally gaining him the recognition he deserves, albeit long overdue. This recording serves as an unexpected missing piece of the puzzle; this is Jim Sullivan’s true swan song.
Jim Sullivan - Jim Sullivan Black Vinyl Edition
Jim Sullivan
Jim Sullivan Black Vinyl Edition
LP | 1972 | US | Reissue (Light In The Attic)
28,99 €*
Release:1972 / US – Reissue
Genre:Rock / Indie
Mastered from the original analog tapes
Deluxe Stoughton “tip-on” jacket with debossing
Vinyl pressed at RTI
All tracks previously unreleased
Booklet with liner notes and rare archive photos

On March 4, 1975, Jim Sullivan mysteriously disappeared outside Santa Rosa, New Mexico. His VW bug was found abandoned, his motel room untouched. Some think he got lost. Some think the mafia bumped him. Some even think he was abducted by aliens.

By coincidence–or perhaps not–Jim’s 1969 debut album was titled U.F.O.. Released in tiny numbers on a private label, it too was truly lost until Light In The Attic Records began a years-long quest to re-release it–and to solve the mystery of Sullivan’s disappearance. Only one of those things happened, and you can guess which…

Light In The Attic’s reissue of U.F.O. introduced the world to an overlooked masterwork and won Sullivan, posthumously (presumably), legions of new fans. Those new admirers are in for a real treat: a lavish, first-time release of a previously unheard 1969 studio session.

If The Evening Were Dawn contains 10 acoustic solo recordings that have never seen the light of day. Whereas U.F.O. was bolstered by legendary sessioneers The Wrecking Crew, this is Jim Sullivan on his own terms, stripped down and soulful as ever. Recorded at a Los Angeles studio circa 1969, the session contains acoustic versions of a handful of U.F.O. tracks alongside a half dozen previously unheard songs. This, then, is the closest thing to those fabled Malibu bar performances at which Sullivan was first noticed.

According to his widow, Barbara, this was the album Jim always hoped to record. It serves as an unprecedented glimpse into the mysterious, larger-than-life figure who’s become the stuff of legends.

While Sullivan’s disappearance remains unsolved, his music endures and is finally gaining him the recognition he deserves, albeit long overdue. This recording serves as an unexpected missing piece of the puzzle; this is Jim Sullivan’s true swan song.
Sachiko Kanenobu - Misora Black Vinyl Edition
Sachiko Kanenobu
Misora Black Vinyl Edition
LP | 1978 | US | Reissue (Light In The Attic)
32,99 €*
Release:1978 / US – Reissue
Genre:Organic Grooves
* Audio remastered from the original analog master tapes
* Booklets include rare photos, translated lyrics and a new interview with Kanenobu
* Vinyl housed in a deluxe, uncoated gatefold jacket with 12-page liner notes book
* Vinyl pressed at RTI
* As featured on V/A Even A Tree Can Shed Tears: Japanese Folk & Rock 1969-1973

Description:
Often regarded as Japan’s first female singer-songwriter, Sachiko Kanenobu created an enduring legacy with Misora, a timeless classic of intricate finger-picking, gently soaring melodies, and rustic Laurel Canyon vibes. Originally released in 1972 on URC (Underground Record Club), one of Japan’s first independent record labels, the Haruomi Hosono-produced album remains one of the most beloved works to come out of Japan’s folk and rock scenes centered around Tokyo and Kansai areas in the early 1970s.

Born and raised in Osaka in a large, music-loving family, Kanenobu picked up the guitar as a teen just as the “college folk” boom swept through university campuses in the Kansai area in the mid-60s. The Pete Seeger and American folk-leaning scene didn’t appeal much to her, however, and instead gravitated towards the British sounds of Donovan and Pentangle, teaching herself guitar techniques by listening to their music. Kanenobu made her songwriting and recording debut as part of Himitsu Kessha Marumaru Kyodan, whose sole single was released on URC in 1969. After years of being pushed aside by the label in favor of newer male artists who were more “folky” in a traditional sense, it was her friendship with the groundbreaking band and labelmate Happy End that ultimately helped her secure the opportunity to record a solo album. With Hosono on board as producer, Kanenobu spent seven days recording the songs that would become Misora, with most songs recorded in a single take.

By the time Misora released in September 1972, Kanenobu was gone. She had left for America, eager to start a new life with Paul Williams, a music writer who had founded Crawdaddy Magazine in 1966. Without the artist to promote it, “_Misora_ was asleep for a long time,” she said. Meanwhile Kanenobu settled near Sonoma in Northern California, retiring from music and concentrating on raising her two children. It wasn’t until Philip K. Dick, the famed writer and family friend, heard Misora and encouraged her to get back into music, that Kanenobu felt the urge to pick up the guitar again. Soon new songs started flowing, and Dick helped finance a single for Kanenobu in 1981. He was committed to producing a full length when he died unexpectedly in 1982.

While she enjoyed success (especially in Germany) with her hard-hitting group Culture Shock in the 1980s, and continued to release albums in American and in Japan in the 1990s, it’s Misora that keeps coming back to her. Every few years a new generation of fans discover the album. Devendra Banhart, Jim O’Rourke, Steve Gunn, and many others continue to tout its greatness.

Kanenobu played a series of sold-out homecoming shows in Japan in 2018, playing Misora in its entirety. Surviving members of Happy End came out to support, some even playing in her backing band. Audience members included old and young, some young enough to be her grandchildren. “I love it,” she said. “They love Misora, they’ve heard it so many times. And here it rose from death…because for them, they can’t believe it—she’s still alive!”
V.A. - Pacific Breeze: Japanese City Pop, AOR & Boogie 1976-1986
V.A.
Pacific Breeze: Japanese City Pop, AOR & Boogie 1976-1986
CD | 2019 | US | Original (Light In The Attic)
16,99 €*
Release:2019 / US – Original
Genre:Organic Grooves, Rock / Indie, Pop
• Cover art by famed artist Hiroshi Nagai
• Extensive liner notes and bios
• Compiled by Andy Cabic (Vetiver), Zach Cowie (DJ & music supervisor) and Mark “Frosty” McNeill (dublab)
• CD in a UV coated Digipak with over sized fold-out booklet and custom die-cut obi card
• Remastered audio

Pacific Breeze documents Japan’s blast into the stratosphere. By the 1960s, the nation had achieved a postwar miracle, soaring to become the world’s second largest economy. Thriving tech exports sent The Rising Sun over the moon. Its pocket cassette players, bleeping video games, and gleaming cars boomed worldwide, wooing pleasure points and pumping Japanese pockets full of yen.

Japan’s financial buoyancy also permeated its popular culture, birthing an audio analog called City Pop. This new sound arose in the mid ’70s and ruled through the ’80s, channeling the country’s contemporary psyche. It was sophisticated music mirroring Japan’s punch-drunk prosperity. City Pop epitomized the era, providing a soundtrack for emerging urbanites. An optimistic spirit buzzed through the music in neon-bathed, gauzy tableaus coated with groove-heavy strokes.

Pacific Breeze is an expertly compiled collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between. Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.

Many of the key City Pop players evolved from the Japanese New Music scene of the early ’70s, as heard on Light In The Attic’s acclaimed Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, “Deconstructing the line between imitation and authenticity.” Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.
Haruomi Hosono - Cochin Moon
Haruomi Hosono
Cochin Moon
LP | 1978 | US | Reissue (Light In The Attic)
26,99 €*
Release:1978 / US – Reissue
Genre:Electronic / Dance
The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter and producer. Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with Hosono House, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom. Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO).

Released in September 1978, a mere two months before YMO’s debut, Cochin Moon is a clear precursor to the groundbreaking synth and sequencer-dominated sounds that would come to define the iconic trio. Credited to Hosono and Pop Art legend Tadanori Yokoo (who created the cover art), Cochin Moon is a fictional soundtrack to a journey into unknown worlds, inspired by Hosono and Yokoo’s trip to India. Initially the album was to be a kind of ethnographic musical document, using found sounds and field recordings made by Hosono himself. Instead, after Yokoo introduced Hosono to the sounds of Kraftwerk and krautrock during the trip, Cochin Moon became something much stranger. Created almost entirely on synthesizers and sequencers with the help of future YMO collaborators Ryuichi Sakamoto and Hideki Matsutake, the music on the album is the perfect encapsulation of Hosono’s concept of “sightseeing music,” transporting the listener to an exotic place that may or may not exist. This highly sought-after album sees its first-ever official release outside of Japan.

Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.
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)
79,99 €*
Release:2017 / US – Original
Genre:Classical Music
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.
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)
24,99 €*
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.
Lee Hazlewood - It's Cause And Cure
Lee Hazlewood
It's Cause And Cure
LP | 1967 | US | Reissue (Light In The Attic)
29,99 €*
Release:1967 / US – Reissue
Genre:Rock / Indie
The mid-to-late '60s were strange days for Lee Hazlewood. Having struck gold as songwriter and vocal foil for Nancy Sinatra, he signed up to MGM as an artist in his own right, and between 1966 and 1968, produced three ambitious solo albums that were eclectic, idiosyncratic, and most of all, unpredictable. It was a happy time for Lee; his music was hot on the charts, he was fully immersed in his collaboration with his muse, Suzi Jane Hokom. The second of his MGM trilogy–1967's peculiarly named Lee Hazlewoodism: Its Cause And Cure–took on countrified French ye-ye (“The Girls In Paris”), a tale of a young bullfighter built on Spanish guitar and choral cowboys (“Jose”), a string-drenched song about the passing of time (“The Old Man And His Guitar”), and a western epic about a Native American tribe (“The Nights”). And that was just the first four tracks. Elsewhere, the honky tonk madness of “Suzi Jane Is Back In Town,” the Byrds-like jangle of “In Our Time” and–in the bonus tracks–an instrumental named “Batman” confirm this to be one of Hazlewood's most far-ranging, far-out LPs ever. It’s the result of two main factors: ambition–to top Phil Spector, primarily–and cash, which paid for orchestras, plush studios, and the inestimable talents of arranger Billy Strange. “I think the big sound of those records came out of the Spector thing,” says Hokom, in the new liner notes. “If you can have a big sound and you have money to burn… it was a flamboyancy.” Released before the Nancy & Lee LP–a bona fide hit for Reprise Records–Hazlewoodism was a tougher nut to crack, a record that confused by combining po-faced delivery with unabashed comical touches. 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 predecessor, The Very Special World Of Lee Hazlewood and follow-up, Something Special. Welcome to Hazlewood's magnificent–and mad–MGM years.
Alan Vega, Alex Chilton & Ben Vaughn - Cubist Blues
Alan Vega, Alex Chilton & Ben Vaughn
Cubist Blues
2LP | 1996 | US | Reissue (Light In The Attic)
33,99 €*
Release:1996 / US – Reissue
Genre:Rock / Indie
The unlikely union of Suicide's Alan Vega, Big Star's Alex Chilton, and singer-songwriter Ben Vaughn happened in December 1994 in a fog of cigarette smoke at two barely-lit, all-night improv sessions at Dessau Studios in New York. What transpired was the group's only release, a brilliant album called Cubist Blues.

Some kind of alchemy happened. The elements are disparate–Vega, known for Suicide's grinding, pre-industrial drone, Chilton for his ultra-melodic FM rock, and Vaughn for his outsider art. Put together, what came out was something totally unexpected, a long, mesmeric incantation built on Elvis-meets-Ian Curtis vocals, rockabilly guitar, growling synths, and metronomic drums.

A jam session at heart–albeit a very productive one–the songs took shape as they were recorded. "I showed up with lyrics for one song and figured we would see what happened," says Vega, recalling the first night in the brand new liner notes. "Little did I know, we would record for hours and hours. By the last song, my brain was burning up. I literally felt myself on fire. I was depleted. Yet, we could have gone on and on."

So-called supergroups get a bad rap for not equaling the sum of their parts. Vega, Chilton, and Vaughn add up to something from a place beyond any of them. Originally released by Henry Rollins on his 2.13.61 label via Thirsty Ear, the album failed to find any sort of audience–remarkable, considering its players, but reflective of the lull following Kurt Cobain's death and the collapse of the all-conquering grunge sound. The group played two live shows and then promptly went their separate ways. "At the time, I didn't fully realize how unique the Cubist Blues experience was," says Ben Vaughn now. "Looking back, it was magic to work with those guys."

Timeless, groundbreaking in sound even now, this is a chance to hear a woefully overlooked album that–had it not been so–might have re-shaped the next decade of music.
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.
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)
30,99 €*
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!”
Lewis - Romantic Times
Lewis
Romantic Times
LP | 1985 | US | Reissue (Light In The Attic)
20,39 €* 23,99 € -15%
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.
Brothers & Sisters, The - Dylan's Gospel
Brothers & Sisters, The
Dylan's Gospel
LP | 1969 | US | Reissue (Light In The Attic)
29,99 €*
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.
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.
Robbie Hill's Family Affair - Gotta Get Back: The Unreleased L.A. Sessions
Robbie Hill's Family Affair
Gotta Get Back: The Unreleased L.A. Sessions
LP | 1975 | US | Reissue (Light In The Attic)
19,99 €*
Release:1975 / US – Reissue
Genre:Organic Grooves
Limited edition for Black Friday RSD 2013.

Almost 10 years ago, Light In The Attic and DJ Supreme La Rock compiled the first ever set of vintage Pacific Northwest soul on Wheedle’s Groove: Seattle’s Finest In Funk & Soul 1965-75 (LITA 009) featuring such rare sides as “I Just Want To Be (Like Myself)” by legendary funk outfit Robbie Hill’s Family Affair. Nearly a decade on, more unheard Seattle soul gems continue surfacing. This November 29th, Light In The Attic is honored to release, for the first time on vinyl, Gotta Get Back: The Unreleased L.A. Sessions from Robbie Hill’s Family Affair.
Wendy Rene - After Laughter Comes Tears: Complete Stax & Volt Singles + Rarities 1964-1965
Wendy Rene
After Laughter Comes Tears: Complete Stax & Volt Singles + Rarities 1964-1965
2LP | 2012 | US | Original (Light In The Attic)
26,99 €*
Release:2012 / US – Original
Genre:Organic Grooves
Preorder 03.04.2020
First ever anthology of Southern soul legend Wendy Rene, 11 singles, 9 rarities + 2 unreleased songs housed in gatefold “tip-on” jacket!
Michael Chapman - Fully Qualified Survivor
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