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Light In The Attic Vinyl, CD & Tape 69 Items

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V.A. - Even A Tree Can Shed Tears: Japanese Folk & Rock 1969-1973 Black Vinyl Edition
V.A.
Even A Tree Can Shed Tears: Japanese Folk & Rock 1969-1973 Black Vinyl Edition
2LP | 2017 | US | Original (Light In The Attic)
29,99 €*
Release:2017 / US – Original
Genre:Rock / Indie
There was something in the air in the urban corners of late ‘60s Japan. Student protests and a rising youth culture gave way to the angura (short for “underground) movement that thrived on subverting traditions of the post-war years. Rejection of the Beatlemania-inspired Group Sounds and the squeaky clean College Folk movements led the rise of what came to be known in Japan as “New Music,” where authenticity mattered more than replicating the sounds of their idols.Some of the most influential figures in Japanese pop music emerged from this vital period, yet very little of their work has ever been released or heard outside of Japan, until now. Light In The Attic is thrilled to present „Even a Tree Can Shed Tears“, the inaugural release in the label’s Japan Archival Series. This is the first-ever, fully licensed collection of essential Japanese folk and rock songs from the peak years of the angura movement to reach Western audiences.In mid-to-late 1960s Tokyo, young musicians and college students were drawn to Shibuya’s Dogenzaka district for the jazz and rock kissas, or cafes, that dotted its winding hilly streets. Some of these spaces doubled as performance venues, providing a stage for local regulars like Hachimitsu Pie with their The Band-like ragged Americana, Tetsuo Saito with his spacey philosophical folk, and the influential Happy End, who successfully married the unique cadences of the Japanese language to the rhythms of the American West Coast. For many years Dogenzaka remained a center of the city’s “New Music” scene.Meanwhile a different kind of music subculture was beginning to emerge in the Kansai region around Osaka, Kyoto, and Kobe. Far more political than their eastern counterparts, many of the Kansai-based “underground” artists began in the realm of protest folk music. They include Takashi Nishioka and his progressive folk collective Itsutsu No Akai Fuusen, the “Japanese Joni Mitchell” Sachiko Kanenobu, and The Dylan II, whose members ran The Dylan cafe in Osaka, which became a hub for the scene.„Even a Tree Can Shed Tears“ also includes the bluesy avant-garde stylings of Maki Asakawa, future Sadistic Mika Band founder Kazuhiko Kato with his fuzzy, progressive psychedelia, the beatnik acid folk of Masato Minami, and the intimate living room folk of Kenji Endo.Nearly 50 years on, this “New Music” is born anew.This release marks the irst-ever fully licensed compilation of this music to be released outside Japan.The double LP housed in a deluxe gatefold Stoughton tip-on jacket with artwork by illustrator Heisuke Kitazawa including extensive liner notes.
Marcos Valle - Previsão Do Tempo
Marcos Valle
Previsão Do Tempo
LP | 2012 | US | Reissue (Light In The Attic)
23,99 €*
Release:2012 / US – Reissue
Genre:Organic Grooves
Ten years after Marcos Valle’s debut long player (Samba Demais) introduced Brazilian music lovers to the immense talents of the Valle brothers, a new direction and backing band helped the singer expand his musical palette. Showcasing a groovy funk and jazz-fusion influence with help from then current backing band Azimuth (later known as Azymuth), synthesizers, Fender Rhodes, and electronic sounds took Valle’s samba, bossa nova, baião (a rhythmic beat from the rural northeast of Brazil), along with the inspiration of black American music and psychedelic rock from prior albums, to dimensions unheard. While not a complete departure, the vocals, grooves, and engaging songs of Previsão Do Tempo are guaranteed to make you feel free and think deep.Previsão Do Tempo was originally released in 1973 and quickly became a favorite of Valle disciples. Still committed to political/cultural criticism through his music, Marcos was reaching a plateau in terms of sound and vision (Previsão Do Tempo sports an arresting sleeve shot of Marcos underwater and also features contributions from Waltel Branco and O Terço). Any way you spin it, Light In The Attic is proud to present Previsão Do Tempo as part of our four-album Marcos Valle reissue campaign. Consisting of an ambitious string of early 1970s landmark studio sessions (sympathetic in spirit to Stevie Wonder and Marvin Gaye’s game changing work from the same era) and released on CD and LP, Previsão Do Tempo features extensive liner notes by San Francisco-based writer Allen Thayer (Wax Poetics) with exclusive interview content and song-by-song breakdown from Marcos himself. Fans new and old will finally have easy breezy access to these once hard-to-find Brazilian classics.Powered by the jazzy electronic feel of Azimuth (thought by some to be Brazil’s finest musical combo), Previsão Do Tempo is a highlight in the Valle discography and a welcome addition to any South American friendly record collection and sits proudly with the best of Brazil. File after Os Mutantes and before Caetano Veloso.
Rodriguez - OST Searching For Sugar Man
Rodriguez
OST Searching For Sugar Man
2LP | 2012 | US | Original (Light In The Attic)
28,99 €*
Release:2012 / US – Original
Genre:Rock / Indie, Film / TV
The story remains one of the music world’s most unusual tales of the 1970s: an obscure debut LP by a Detroit singer-songwriter becomes a source of hope and inspiration to the anti-Apartheid movement in South Africa. Now, the story of Rodriguez and his cult album Cold Fact is the basis for Searching For Sugar Man, a riveting new documentary by filmmaker Malik Bendjelloul. Light In The Attic Records in partnership with Sony Legacy are honored to announce the release of the original motion picture soundtrack, comprising tracks from Cold Fact and its 1971 follow-up Coming From Reality – both reissued in 2008 and 2009 by Light In The Attic. The soundtrack begins with the otherworldly “Sugar Man” and acts as a primer to this long-overlooked musician’s fusion of gritty funk, political poetry and blissful psych-folk.Searching For Sugar Man, a Red Box Films & Passion Pictures Production in association with Canfield Pictures & The Documentary Company, distributed by Sony Pictures Classics in the U.S., was a big hit at this year’s Sundance Film Festival where it won the world documentary audience award and a special jury award, and then went on to screen at SXSW, Tribeca, and the Sheffield Doc Fest. The film opens in New York, Los Angeles, and London (via Studio Canal) on July 27th and will play in other cities throughout the coming months. For a complete release schedule, visit the film’s website: www.SearchingForSugarManMovie.com.
Back in the late ‘60s, Rodriguez was discovered in a Detroit bar by renowned producers Dennis Coffey and Mike Theodore. They recorded a 1970 album that they believed was going to secure his reputation as one of the greatest recording artists of his generation. Instead, Cold Fact bombed, and despite the release of a second LP, entitled Coming From Reality and produced by Steve Rowland, Rodriguez drifted into obscurity, even being subject to rumours that he had committed suicide by setting himself on fire onstage.Cold Fact took on a life of its own when a bootleg recording found its way into apartheid-era South Africa. Banned by the government, the album became a country-wide phenomenon over the next two decades, and the soundtrack to a resistance movement of liberal African youth. Back in Detroit, working in construction and renovation (he also ran for mayor), Rodriguez was totally unaware that he was not just a folk hero but a household name thousands of miles away.Decades later, two South African fans, Stephen ‘Sugar’ Segerman and Craig Bartholomew-Strydom set out to find out what really happened to their hero, and their investigation led them to a story more extraordinary than any of the many myths they’d heard. Their story forms the basis of Searching For Sugar Man.Both sides of the story, Rodriguez’s life in Detroit and the subsequent impact of his music in South Africa, proved fascinating to Stockholm-based documentary filmmaker Malik Bendjelloul. His short documentary films for Swedish Television’s international cultural weekly show Kobra became the basis for such films as Men Who Stare At Goats (George Clooney) and The Terminal (Tom Hanks). The evolution of the financing, production, and filming of Searching For Sugar Man is as fascinating and complex as the life of Rodriguez himself.“I describe myself as ‘musico-politico’,” Rodriguez said recently. “I was born and bred in Detroit, four blocks from the city center. Back then, I was influenced by the urban sounds that were going on around me all the time. Music is art and art is a cultural force. As far as my work from Detroit comparing to the South African Apartheid, the similarities echo. The placards of the 1970s in the United States read things like: We Want Jobs and Stop the War – I was looking at the music from a working class perspective that was relevant, as it turns out, to the kids in South Africa.”
Betty Davis - Nasty Gal
Betty Davis
Nasty Gal
LP | 1975 | US | Reissue (Light In The Attic)
27,99 €*
Release:1975 / US – Reissue
Genre:Organic Grooves
Limited edition colored vinyl!This is the first official re-release of this Betty Davis classic after more than 40 years!!The LP is housed in a deluxe gatefold Stoughton tip-on jacket with lyrics.The release was mastered from the original tapes and contains an 8-page booklet with liner notes by John Ballon with rare studio and stage photographs.
V.A. - I Am The Center: Private Issue New Age In America 1950-1990
V.A.
I Am The Center: Private Issue New Age In America 1950-1990
3LP | 2013 | US | Original (Light In The Attic)
49,99 €*
Release:2013 / US – Original
Genre:Rock / Indie
Received an 8.3 Best New Reissue rating from Pitchfork.Forget everything you know, or think you know, about new age, a genre that has become one of the defining musical-archaeological explorations of the past decade."I Am The Center: Private Issue New Age In America 1950-1990" is the first major anthology to survey the golden age of new age and reveal the unbelievable truth about the genre. For new age, at its best, is a reverberation of psychedelic music, and great by any standard. This is analog, handmade music communicating soul and spirit, often done on limited means and without commercial potential, self-published and self-distributed. Before it became big business and devolved into the spaced out elevator music we know and loathe today, this was the real thing.From mathematical musical algorithms to airport murder mysteries to Henry Mancini and Bugs Bunny, the connections to mainstream culture run in curious directions. (Did you know, for instance, that a track from the first modern private press new age album is featured on the Blade Runner soundtrack? It’s called “Pompeii, 76 A.D.”, and we’ve got it here.)I Am The Center is a knowing, but never cynical overview that invites listeners at last to the mainspring of a misunderstood genre’s greatest lights. Many of the biggest names are present — Iasos, inter-dimentional channeler of “paradise music”; Laraaji, discovered by Brian Eno playing for spare change in Washington Square Park; and the recently famous JD Emmanuel, icon to a new generation of drone, ambient, noise musicians. Call it what you will — before it was anything else, it was new age.Lovingly conceived and lavishly presented, I Am The Center features stunning paintings by the legendary visual artist Gilbert Williams, and liner notes by producer Douglas Mcgowan, who weaves the words and images of the wizards and sorceresses of new age into a prismatic portrait of music that can finally be recognized for what it is: great American folk art.
Marcos Valle - Garra
Marcos Valle
Garra
LP | 2012 | US | Reissue (Light In The Attic)
23,99 €*
Release:2012 / US – Reissue
Genre:Organic Grooves
The follow-up album to Brazilian singer, songwriter, and musician Marcos Valle’s 1970’s self-titled long player, Garra continues to express a socially aware stance combined with a playful hodge-podge of samba, bossa nova, baião (a rhythmic beat from the rural northeast of Brazil), black American music, and psychedelic rock. Marcos and lyricist brother Paulo Sergio recorded the disc with some of Brazil’s top studio musicians and created the pair’s most overtly political statement. Recorded amongst sessions for a steady stream of popular TV novella soundtracks—a side gig for the sun-kissed composer—the results tested the military led government’s hand picked sensors, looking over the country’s art and music with sharp eyes for critical or objectionable content. Unfortunately, some of Valle’s peers didn’t’ fare as well and were either exiled (like Tropicália movement icons Gilberto Gil and Caetano Veloso in 1969) or fled the country for the United States or Europe.Garra was originally released in 1971 and brought us the rare groove classic “Wanda Vidal,” heralded by UK, European, and Japanese music fans years after the disc’s initial release. Amidst an intoxicating mix of instruments, vocals, and orchestration, it’s a deep cut on an even deeper document. Any way you spin it, we at Light In The Attic are extremely proud to present Garra as part of our four-album Marcos Valle reissue campaign. Consisting of an ambitious string of early 1970s landmark studio sessions (sympathetic in spirit to Stevie Wonder and Marvin Gaye’s game changing work from the same era) and released on CD and LP, Garra features extensive liner notes by San Francisco-based writer Allen Thayer (Wax Poetics) with exclusive interview content and song-by-song breakdown from Marcos himself. Fans new and old will finally have easy breezy access to these once hard-to-find Brazilian classics.Tackling topic from Presidential corruption, rampant consumerism, and the black power movement, Garra is a welcome addition to any South American friendly record collection and sits proudly with the best of Brazil. File after Os Mutantes and before Caetano Veloso.
Erasmo Carlos - Carlos, Erasmo
Erasmo Carlos
Carlos, Erasmo
LP | 1971 | US | Reissue (Light In The Attic)
24,99 €*
Release:1971 / US – Reissue
Genre:Organic Grooves
Erasmo Carlos has no counterpart in the universe of Anglophone pop music that could begin to hint at his relevance, popularity and his complex relationship with the only Brazilian pop star more universally recognized than himself, Roberto Carlos. He may be a beloved pop star and household name in Brazil, but hardly because of the music found on the three albums reissued by Light In The Attic. While in retrospect they can be appreciated as some of his most creative, consistent and personal albums, they were also some of the least commercially successful and underappreciated of his long career, at least until recently. Embracing the artistic freedom of the global counterculture of the late sixties and early seventies, over the course of these three albums, Erasmo evolved from his bubblegum beginnings into a sophisticated seventies singer-songwriter. Erasmo Carlos’ “E Os Tremendões” (1970), “Carlos, Erasmo” (1971) and “Sonhos E Memórias 1941-1972” (1972) collectively find this maturing teeny-bopper delivering a mix of world class psychedelic Rock, traditional Rock ‘N’ Roll, Soul, Funk, Folk, Bossa Nova, and Samba-Rock to an unsuspecting Brazilian audience. As a student and fan of Elvis, Little Richard, Bill Haley, and Chuck Berry, Erasmo indulged his primal Rock urges on these albums, notably getting sufficiently psychedelic and fuzzy on “Carlos, ERASMO” . Arriving in 1971 while Caetano and Gil were still in exile, Rita Lee had recently quit Os Mutantes and Gal Costa was onto a new sound, Erasmo’s 1971 album was the closest thing to Tropicália around. “Carlos, ERASMO” was co-produced by the Tropicália producer, Manoel Barenbein, including a new composition from Caetano, a few arrangements courtesy of Rogério Duprat and the musical talents of no fewer than three Mutants: lead guitarist Sergio Dias, drummer Dinho Leme and bassist Liminha, not to mention Brazil’s undisputed psychedelic axe-master, Alexander Gordin, aka “Lanny”, “Carlos, ERASMO” is a virtual all-star team of Tropícalistas (not in exile). This album is considered a bedrock album within the Brazilian rock scene and a notable late entry in the Tropicália tradition, rocking harder than any album in his catalog, but also including wispy love songs, soul and funk moves, brassy pop tunes and a marimba-driven ode to marijuana. Finally, this great album is made available on vinyl outside of Brazil for the first time ever. All material got newly remastered from the original master tapes. The LP is housed in a deluxe gatefold Stoughton tip-on jacket and comes with liner notes by Allen Thayer with lyrics (Portuguese/English).
Johnnie Frierson - Have You Been Good To Yourself
Johnnie Frierson
Have You Been Good To Yourself
LP | 2016 | US | Original (Light In The Attic)
28,49 €* 29,99 € -5%
Release:2016 / US – Original
Genre:Organic Grooves
Followers of soul music might have a pang of recognition on reading the name Frierson. That was the surname of Wendy Rene, whose work was collected into the 2012 LITA anthology "After Laughter Comes Tears", and indeed, Johnnie Frierson is Wendy's brother – a fellow member of her mid-'60s Stax four-piece The Drapels. "But Have You Been Good To Yourself" will come as a surprise to anyone expecting more of the beat-driven R 'n' B Johnnie and his sibling produced – including that compilation's much-sampled title track. A mix of spoken word and gospel songs laid down direct to cassette, these ultra-rare home recordings draw from Johnnie's religious upbringing and his history in the music business, which was interrupted in 1970 when he was sent to fight in Vietnam. Crate digger Jameson Sweiger found Have You Been Good To Yourself and a companion album, Real Education, released under the name Khafele Ojore Ajanaku in a Memphis thrift store, but it was noticeably Frierson's work. They hadn't made it far – they would originally have been sold at corner stores and music festivals in the Memphis area, where Frierson continued to perform and host a gospel radio show, all the while working as a mechanic, laborer and teacher.The seven songs on Have You Been Good To Yourself are overtly religious; some, such as “Out Here On Your Word,” are strident and faithful; others, like the self-questioning “Have You Been Good To Yourself,” are more meditative. They reflect the difficult situation that Frierson was in when recording, shell-shocked from his time in the military and grieving the untimely death of his son. "He was really trying to find his way," remembers Frierson's daughter Keesha in Andria Lisle's liner notes. "And writing and making music were a way out for him."The album is now remastered and released professionally for the first time, the message spread by Frierson – who passed away in 2010 – remains undimmed.
Lifetones - For A Reason
Lifetones
For A Reason
LP | 1983 | US | Reissue (Light In The Attic)
25,99 €*
Release:1983 / US – Reissue
Genre:Electronic / Dance, Reggae / Dancehall
The release comes with a download card. Political post-punk trio This Heat dissolved at a turbulent time in the UK. Margaret “The Iron Lady” Thatcher was in power, and her budget-cutting, ultra-conservative influence was felt strongly in–among many other places–the cultural melting pot of Brixton, South London, where This Heat had their origins. Dusting himself off after the collapse of the band in 1982, guitarist/vocalist Charles Bullen united with Julius Samuel to form Lifetones and embraced the sounds of the local West Indian community to fuse reggae flavor to the kind of propulsive, rhythmic, and experimental music made by This Heat. Just six tracks and half an hour long, the album was recorded at Cold Storage studio and released on Bullen’s own Tone Of Life Records. It has become a sought-after collector’s item that changes hands for hundreds of dollars a time. As a solo artist, Bullen was not prolific–it was 15 years until, in 1998, he released Internal Clock under the name Circadian Rhythms–but like the rest of his band, he has enjoyed a long, enriching career in unending pursuit of new sounds.
Supreme Jubilees, The - It'll All Be Over
Supreme Jubilees, The
It'll All Be Over
LP | 1980 | US | Reissue (Light In The Attic)
24,99 €*
Release:1980 / US – Reissue
Genre:Organic Grooves
If God had a disco, the DJ would be playing California gospel-soul group The Supreme Jubilees. “We won’t have to cry no more,” the tuxedo-clad group would sing, in high, angelic vocals over smooth grooves. “It’ll all be over.” Prepare to dance and contemplate death all at the same time.A band of brothers and cousins, the group was founded from two familes: brothers Joe and Dave Kingsby plus Dave’s son David Kingsby Jr., and keyboardist Leonard Sanders plus his brothers Phillips (drummer), Tim (bassist), and Melvin (tenor). The Sanders clan grew up singing together in the Witness of Jesus Christ church in Fresno CA, where dad Marion was pastor. Guitarist Larry Price–who belonged to neither family–completed the line-up that recorded the group’s first–and, prophetically, only–album, It’ll All Be Over.Released in 1980 on the group’s own S&K (Sanders & Kingsby) label, It’ll All Be Over pinpoints a fatalistic mood exemplified by the title. Its lyrics drawn from the Old Testament, its sound from the church by way of the disco, and it’s a feel captured by the album cover–a low, orange sun setting over the Pacific ocean. It is, as Jessica Hundley observes in the brand new liner notes, “both apocalyptic and seductive.”Making the album was not easy. Sessions began in Trac Record Co, a country and western studio in Fresno, CA, where the engineer was so put out by the group’s requests for heavier bass in the mix, he stopped the session and kicked them out. They left with four songs–one side of the album–and the record was completed at Sierra Recording Studio in Visalia, CA. Leonard Sanders reported having a spiritual encounter in his sleep while in Visalia; the next day he recorded his part of the album’s title track in a single take.After the LP was pressed, the group took their music on tour, first in California, where they played with acts including the Gospel Keynotes, The Jackson Southernaires, and the Mighty Clouds of Joy, and then on an ill-fated trip to Texas. A follow-up album was planned for 1981, but it never materialized; having slept sometimes a dozen to a room in Texas, the men in the band were reluctant to leave jobs, wives, and kids for the hardship of the road. The group simply fizzled out, even if the friendships never did. A copy of the album sold to a fan on that Texan tour made its way to a San Antonio record store, where it was discovered nearly three decades later by collector David Haffner (Friends of Sound). He managed to track down the Kingsby-Sanders clan at a Fourth Of July barbeque in Fresno in 2004. And he eventually introduced the group to Light In The Attic Records, which now presents the album, restored, remastered, and available to the public for the first time.
Roky Erickson - The Evil One
Roky Erickson
The Evil One
2LP | 1981 | US | Reissue (Light In The Attic)
28,99 €*
Release:1981 / US – Reissue
Genre:Rock / Indie
Celebrating a creative purple patch by a singular performer, Light In The Attic is to reissue the three albums issued by Roky Erickson in the 1980s: "The Evil One" (LITA 097), "Don’t Slander Me" (LITA 098) and "Gremlins Have Pictures" (LITA 099). Together, they’re a chance to pick up a missing jigsaw piece in the history of American rock ‘n’ roll in deluxe packages.
Lee Hazlewood - The LHI Years: Singles, Nudes & Backsides 1968-1971
Lee Hazlewood
The LHI Years: Singles, Nudes & Backsides 1968-1971
2LP | 2012 | US | Original (Light In The Attic)
26,99 €*
Release:2012 / US – Original
Genre:Organic Grooves
With his handlebar moustache and booming baritone, Lee Hazlewood was one of the defining stars of the late ‘60s. Though he’s perhaps best known for his work with Nancy Sinatra (including writing mega-hit “These Boots Are Made For Walking”), Hazlewood did stunning work away from that particular glamour queen and found latter day champions in Beck, Sonic Youth, and Jarvis Cocker. Now, for Record Store Day 2012, we are kicking off our excavation of the Lee Hazlewood archives with this anthology, Singles, Nudes & Backsides, collecting the best of Lee’s solo songs and duets from his LHI (Lee Hazlewood Industries) imprint.As a true legend of the great American songbook and a rebellious pioneer who left behind a lengthy trail of echo laden pop masterpieces, Lee’s influence continues to reverberate today. Between 1968-71, Hazlewood not only released his finest solo work, but produced numerous artists on LHI. From acid-folk and country-rock to pop-psych and soul, LHI issued dozens of long forgotten 45s and LPs. This series will include material from LHI (re-mastered for the first time from the original analog tapes), along with Lee’s output for other labels, rarities, unreleased gems, and the films of Torbjörn Axelman.See the sleeve: surrounded by nude girls, each wearing a fake moustache, Hazlewood wears a suit, ever-so-slightly awkwardly playing the role of the ‘60s playboy. Just like the picture, the songs present a man conflicted; he’s the tender-hearted romantic, the broken-hearted loser and the rugged cowboy, all in one. It’s there in the western swing of “Califia (Stone Rider)”, the loneliness of ”The Bed” and the bleak beauty of ”If It’s Monday Morning.” Hazlewood’s tremulous voice was made for duets (indeed, he wrote ”Some Velvet Morning”, one of the greatest of all time); here, Suzi Jane Hokom, Ann-Margret and Nina Lizell play counterpart to his manly tones.In the wonderful liner notes, written by British journalist Wyndham Wallace, the writer describes his friend Hazlewood as “a curmudgeonly, unpredictable sort at the best of times, as impatient with his own talent as he is with other people.” The Hazlewood Wallace knew was puzzled by the growing interest in him in the last two decades of his life, which was ended by cancer at age 78. That late flurry of interest saw him perform at the Royal Festival Hall in 1999, his first ever solo performance in the UK.A natural wanderer, Lee lived a big life, fighting in the Korean War, working as a radio DJ in Phoenix, Arizona, setting up Viv Records in the ‘50s, working as a big-shot LA producer in the ‘60s, signing Phil Spector to his Trey Records label and prematurely announcing retirement in the wake of the mid-‘60s British invasion. He didn’t: Nancy Sinatra came along, the hits started flowing and he continued producing characterful solo albums into the ‘70s, which saw his move to Sweden. By 2007, Hazlewood was living in Vegas, and begrudgingly enjoying that flurry of latter-day interest in his work. This landmark compilation promises to create many more converts.
Louvin Brothers, The - Satan Is Real
Louvin Brothers, The
Satan Is Real
LP | 1959 | US | Reissue (Light In The Attic)
23,99 €*
Release:1959 / US – Reissue
Genre:Rock / Indie
Bolstered by one of the most celebrated and startlingly unique record covers ever, 1959’s Satan Is Real delves into a strange netherworld of country that no longer exist..
Michael Chapman - Fully Qualified Survivor
Jane Birkin & Serge Gainsbourg - Je T’Aime … Moi Non Plus
Jane Birkin & Serge Gainsbourg
Je T’Aime … Moi Non Plus
LP | 1969 | US | Reissue (Light In The Attic)
25,99 €*
Release:1969 / US – Reissue
Genre:Organic Grooves
Re-mastered from the Original Tapes by Dave Cooley (Melody Nelson) ... Vinyl release features 180 gram wax, thick gatefold jacket, liner notes, lyrics.
Black Angels, The - Directions To See A Ghost
Black Angels, The
Directions To See A Ghost
3LP | 2008 | US | Original (Light In The Attic)
30,99 €*
Release:2008 / US – Original
Genre:Rock / Indie
"The Black Angels bring the aura of mid-1966 the drilling guitars of early Velvet Underground shows, the raga inflections of late-show Fillmore jams, the acid-prayer stomp of Austin avatars the 13th Floor Elevators everywhere they go, including the levitations on their second album, Directions to See a Ghost (Light In The Attic). Mid-Eighties echoes of Spacemen 3 and the Jesus and Mary Chain also roll through the scoured-guitar sustain and Alex Maas' rocker-monk incantations. But he knows what time it is. 'You say the Beatles stopped the war," Maas sings in 'Never/Ever.' 'They might've helped to find a cure/But it's still not over.' Even so, this medicine works wonders." - David Fricke, Rolling Stone
Rodriguez - Cold Fact Colored Vinyl Edition
V.A. - Sing It High, Sing It Low: Tumbleweed Records 1971-1973
V.A.
Sing It High, Sing It Low: Tumbleweed Records 1971-1973
LP | 2017 | US | Original (Light In The Attic)
26,99 €*
Release:2017 / US – Original
Genre:Rock / Indie
In February of 1971, Larry Ray and Bill Szymczyk fled an earthquake and a debauched L.A. music scene to claim their own slice of utopia in Denver, Colorado. After meeting and bonding at ABC-Dunhill, where Ray landed as general manager, and where Szymczyk had breezed in from New York — fresh off his first real hit as a burgeoning engineer/producer with BB King’s “The Thrill is Gone” — they’d often daydreamed about starting their own label. In Denver, Ray and Szymczyk settled on the name Tumbleweed Records, and through industry connections they secured multi-million-dollar financing from Gulf + Western, whose head honchos believed they were bankrolling the hippie movement’s next big thing.But instead of producing the next Janis Joplin or Jimi Hendrix, Ray and Szymczyk turned their sights on idiosyncratic wunderkinds like Pete McCabe, moody songwriters Robb Kunkel and Danny Holien, psych-folk rocker Arthur Gee, all the while providing a platform for more established musicians like Albert Collins and Dewey Terry (of Don & Dewey fame), while launching the career of Michael Stanley.It was the best of times, it was the worst of times, and, per Szymczyk, it was a “bitchin’ disco time.” Drugs, parties, poetry, celebrities, money—Tumbleweed had it all, except airplay and distribution. Two years after its storied start, the label was finished.Ray would go on to various opportunities, including producing five country albums alongside Bill Halverson, while Szymczyk would soon skyrocket to fame after producing The Eagles’ Hotel California. Yet most of Tumbleweed's artists have been relegated to thrift store bin obscurity—until now. This landmark release not only showcases Ray’s vision and Szymczyk’s early work, but begins a major reappraisal of Tumbleweed’s catalog by bringing these songs out of the shadow of the Rocky Mountains and back into the spotlight.All original audio got fully restored and remastered.This release is housed in a beautiful deluxe Stoughton “Tip-On” gatefold jacket and contains unseen archive photos, album artwork label history and additional liner notes interviewing Tumbleweed principals Larry Ray and Bill Szymczyk, as well as surviving employees and artists.
Hayes McMullan - Everyday Seem Like Murder Here
Hayes McMullan
Everyday Seem Like Murder Here
2LP | 2017 | US | Original (Light In The Attic)
32,99 €*
Release:2017 / US – Original
Genre:Organic Grooves
Bluesman. Sharecropper. Church deacon. Civil Rights activist. Hayes McMullan should be a name on every Blues aficionados’ short-list and thanks to the preservation fieldwork carried out by one of the genre’s greatest researchers some 50 years ago – it might soon be.Born in 1902, Hayes McMullan was discovered by the renowned American roots scholar, collector and documentarian Gayle Dean Wardlow. Wardlow, author of the seminal blues anthology „Chasin' That Devil Music“ - Searching for the Blues, may be most famous for uncovering Robert Johnson's death certificate in 1968, finally revealing clues to the bluesman’s mysterious and much disputed demise. Moreover, in his tireless and committed mission to preserve the Blues for future generations, he captured McMullan’s raw talent on tape and on paper. Wardlow recorded these sessions, transcribed the songs and now, writes the sleeve-notes for this landmark release.Wardlow and McMullan met by chance on one of the former’s record-hunting trips, in Tallahatchie County, Mississippi, in 1967. Having introduced himself to McMullan on a hunch, it turned out this unassuming elderly man had not only heard of Wardlow’s idol, Charley Patton, but had played alongside him in the 1920s, as part of a brief musical journey that took him from the plantation to the open roads and juke joints of the Depression-era South. Striking up a friendship that was deemed unorthodox in 1960’s Mississippi, Wardlow traveled to McMullan’s sharecropper’s shack and convinced him to play guitar for the first time since he quit the Blues for the Church in the 30’s. “Hayes was playing like no one I had ever heard,” Wardlow writes with amazement.Wardlow visited McMullan on a handful of occasions, always taking his recorder, a guitar and some whiskey with him. It was during these visits that Wardlow captured – with surprising clarity – the songs that make up Everyday Seem Like Murder Here.Hayes McMullan passed away at the age of 84 in 1986, his talent and legacy largely unknown. “Reflecting now on our brief time together, I marvel at the small glimpse of something much larger I was lucky to have captured,” writes Wardlow. “The few old snapshots I took, the handful of tunes we recorded, and his brilliant performance of “Hurry Sundown” captured on film are all that’s left of the musical legacy of Hayes McMullan, sharecropper, deacon, and—unbeknownst to so many for so long—reluctant bluesman.”All tracks are previously unreleased except track #3. All audio got remastered from original tapesThis 2LP is housed in a beautiful deluxe gatefold Stoughton tip-on jacket and comes with liner notes by blues historians Gayle Dean Wardlow & John Miller and unseen photos.
Erasmo Carlos - Erasmo Carlos E Os Tremendões
Erasmo Carlos
Erasmo Carlos E Os Tremendões
LP | 1970 | US | Reissue (Light In The Attic)
22,99 €*
Release:1970 / US – Reissue
Genre:Organic Grooves
Erasmo Carlos has no counterpart in the universe of Anglophone pop music that could begin to hint at his relevance, popularity and his complex relationship with the only Brazilian pop star more universally recognized than himself, Roberto Carlos. He may be a beloved pop star and household name in Brazil, but hardly because of the music found on the three albums reissued by Light In The Attic. While in retrospect they can be appreciated as some of his most creative, consistent and personal albums, they were also some of the least commercially successful and underappreciated of his long career, at least until recently. Embracing the artistic freedom of the global counterculture of the late sixties and early seventies, over the course of these three albums, Erasmo evolved from his bubblegum beginnings into a sophisticated seventies singer-songwriter. Erasmo Carlos’ “E Os Tremendões” (1970), “Carlos, Erasmo” (1971) and “Sonhos E Memórias 1941-1972” (1972) collectively find this maturing teeny-bopper delivering a mix of world class psychedelic Rock, traditional Rock ‘N’ Roll, Soul, Funk, Folk, Bossa Nova, and Samba-Rock to an unsuspecting Brazilian audience. Collectively, the songs on Erasmo Carlos E Tremendões sound like an attempt to appeal to nearly every relevant genre of Brazilian popular music at the turn of the decade. You’ll find a wide spectrum, ranging from clssic Brazilian cover tunes (“Saudosismo”, “Teletema”, “Aquarela Do Brasil”) and Soul ballads (“Menina”) to Funk (“Jeep”). Maybe it was exactly that, a chance for Erasmo to stretch his creative muscles in a lot of different directions as it became clear his Jovem Guarda character and sound had run its course, along with the TV show of the same name. Erasmo Carlos E Os Tremendões is greater than the sum of its pop-rock spitballs. It’s a creative, and at times experimental and groundbreaking album that remains a thrilling listen. Finally, this great album is made available on vinyl outside of Brazil for the first time ever. All material got newly remastered from the original master tapes. The LP is housed in a deluxe gatefold Stoughton tip-on jacket and comes with liner notes by Allen Thayer with lyrics (Portuguese/English).
V.A. - The Microcosm: Visionary Music Of Continental Europe 1970-1986
V.A.
The Microcosm: Visionary Music Of Continental Europe 1970-1986
3LP | 2016 | US | Original (Light In The Attic)
49,99 €*
Release:2016 / US – Original
Genre:Electronic / Dance
The followup to Light In The Attic’s game-changing “I Am The Center” box set is finally here. Three years in the making, “The Microcosm: Visionary Music Of Continental Europe, 1970-1986” is the first major overview of key works from cosmically-taped in artists needing little introduction - Vangelis, Ash Ra Tempel, and Popol Vuh - and and unknown masterpieces by criminally overlooked heroes like Bernard Xolotl, Robert Julian Horky and Enno Velthuys. Whereas “I Am The Center” called for a reconsideration of an entire maligned genre, “The Microcosm” requests nothing more than an open mind to consider this Ambient, New Age, Neuzeit, Prog, Krautrock, Cosmic, Holistic stuff, whatever one calls it — as a pulsating movement unto itself, a mirror refracting the American new age scene in unexpected, electrifying ways, proving beyond a shadow of a doubt the universality of the timeless quest to express “the Ineffable” through music. Drawing from major label budgets and homemade cassette distributed circumstances alike, The Microcosmdemonstrates a depth of peace profound to behold, and clearly expands the boundaries. Lovingly conceived and lavishly presented by producer Douglas Mcgowan (Yoga Records) and liner notes contributor Jason Patrick Woodbury (Pitchfork, Aquarium Drunkard), The Microcosm features stunning cover paintings by Étienne Trouvelot, and labels by Finnish savant Aleksanda Ionowa with libner notes by Douglas Mcgowan and Jason Patrick Woodbury. The whole material consists of fully remastered audio, including a previously unreleased track and several others previously cassette only. This 3LP is housed in deluxe Stoughton “tip-on” jackets and a slipcase.
Lizzy Mercier Descloux - Mambo Nassau
Lizzy Mercier Descloux
Mambo Nassau
LP | 1981 | US | Reissue (Light In The Attic)
24,99 €*
Release:1981 / US – Reissue
Genre:Rock / Indie
After 1979's Press Color - reissued by Light In The Attic - Lizzy Mercier Descloux went tropical. Mambo Nassau, released in 1981 on Philips Records, saw the vagabond Parisian poet, artist and musician decamp from New York to the Bahamas with her manager and sometime lover, Michel Esteban. Mambo Nassau’s skip through styles is like a tour of Lizzy’s musical DNA, embracing not just mutant funk, disco and punk but a pastiche of Bavarian oompa music (“Milk Sheik”) and even cocktail jazz chanson (“Les Baisers D’Amants"), a duet with DJ Philippe Krootchey.
Lee Hazlewood - It's Cause And Cure
Lee Hazlewood
It's Cause And Cure
LP | 1967 | US | Reissue (Light In The Attic)
22,99 €*
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.
Lee Hazlewood - The Very Special World Of Lee Hazlewood
Lee Hazlewood
The Very Special World Of Lee Hazlewood
LP | 1966 | US | Reissue (Light In The Attic)
24,99 €*
Release:1966 / US – Reissue
Genre:Rock / Indie
Lee Hazlewood was a late bloomer. Following a meandering career as a disc jockey, producer, songwriter, label executive and solo artist, Hazlewood hit the jackpot at the ripe age of 37 with “These Boots Are Made For Walkin’,” the song Nancy Sinatra took to the top of the charts on both sides of the Atlantic. Its success convinced MGM Records that Hazlewood was a bankable star, and they signed him as an artist in his own right the same year. But as a self-described "non-singer" whose cult 1963 debut, Trouble Is A Lonesome Town, was little more than a happy accident, they'd perhaps gotten the wrong end of the stick where Lee was concerned. In three years on the label, Hazlewood delivered three albums and sundry odds and ends, beginning with 1966 album The Very Special World Of Lee Hazlewood. The LP found Hazlewood gunning–in as much as he ever did–for commercial success, blending country, pop, novelty, mariachi, and lounge music into something unusually of-the-moment. Lushly orchestrated and–like the album that preceded it–half-sung, half-spoken in a way that Hazlewood made all his own, the album collected solo versions of songs made famous by Sinatra and others (“Sand,” “Boots,” “So Long Babe,” “Summer Wine”–included as a bonus duet with Suzi Jane Hokom) alongside some of his career-best solo compositions, among them the Morricone-like opener, “For One Moment.” It’s a record of extremes: “When A Fool Loves A Fool” is as light and throwaway as anything he ever laid down, while the wistful “My Autumn's Done Come” (sample lyric: "Let those I-don't-care days come in, I'm tired of holding my stomach in") is as raw and honest. Despite MGM's best efforts, Hazlewood proved difficult to market without a Sinatra to temper his baritone drawl, and you'd suspect Hazlewood wasn't taking it quite as seriously as they might have hoped anyway. By 1967, Hazlewood had founded the LHI imprint and was busy building his own empire–one we've been lovingly archiving for the past few years. We now present this missing link in the story, plus follow-ups Lee Hazlewoodism: Its Cause and Cure (1967) and Something Special (1968). Welcome, then, to Hazlewood's magnificent MGM years.
Black Angels - Passover
Black Angels, The - Directions To See A Ghost
Black Angels, The
Directions To See A Ghost
Tape | 2014 | US | Original (Light In The Attic)
11,19 €* 15,99 € -30%
Release:2014 / US – Original
Genre:Rock / Indie
“The Black Angels bring the aura of mid-1966 the drilling guitars of early Velvet Underground shows, the raga inflections of late-show Fillmore jams, the acid-prayer stomp of Austin avatars the 13th Floor Elevators everywhere they go, including the levitations on their second album, _Directions to See a Ghost. Mid-Eighties echoes of Spacemen 3 and the Jesus and Mary Chain also roll through the scoured-guitar sustain and Alex Maas’ rocker-monk incantations. But he knows what time it is. ‘You say the Beatles stopped the war," Maas sings in ’Never/Ever.’ ‘They might’ve helped to find a cure/But it’s still not over.’ Even so, this medicine works wonders." – David Fricke, Rolling Stone
Sly Stone - I'm Just Like You: Sly's Stone Flower 1969-70
Sly Stone
I'm Just Like You: Sly's Stone Flower 1969-70
2LP | 2014 | US | Original (Light In The Attic)
28,99 €*
Release:2014 / US – Original
Genre:Organic Grooves
In 1970, The Family Stone were at the peak of their popularity, but the maestro Sly Stone had already moved his head to a completely different space. The first evidence of Sly’s musical about-turn was revealed by the small catalog of his new label, Stone Flower: a pioneering, peculiar, minimal electro-funk sound that unfolded over just four seven-inch singles. Stone Flower’s releases were credited to their individual artists, but each had Sly’s design and musicianship stamped into the grooves–and the words “Written by Sylvester Stewart/Produced and arranged by Sly Stone” on the sticker.Set up by Stone’s manager David Kapralik with distribution by Atlantic Records, Stone Flower was, predictably, a family affair: the first release was by Little Sister, fronted by Stone’s little sister Vaetta Stewart. It was short lived too–the imprint folded in 1971–but its influence was longer lasting. The sound Stone formulated while working on Stone Flower’s output would shape the next phase in his own career as a recording artist: it was here he began experimenting with the brand new Maestro Rhythm King drum machine. In conjunction with languid, effected organ and guitar sounds and a distinctly lo-fi soundscape, Sly’s productions for Stone Flower would inform the basis of his masterwork There’s A Riot Goin’ On.The first 45 came in February 1970: Little Sister’s dancefloor-ready “You’re The One” hit Number 22 in the charts–the label’s highest showing. The follow-up, “Stanga," also by Little Sister, made the wah pedal the star. The third release came from 6IX, a six-piece multi-racial rock group whose sole release, a super-slow version of The Family Stone’s “Dynamite," featured only the lead singer and harmonica player from the group. Joe Hicks was the final Stone Flower stablemate; his pulsing, electronic "Life And Death In G&A” is one of the bleakest moments Sly Stone ever created on disc (Hicks’ prior single for Scepter, “Home Sweet Home,” the first released Stone Flower production, is also included).This long overdue compilation of Sly’s Stone Flower era gathers each side of the five 45s plus ten previously unissued cuts from the label archives, all newly remastered from the original tapes. In these grooves you’ll find the missing link between the rocky, soulful Sly Stone of Stand! and the dark, drum machine-punctuated, overdubbed sound of There’s A Riot Going On. I’m Just Like You: Sly’s Stone Flower 1969-70 opens up the mysteries of an obscure but monumental phase in Stone’s career.
Wheedle's Groove - Volume 2: Seattle Funk, Modern Soul & Boogie 1972-1987
Wheedle's Groove
Volume 2: Seattle Funk, Modern Soul & Boogie 1972-1987
2LP | 2014 | US | Original (Light In The Attic)
25,99 €*
Release:2014 / US – Original
Genre:Organic Grooves
n 2004, the first volume of Wheedle’s Groove shone a light on the formerly unheralded soul scene in 1960s and ‘70s Seattle, followed by a new album in 2008, and then an award winning feature-length documentary film. The on-going Wheedle’s Groove series continues to present a vast chapter of the city’s musical heritage that has little to do with long-haired rock dudes with guitars. No – in the world of Wheedle’s Groove, platform shoes and pimp hats were the order of the day.But unlike Volume I, Seattle’s soul scene did not stop in 1975. A new volume, Wheedle’s Groove Vol. II, documents the period from 1972 to 1987, when funk was superseded by disco and modern soul. Heading into the ‘80s, artists in the Emerald City caught wind of the hip-hop and electro scenes that were growing in bigger cities across America, and gave the music their own distinct spin.
Honey Ltd. - The Complete LHI Recordings
Honey Ltd.
The Complete LHI Recordings
2LP | 1968 | US | Reissue (Light In The Attic)
21,99 €*
Release:1968 / US – Reissue
Genre:Rock / Indie
Lee Hazlewood’s LHI label only put out interesting albums. Yet despite the psychedelic cowboy’s success with Nancy Sinatra and more, being on Lee Hazlewood Industries was no fast-track to success. Gorgeous and talented Detroit, Michigan girl group Honey Ltd had all the makings of a hit band, yet they disappeared after releasing just one album in 1968, a vinyl rarity that now regularly fetches upwards of $2,000.Light In The Attic Records is now looking to set the record straight. Having previously explored both the back catalog of Lee Hazlewood and his LHI label via the You Turned My Head Around 45s Box Set, Honey Ltd’s The Complete LHI Recordingspresents everything the group ever recorded. Fans of The Ronettes, The Shangri-Las and Pentangle are in for a treat – Honey Ltd’s music blended social commentary with harmony-drenched, psych-soul pop. Even opening track, ‘Warrior’, describes the mood of the times, as America sunk into the Vietnam war: “We must kill more people; strong men are what we need!"Laura Polkinghome, Marsha Jo Temmer and sisters Joan and Alexandra Sliwin are the girls with the angelic voices. Hailing from Detroit, the four members of Honey Ltd grew up in a culture of soul music and dance shows, yet forming a band was never part of the plan. It simply happened after they sung together in a Wayne State University cafeteria and found they’d silenced the room. By 1967 they had formed a group known as the Mama Cats and were playing shows with local singer Bob Seger. By 1968, against a backdrop of rioting in Detroit, they’d hauled over to Los Angeles to give music a go, and it’s there that they hitch-hiked to an audition with Lee Hazlewood on Sunset Boulevard. At the time, Lee Hazlewood Industries was in its prime: the money flowed and the roster swelled. “I think Lee just sat there for a while and listened, looking at us,” Temmer recalls. “He said, ‘Yeah, I think we can do something.’ You know – immediately!” Before long, LHI had the band in the studio with crack session music unit The Wrecking Crew.These were not enlightened times for girl groups. The group were re-named Honey Ltd by Hazlewood, and were put to work on an album without even realizing it. The band were under the impression they were simply recording singles. As a result, the band were unphased by Honey Ltd’s commercial failure.The parent label, however, did notice the album’s failure but the girls continued on. By the end of 1968, the band joined Bob Hope on the USO tour and headed to Thailand to perform for soldiers. In 1969, Alex married and quit the band, their tenure onLHI was effectively terminated and the remaining members regrouped as country-rock group Eve. But like their music, the girls’ outlook remained resolutely sunny.“Its all a karmic equation, isn’t it?" Temmer recalled. “So many things to experience and learn and humbly let go of in this journey. Our friendship is based on love – we love each other… always have… always will.”
Public Image Ltd - First Issue
Public Image Ltd
First Issue
LP | 1978 | US | Reissue (Light In The Attic)
23,99 €*
Release:1978 / US – Reissue
Genre:Rock / Indie
In 1976 Johnny Rotten and the Sex Pistols set the agenda for punk's year zero with 'Anarchy In The UK', a song that summed up the spirit, sound and attitude of the band in one shocking package. Two years later, the Sex Pistols were in tatters, but Rotten was as unsentimental as you'd hope. He reverted to his real name - John Lydon - and set about forming a band whose very identity kicked against press and media manipulation. Featuring bassist Jah Wobble, drummer Jim Walker and guitarist Keith Levene, his new group were Public Image Limited. The public image would be limited.PiL were a very distinct prospect from the Pistols, founded with a greater thought for rhythm, and with a sound that turned the page from snarling punk to a more experimental sound fusing rock, dance, folk, ballet, pop and dub. But that's not to say Lydon's new outfit lacked vitriol. 'Public Image' hits out against the notorious British tabloid press, who never gave Lydon an easy ride, and against his own Sex Pistols public image - "You only saw me for the clothes I wore".The debut single (and the album that followed) operated as a theme song and a manifesto: "…my entrance/My own creation/My grand finale/My goodbye," as the lyrics had it. It is, essentially, the sound of four people letting loose in a studio - and not caring what anyone else thought.The album was never officially released in the USA back in the day, its sound considered too un-commercial by major-labels for an American release.First Issue has been lovingly reproduced from the original UK 1978 release and this expanded reissue also comes with a clutch of post-punk era treasures. The LP release includes an archive replica fold-out poster, archive replica tabloid adverts, a set of stickers, and Download Card for the album, the archival BBC interview, and 'The Cowboy Song'. All of which were approved and coordinated with John Lydon and his personal management.
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.
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
First ever anthology of Southern soul legend Wendy Rene, 11 singles, 9 rarities + 2 unreleased songs housed in gatefold “tip-on” jacket!
Bernard Purdie - OST Lialeh
Bernard Purdie
OST Lialeh
LP | 1974 | US | Reissue (Light In The Attic)
24,99 €*
Release:1974 / US – Reissue
Genre:Film / TV
Forget foreplay, baby, the main event is here! Light In The Attic proudly presents the soundtrack to Lialeh, the first major black porn movie and final word in soulful shagging music. Bryan Records released this Shaft-era classic in 1974, and since then it’s been harder to find than a honky in Harlem. Legendary drummer Bernard “Pretty” Purdie composed, produced and performed Lialeh’s score, while between projects with Curtis Mayfield, Aretha, The Last Poets, The Rolling Stones, James Brown ...
Betty Davis - Betty Davis
Betty Davis
Betty Davis
LP | 1973 | US | Reissue (Light In The Attic)
23,99 €*
Release:1973 / US – Reissue
Genre:Organic Grooves
Betty recorded some of the finest punk-funk of all time, introduced Miles to Hendrix, and inspired generations ... first official Betty Davis reissues, mastered from the original tapes, previously unreleased bonus tracks on 7inch, Ice Cube, Talib Kweli, and Ludacris have rhymed over these tracks ... new notes from Oliver Wang (O-Dub/Soul Sides), including Betty's second interview in over 25 years!
Black Angels, The - Passover
Lynn Castle - Rose Colored Corner
Lynn Castle
Rose Colored Corner
LP | 2017 | US | Original (Light In The Attic)
27,54 €* 28,99 € -5%
Release:2017 / US – Original
Genre:Rock / Indie
Though most of the world may not know the songs of Lynn Castle, she is an artist whose work stretches across seven decades. She has created a diverse and vast (albeit mostly unreleased) discography of pop, folk, country, gothic, rock, punk, blues, and children's songs. Light In The Attic Records is very excited to continue its Lee Hazlewood Archive Series with Rose Colored Corner, a collection of intimate recordings Lynn Castle made with Jack Nitzsche in 1966 and her complete recorded output with Lee Hazlewood on LHI Records. For the first time ever Lynn is sharing recordings from her personal archive and telling her story. In the 1960s Lynn became the first lady barber in LA just as long hair on men became hip. By day she was styling The Monkees, Boyce and Hart, Del Shannon, Sonny & Cher, the Byrds and countless others…by night she was writing songs. Despite lacking the desire to self promote and a crippling insecurity that made it hard to sing in front of anyone, her songs managed to bend the ears of such industry heavyweights as Phil Spector, Jack Nitzsche and Lee Hazlewood. “It was so hard to get me to sing,” explained Castle. “I had buried it so low, I didn’t think I was good at all. Lee heard my songs and thought I was fabulous. He said, ‘Oh my god, you’re really good! Let’s cut a record.’Her sole 1967 45 “The Lady Barber" b/w "Rose Colored Corner,” released on Lee Hazlewood Industries is a slice of psychedelic pop heaven. A full length album was never completed, but her sparse demos with Jack Nitzsche give the listener a peek of what one might have sounded like. If you are familiar with Nitzsche’s mid-60s work with Tim Buckley, Bob Lind, and Buffalo Springfield…you can squint your ears and imagine her songs bejeweled with lush strings, finger cymbals, and delicate harpsichord. Instead, the songs remained unheard until now.Just because her songs weren’t recognized at the time doesn’t diminish their magic. This music is meant to be found and heard. Though commercial success may remain elusive, sometimes strange premonitions are realized… “When I was young, making music in the ‘60s, I had this strange thought that one day I would be this old woman, and young people would come find me and tell me that my music meant something to them.” - Lynn CastleThis release got remastered from pristine original master tapes and contains 10 previously unreleased songs recorded with Jack Nietzsche. Also includes Lynn’s sole LHI 45 produced by Lee Hazlewood. The LP includes liner notes by Hunter Lea with Lynn Castle interview and unseen photos, press shots and handwritten lyric sheets.The LP is housed in a deluxe gatefold Stoughton tip-on jacket.
Thomas De Hartmann - The Music Of Gurdjieff / De Hartmann
Thomas De Hartmann
The Music Of Gurdjieff / De Hartmann
5LP | 2017 | US | Original (Light In The Attic)
109,99 €*
Release:2017 / US – Original
Genre:Klassik
Limited edition for Record Store Day 2017!"The Music Of Gurdjieff / De Hartmann" is the result of an extraordinary collaboration between the Greek-Armenian spiritual teacher, G. I. Gurdjieff and Russian composer, Thomas de Hartmann. Gurdjieff traveled for twenty years in the Middle East and Central Asia to discover and develop the teaching which now bears his name. Meditative and mindful, Gurdjieff’s music stems from Eastern melodies and music he heard in remote monasteries.From 1923 to 1929, Thomas de Hartmann worked closely with Gurdjieff at his Institute for the Harmonious Development of Man outside Paris, translating into European notation the music Gurdjieff composed from his travels. The original tapes containing these tracks were recorded in the 1950s under informal circumstances with rudimentary equipment, never intended to be heard by the public. As for the instrumentation, the performance is stripped down to nothing more than a single piano (played by de Hartmann) but lacks absolutely nothing; rather de Hartmann uses the negative space between notes to revel in resonance, in turn capturing remarkable depth and meaning.Following the appearance of a track on LITA’s “I Am The Center: Private Issue New Age In America 1950-1990”, this material, out of print on vinyl for over three decades, could be considered the seeds that would eventually grow to become the roots of what we now think of as new age music. Jazz pianist Keith Jarrett, who recorded the album G. I. Gurdjieff: Sacred Hymns for the ECM label in 1980, is among the artists to interpret this music since, but the tracks presented in this five LP box-set are the only recordings available of de Hartmann himself playing the music he and Gurdjieff composed. Also included are seven additional recordings, never before available on vinyl, including a talk by de Hartmann about Gurdjieff’s view of the music.This official Record Store Day 2017 release is limited to 1,000 copies only. The first ever vinyl reissue of these recordings, includes 7 bonus pieces never before on vinyl.All audio restored and remastered from the original analog master tapes. New artwork is featured on 5 deluxe Stoughton “tip-on” jackets and slipcase. This release also contains essay, archive photos and download card for MP3 of all 56 pieces. The final side features custom etching.
Erasmo Carlos - Sonhos E Memórias 1941-1972
Erasmo Carlos
Sonhos E Memórias 1941-1972
LP | 1972 | US | Reissue (Light In The Attic)
24,99 €*
Release:1972 / US – Reissue
Genre:Organic Grooves
Erasmo Carlos has no counterpart in the universe of Anglophone pop music that could begin to hint at his relevance, popularity and his complex relationship with the only Brazilian pop star more universally recognized than himself, Roberto Carlos. He may be a beloved pop star and household name in Brazil, but hardly because of the music found on the three albums reissued by Light In The Attic. While in retrospect they can be appreciated as some of his most creative, consistent and personal albums, they were also some of the least commercially successful and underappreciated of his long career, at least until recently. Embracing the artistic freedom of the global counterculture of the late sixties and early seventies, over the course of these three albums, Erasmo evolved from his bubblegum beginnings into a sophisticated seventies singer-songwriter. Erasmo Carlos’ “E Os Tremendões” (1970), “Carlos, Erasmo” (1971) and “Sonhos E Memórias 1941-1972” (1972) collectively find this maturing teeny-bopper delivering a mix of world class psychedelic Rock, traditional Rock ‘N’ Roll, Soul, Funk, Folk, Bossa Nova, and Samba-Rock to an unsuspecting Brazilian audience. “Sonhos E Memórias 1941-1972” is truly singular within Brazilian pop fusing rock, soul, jazz and singer-songwriter styles. It’s simultaneously rootsy, funky, modern and nostalgic. The lyrics are highly personal, searching for deeper meaning with lots of flower power imagery and language, while the music is tight, highly rhythmic, melodic and restrained in its delivery and effortless groove. Built around the future fusion trio Azymuth with keyboardist José Roberto Bertrami, drummer Ivan Conti aka “Mamão” and bassist Alex Malheiros, a majority of the album’s tunes make excellent use of this trio’s telepathic tightness, subtle funkiness, and melodic mastery. The album dabbles with a few different styles and rhythms, all telling Erasmo’s musical story be it Bossa Nova, Roots Rock, Hard Rock, ballads, and soulful grooves, but a certain sonic frequency or tempo alongside the autobiographical elements unite this masterwork. Finally, this great album is made available on vinyl outside of Brazil for the first time ever. All material got newly remastered from the original master tapes. The LP is housed in a deluxe gatefold Stoughton tip-on jacket and comes with liner notes by Allen Thayer with lyrics (Portuguese/English).
V.A. - Lagniappe Sessions Volume 1 Gold Vinyl Edition
V.A.
Lagniappe Sessions Volume 1 Gold Vinyl Edition
LP | 2016 | US | Original (Light In The Attic)
25,99 €*
Release:2016 / US – Original
Genre:Electronic / Dance
Founded in Los Angeles, CA by Georgia transplant Justin Gage, the Aquarium Drunkard blog has long served as a haven for discerning and adventurous listeners since 2005. Digging globally, Aquarium Drunkard offers an eclectic array of features, interviews, mixtapes, and reviews spanning vintage garage, psych, folk, country, soul, funk, R&B and beyond. In 2011, Gage launched the Lagniappe Sessions, a regular recording series on the website and the weekly Aquarium Drunkard Show on Sirius/XMU featuring freeform selections, songs culled from artist’s record collections and inspirations. This co-release between Light In The Attic Records and Aquarium Drunkard Recordings documents the first five years of the series, collecting on vinyl for the first time a diverse lineup of obscure gems and familiar tunes refashioned into surprising and unexpected things. Psychedelic Swedes Dungen cover electronic pioneer Aphex Twin; of Montreal tap into the classic folk ballad “All My Sorrows”; troubadour Kevin Morby configures the blistering hardcore of the Germs into something more mystical. Some of the most familiar songs on Volume 1 are the farthest out in terms of reinterpretation. White Fence reimagines the Gin Blossoms as a Paisley Underground outfit; guitarist William Tyler draws lines connecting the ragas of Sandy Bull to the progressive rock of Blue Oyster Cult. This is an exclusive Record Store/Black Friday release limited to 1500 copies. Records are pressed on Gold wax, housed in a deluxe Stoughton tip-on jacket including a booklet with track notes by the artists. Limited edition for Black Friday RSD 2016!
Lucio Battisti - Amore E Non Amore
Lucio Battisti
Amore E Non Amore
LP | 1971 | US | Reissue (Light In The Attic)
26,99 €*
Release:1971 / US – Reissue
Genre:Rock / Indie
If Lucio Battisti was Italy's answer to France's Serge Gainsbourg, then „Amore E Non Amore” is his own “Histoire De Melody Nelson”, a concept album that's widely regarded as a formative artistic achievement (if far from the most hit packed album) of his respective career. Both albums were released in 1971. For Battisti, the concept came from that dichotomous title: there's a rocky 'non-love' side of the album, which has songs about obsession and adultery, and a 'love' side of dreamy, prog-rock instrumentals. The album saw Battisti working with lyricist Giulio 'Mogol' Rapetti, with whom he'd collaborated closely since 1965, enjoying huge hits with the likes of “29 Settembre" and “Sognando La California,” an Italian version of “California Dreamin’". In an incredibly rare English language interview accompanying this lavish reissue, Mogol speaks of the album's conception. All material of this officially licensed reissue got remastered from the original tapes and pressed to 180-gram vinyl. The record is housed in a deluxe gatefold “tip-on” Stoughton jacket.
Shaggs, The - Philosophy Of The World Black Vinyl Edition
Shaggs, The
Philosophy Of The World Black Vinyl Edition
LP | 1969 | US | Reissue (Light In The Attic)
26,99 €*
Release:1969 / US – Reissue
Genre:Rock / Indie
In 1968, three sisters from Fremont, New Hampshire strapped on their instruments and declared themselves The Shaggs. At that moment begun a peculiar tale that would last far beyond the group’s five-year run. Dot, Betty and Helen (and occasionally Rachel, the fourth sister) played in the group on the insistence of their father, Austin Wiggin Jr., who was convinced they were going to be big. Years earlier, Austin’s mother gave him a palm reading, predicting that his daughters would form a popular music outfit. Austin was certain this would follow suit. With pure confidence and his mother’s bold prediction, Austin decided that his daughters would forgo attending the local high school in favor of home schooling interspersed with a strict regiment of instrumental and vocal practice, along with jumping jacks and sit-ups. Soon after The Shaggs would enter Fleetwood Re-cording studios in Revere, Massachusetts to record their sole album, “Philosophy Of The World”, a collection of garage rock tunes that balanced charm and discordance in equal measure. Austin would spend most of his savings not only on the session but also on the manufacturing costs to press up 1,000 copies of the album (900 of which mysteriously vanished upon completion). Throughout the album’s simple truths are revealed through the pen of sister Dot, the songwriter of the band. The rich people want what the poor people got, just as the poor people want what the rich people got. Your parents love you. There is happiness in nearness and sadness in the farness. The album failed to fulfill Austin’s expectations of rock stardom, though the group remained to-gether until their father’s death, performing frequently, no further albums were released. That might have been the end of it, until rock band NRBQ discovered a copy at a Massachusetts radio station and re-released it in 1980. Rolling Stone’s reviewer at the time described it as “the most stunningly awful wonderful record I’ve heard in ages”. Nearly 50 years later, the album ranks among the most polarizing LPs of all time. Some said it was the worst thing ever made. Others felt it was one of the great long players of the 20th century. Frank Zappa famously dubbed the band “better than The Beatles”, while Kurt Cobain placed the album at #5 on his list of Top 50 favorite albums. Original copies of the album fetch for $10,000. Decades later and one could argue that maybe Austin was right all along. We’re all here, still enthralled by the purity of The Shaggs. The whole material got newly remastered and the original artwork got restored and expanded to a gatefold jacket with liner notes by legendary musician, writer and compiler, Lenny Kaye (Patti Smith,Nuggets).
Tiger Joanie Scott - Baby I Need Your Lovin / Kansas City
Tiger Joanie Scott
Baby I Need Your Lovin / Kansas City
7" | 2016 | US | Original (Light In The Attic)
13,99 €*
Release:2016 / US – Original
Genre:Film / TV
Limited edition for Record Store Day 2016!All songs are previously unreleased and it is limited to 500 copies worldwide. Reality TV comes in many shapes and forms. Far from the wannabe hordes of American Idol and America's Got Talent, miles from the travails of the fame-hungry Kardashian clan, AMC's Small Town Security traced the fortunes (and misfortunes) of JJK Security, a family-owned firm in Ringgold, Georgia. Featuring a cover of The Four Tops' “Baby I Need Your Lovin’” on the A-side and “Kansas City”–which fans will remember from Small Town Security's pilot episode– on the flip, these unreleased tracks were recorded when Koplan, then a Scott, was just 14, even if her voice sounds more mature than her years. Whether you're missing the show and your weekly fix of Joan or whether you just love classic '60s pop, this special release for Record Store Day packs as much charm as Koplan herself.
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)
17,49 €* 24,99 € -30%
Release:1988 / US – Reissue
Genre:Rock / Indie
By the time bohemian singer/poet/artist Lizzy Mercier Descloux recorded her fifth album, 1988's Suspense, she'd enjoyed a recording career that was as far from the clichés of music lore as is possible, flitting between genres, continents and collaborators, enjoying great success and equally great failure and even stealing the final breaths of master trumpeter Chet Baker for 1986's One For The Soul. When she came to make Suspense – reissued here as the final album in our series – she was, for the first time, working without her longtime muse, partner and manager Michel Esteban, with whom she'd first moved from their native France to New York, where it all began.
Lizzy Mercier Descloux - One For The Soul
Lizzy Mercier Descloux
One For The Soul
LP | 1985 | US | Reissue (Light In The Attic)
19,99 €* 24,99 € -20%
Release:1985 / US – Reissue
Genre:Rock / Indie
By the time poet, singer-songwriter, and artist Lizzy Mercier Descloux recorded 1984's Zulu Rock, she'd marked herself out as both a globe trotter with more passport stamps than Tintin and a musical innovator whose loose, arty spirit could be applied to styles as varied as no wave, Bavarian oompa and Soweto jive. She'd also established a tight-knit threesome with muse/former lover Michel Esteban and producer/on-off lover Adam Kidron, who all reunited to follow Zulu Rock – a surprise hit in her native France – with something that, once again, represented a complete about-turn.
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.
Spooner Oldham - Pot Luck
Spooner Oldham
Pot Luck
LP | 2015 | US | Original (Light In The Attic)
21,74 €* 28,99 € -25%
Release:2015 / US – Original
Genre:Organic Grooves
Legendary ivory-tickler Spooner Oldham is synonymous with the Muscle Shoals sound. The southern soul pioneer famously backed the likes of Etta James, Jimmy Hughes, Wilson Pickett, Percy Sledge, Aretha Franklin, and many more, but his lone solo album, Pot Luck, finds Spooner in a rare role: front and center. Oldham moved west in the late ‘60s when the patronage of bands like The Stones and The Flying Burrito Brothers made southern soul the in-demand sound. He joined the house band at Hollywood’s Producer’s Workshop and was soon playing for The Lettermen and Liberace. While recording the latter, it was suggested that Oldham make his own album. “I don’t really think I wanted it so much,” Oldham says now. “I think it was shoved on me. We’d got all this stuff set up, and now what do we do?"
Kitchen Cinq, The - When the Rainbow Disappears: An Anthology 1965-1968
Kitchen Cinq, The
When the Rainbow Disappears: An Anthology 1965-1968
2LP | 2015 | US | Original (Light In The Attic)
28,99 €*
Release:2015 / US – Original
Genre:Rock / Indie
Formed as The Illusions (and briefly The Y’alls) in Amarillo, Texas, the group blended garage punk with killer harmonies and a slight sense of the absurd. Picking up steam locally in the mid-‘60s, the members started to think about cracking it on a bigger scale, and, in 1966, moved to LA. “Almost immediately upon arrival, we auditioned for Lee,” says guitarist/vocalist Mark Creamer. “He said, ‘Deal.’" Another of Hazlewood’s coterie, Suzi Jane Hokom, was charged with producing the group, making her a de facto female pioneer in the industry.
Karin Krog - Don't Just Sing: An Anthology 1963-1999
Karin Krog
Don't Just Sing: An Anthology 1963-1999
2LP | 2015 | US | Original (Light In The Attic)
26,99 €*
Release:2015 / US – Original
Genre:Organic Grooves
The work of Karin Krog may be unfamiliar to much of the world, but in her native Norway and Scandinavia at large, she’s practically a household name. This says much about the local enthusiasm for post-bop jazz but also about the tyranny of distribution: until 1994, Krog’s albums weren’t available in the USA or UK, meaning three decades of recordings were waiting to be discovered. With this anthology of her best recordings from 1963 to 1999–curated with Krog’s own input–we hope to set the record straight.To listen to opening track "As A Wife Has A Cow" is to jump into the deep end. It’s 54 seconds of words, voice, and technology, a looped, echoing reading of a Gertrude Stein poem. The effect is disquieting and alien but deeply rhythmic, too–and that’s Krog’s USP. Don’t Just Sing takes in these spoken experiments along with free jazz, improvisation, standards, contemporary covers, and electronic manipulation. It features some of the best regarded jazz players in Europe, not least her partner, John Surman, the English saxophonist/multi- instrumentalist and composer.Krog began singing jazz in the 1950s and started her first band in 1962. She not only had two tracks on the first ever Norwegian jazz LP, Metropol Jazz, but also became the first Norwegian jazz artist to record and release a full album (1964’s By Myself on the Philips label). Her sound developed as technological advances made new recording techniques possible, and she quickly embraced the album as the perfect form to contain her sonic experiments. “There is such a thing as too much manipulation,” says Krog today.Recorded with tenor saxophonist Jan Garbarek and bass player Arild Andersen, 1968’s Joy is regarded as her masterwork. Tracks from it can be found on this compilation, as can a couple of interesting covers: Joni Mitchell’s "All I Want" and Bobby Gentry’s "Ode To Billy Joe," both of which show how Krog brought jazz aesthetics to pop songs of the day. “I remember that there was a lot of buzz around Blue, and Joni Mitchell is, as everybody knows, a very talented singer and songwriter,” says Krog in the new liner notes.“Glass" and “Tystnaden" are the two previously unreleased finds from the archives, the former written for a British documentary in 1997, the latter a soundscape improvisation from a 1963 studio session with Lars Werner on piano, Kurt Lindgren on bass, and Janne Carlsson on drums. The compilation rounds off with the “Psalm” movement from John Coltrane’s monumental piece, A Love Supreme. Krog’s version came at suggestion of the man himself. “It was John who pointed to the text on the inner sleeve of the Impulse! LP and said, ‘Karin, look. Why don’t you sing this?’” she remembers.Krog remains fiercely productive, recording, performing, and running Meantime records from her and John’s villa near Oslo. Now 77, she’s showing no signs of slowing down. “Everybody has to retire at some point, but I believe that once a musician, you’re always a musician,” she says. “If I can’t stand up and sing on stage anymore, I can always do it sitting down!”
Betty Davis - Betty Davis
Free Design, The - Kites Are Fun
Free Design, The
Kites Are Fun
Tape | 2014 | US | Original (Light In The Attic)
15,99 €*
Release:2014 / US – Original
Genre:Pop
Fans of the Beach Boys, the 5th Dimension and other seminal pop artists have a gaping hole in their music collections if it doesn’t contain Kites Are Fun, the 1967 soft-psych-pop masterpiece from The Free Design. Never heard of the band? You’re not alone. Although now admired by audiophiles such as Beck, Stereolab and The Polyphonic Spree, The Free Design never achieved mainstream fame – an injustice that still puzzles many critics. In 1966, the family act was filling New York City coffee houses with dreamy, deceptively complex harmonies when acclaimed producer Enoch Light signed the siblings – Bruce, Chris, and Sandy Dedrick – to his Project 3 label. One year later, The Free Design debuted with Kites Are Fun. Nine of the album’s songs are originals, notably the title track, which became an instant soft-pop classic; well-chosen covers, including the Beatles’ “Michelle” and Simon & Garfunkels’ “The 59th Street Bridge Song,” complete the collection. Thirty six years after its release, and for the first time in North America on CD, Light In The Attic proudly presents The Free Design, introducing the group to a new generation of listeners.
Lizzy Mercier Descloux - Fire / Morning High Feat. Patti Smith
Lizzy Mercier Descloux
Fire / Morning High Feat. Patti Smith
7" | 2014 | US | Original (Light In The Attic)
12,99 €*
Release:2014 / US – Original
Genre:Rock / Indie
Limited edition for Black Friday RSD 2014!Next year, Light In The Attic will release a detailed series showcasing the work of impassioned poet, painter, actor, and prolific, self-taught musician Lizzy Mercier Descloux. Instrumental in the late 70s New York underground yet of Parisian origin, Mercier Descloux, with partner Michel Esteban, established the magazine Rock News and ran in the same circles as Patti Smith and Richard Hell. Lizzy became a genre defying artist and pioneer of worldbeat and avant garde rock, and supreme minimalist of the no wave genre in her own right. A glimpse of what's in store for this upcoming archival series, this 7" presents two key tracks from the Mercier Descloux catalog: the epitomic, 1979 disco-punk classic "Fire" backed with a rare session featuring Lizzy and "Godmother of Punk" Patti Smith reciting a bilingual version of Arthur Rimbaud's poem, "Matinée d'ivresse/Morning High," set to music by experimental contemporary Bill Laswell.
Lewis - Romantic Times
Lewis
Romantic Times
LP | 1985 | US | Reissue (Light In The Attic)
23,99 €*
Release:1985 / US – Reissue
Genre:Rock / Indie
Earlier this year, Light In The Attic released the mysterious, bewitching L’Amour, a 1983 private press record thought to be the only release by one of music’s true lost talents: Lewis.So lost, in fact, was Lewis, he eluded every effort to track him down. Scant details were known: just a series of possibly apocryphal stories about a sports car-driving Canadian with a model on his arm and a habit of skipping town when there were bills to be paid.Deciding that Lewis’ spider web-delicate songs demanded to be heard, we put the album out anyway, offering to present the due royalties to anyone who could prove they were Lewis.One sure thing was this: Lewis was a man of many names: Randall A. Wulff among them. Now we have either found another alias – or perhaps even his real name – on the sleeve of a completely unknown album.Sourced soon after the re-release of L’Amour, Romantic Times is the 1985 follow-up to L’Amour – and it’s released as Lewis Baloue. The name may be slightly different, but this is absolutely our man: a familiar blond posing on the sleeve, a familiar, tortured voice pouring his heart out over languid synths and synthetic waltz beats.Remastered from a sealed, vinyl copy of the ultra-rare album, the album was discovered in the vaults of DJ and collector Kevin “Sipreano” Howes in Vancouver, BC. It’s so rare that what is, at present, the only other known copy – found in the same Calgary store where Aaron Levin discovered a batch of sealed copies of L’Amour – is presently soaring into quadruple digits on eBay.Even engineer Dan Lowe, credited for working on the album at Calgary’s Thunder Road Studios, remembered little about the session other than that Lewis seemed to be “under the influence”. Yet the music is utterly captivating.The album further fleshes out the Lewis myth – we see him pictured in that white suit with his famous white Mercedes and a private jet too; we hear him focussing more intently on matters of the heart, and appearing to unravel in the process. “I felt like I was witnessing a full-blown exorcism of a phantom clad in the finest linen,” writes filmmaker and historian Jack D. Fleischer in his brand new liner notes. “This record went further [than L’Amour ]. It was a personal plea, of sorts. Something had gone wrong. Nerves were clearly exposed.”It paints Lewis, then, as being more like a David Lynch character than even his debut did, exposing the darkness beneath the sheen. The album is presently being readied for release to the throng of new fans Lewis has found, willingly or not. The man himself remains a total enigma.
Donnie & Joe Emerson - Still Dreamin' Wild: The Lost Recordings 1979-81
Donnie & Joe Emerson
Still Dreamin' Wild: The Lost Recordings 1979-81
LP | 2014 | US | Original (Light In The Attic)
23,99 €*
Release:2014 / US – Original
Genre:Organic Grooves
Some people have to wait for fame; some people wait even longer than most. Donnie and Joe Emerson are in a league of their own.As teenagers in Fruitland, Washington in the late ‘70s, the farming brothers dreamed of being heard. The synthesizers were sometimes crude and the 8-track recorder had its limitations, but the brothers aimed at nothing short of perfection in their home studio on the farm. They titled their 1979 debut Dreamin' Wild, and, as multi-instrumentalist Donnie later admitted, “Joe and I basically lived the dream of the title of the album.” The same goes for their parents who heavily believed in their sons' musical dreams, taking out a second mortgage on the farm and investing $100,000 in a dream that refused to die. But their privately funded, private press record sank without trace, the family lost most of their 1,600 acre farm, and as Joe focused on the family farming business, Donnie focused on his solo career.As for Dreamin' Wild, things began to change three decades later, when record collector Jack Fleischer bought a copy of the album for $5 at a Spokane thrift shop. Something about the brothers' smiles, bouffant hair, and matching white jumpsuits gave him a good feeling. Fleischer's blogging about the album brought it to the attention of cult musician Ariel Pink, who recorded his own version of standout track “Baby.” Eventually re-released on Light In The Attic and widely available for the first time, the album chimed louder a lifetime after its conception: Pitchfork described it as a “a godlike symphony to teen hood.” The New York Times flew out to the family farm, while Jimmy Fallon took to Twitter to proclaim his love for the duo.But Dreamin' Wild does not tell the full story. In a relatively short span of time (just two and half years) the boys put close to 70 songs down on tape, all recorded at that magical home studio on the farm. A dozen of them are included here on Still Dreamin' Wild: The Lost Recordings 1979-81 and ready to be enjoyed for the first time ever. With a familiar blend of FM rock, power pop, and new wave, these 12 tracks cover the entirety of that fruitful period, stretching from the second song Donnie ever recorded (“Everybody Knows It”) – to tracks documenting his temporary move to L.A. in 1981.Donnie's life story is in these songs. Where Dreamin' Wild captures the teenage experience, Still Dreamin' Wild tells a broader story, one in which teenage dreams turn to painful yearning. So where the Beach Boys indebted “Ooh Baby Yeah” is inspired by a teenage girlfriend, “Big Money” shows the emergence of a naive political awareness. Later, 1981's “One True Love” captures the sound of what Donnie described as “the city as imagined from the farm,” and the epic closing track, “Don't Disguise The Way You Feel” found Donnie after high school, feeling stifled and frustrated in the isolation of the countryside and mourning the loss of his friend and occasional backing vocalist Dwayne. It is, quite simply, heartbreaking.The long-belated success of Dreamin' Wild has given the Emerson brothere, still close and still the heart of a loving family, a new lease of life. They've finally taken their music on the road, performing at Seattle's Showbox followed by New York's Mercury Lounge. Still Dreamin' Wild proves that the album wasn't a fluke, and that Donnie's songwriting is as consistent as it is rare. All this time later, we finally have the pleasure of hearing the brothers' music. And the good news? They've still got the jumpsuits.
Brothers & Sisters, The - Dylan's Gospel
Brothers & Sisters, The
Dylan's Gospel
LP | 1969 | US | Reissue (Light In The Attic)
25,99 €*
Release:1969 / US – Reissue
Genre:Organic Grooves, Rock / Indie
Very essential stuff over here:Of all the great back catalogs in the history of rock, Bob Dylan’s is among the most covered, his acolytes ranging from The Byrds to Adele via Manfred Mann and Guns N’ Roses. But something tells us you won’t have heard anything quite like Dylan’s Gospel by The Brothers and Sisters, a choir of Los Angeles session singers brought gloriously to the fore for a very special, one-off record.Originally released in 1969 on Ode Records, this rare and sought-after album finds the California collective covering a clutch of Dylan classics in the era’s revolutionary gospel style. Produced by Lou Adler, soon to work his magic on Carole King’s mega-successful Tapestry, and arranged by Gene Page, noted for his work for Motown, the performers were largely unknown, but many went on to find great acclaim. Merry Clayton, the powerhouse singer best known for sparring with Mick Jagger on Rolling Stones’ “Gimme Shelter” (and star of the recent documentary 20 Feet from Stardom), appears here, as does Edna Wright of The Honeycones and Gloria Jones who recorded the original version of “Tainted Love” in 1965.The cast of 27 singers also includes Ruby Johnson, Shirley Matthews, Clydie King, Patrice Holloway, Julia Tillman and more. The tracklist includes some of the best-loved Dylan songs from the singer songwriter’s most productive decade, including “Lay Lady Lay”, “All Along The Watchtower”, “My Back Pages” and “Just Like A Woman”.The genesis of the project was Lou Adler, the music business visionary who staged the legendary Monterey International Pop Festival. He imagined a project that combined the songs of Dylan with L.A.‘s most sought after session singers, most of which began their singing in the Baptist churches of South Los Angeles. “Listening to Dylan’s songs, I felt there was a gospel-like feel to them, both spiritually and lyrically,” Adler says in the liner notes. “So those two ideas, to work with these singers and to explore that side of Dylan – came together.”Recording sessions at Sound Recorders Studios in Hollywood were a four-day party, with food, drink and far more musicians than were ordered, many of the singers bringing along cousins, mothers, partners and more. Carole King came to hear, as did Peggy Lipton and Papa John Phillips. It was a rock ‘n’ roll version of a gospel church. “Lou just put on a big, crazy party,” remembers Edna Wright. “He had all these people together, all this raw talent. And we were there for nothing but the love of singing.”Presented in this long-overdue reissue by Light In The Attic, this oft-overlooked album is a must for fans of Dylan. The word of Dylan has rarely sounded so stirring.
Bobby Charles - Bobby Charles
Bobby Charles
Bobby Charles
LP | 1972 | US | Reissue (Light In The Attic)
23,99 €*
Release:1972 / US – Reissue
Genre:Rock / Indie
Bobby Charles pioneered the musical genre known as ‘swamp rock’ – he wrote the early rock n roll classic “See You Later, Alligator” (best known via the version by Bill Haley & the Comets). Another early gem penned by Bobby Charles was “Walking to New Orleans” as recorded by Fats Domino. He also appeared at the legendary “Last Waltz” concert in 1976 – in which he performed “Down South in New Orleans” accompanied by The Band and Dr. John.But the main reason that musicians like Andy Cabic of Vetiver sing his praises (and cover his songs) is for Bobby’s 1972 self-titled album released on Bearsville. Despite numerous CD reissues through the years, this is the first time in decades that the seminal album has appeared in its original vinyl LP format.A virtual who’s who of classic ‘roots’ rock – the album features 10 Bobby Charles classics supported by the likes of Rick Danko, Levon Helm, Garth Hudson, and Richard Manuel of The Band, long time Neil Young sidekick Ben Keith, Bob Dylan’s former running mate Bob Neuwirth, session maverick Amos Garrett, the esteemed Dr. John, Geoff Muldaur and several others.But this is far from an all-star jam session – this is an ensemble record in the truest sense of the word – with each musician simply supporting the Louisiana vibe that flows thru the 10 song collection of country, blues, R&B, and folk that all have that distinctive Bobby Charles signature sound. Album also includes the slow burner “Street People” as featured on Country Funk 1969-1975, Volume 1.Perhaps Dr. John said it best “I think all of Bobby’s songs have something to offer at all times, for all people.”
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.
Lee Hazlewood - There's A Dream I've Been Saving: Lee Hazlewood Industries 1966 - 1971
Lee Hazlewood
There's A Dream I've Been Saving: Lee Hazlewood Industries 1966 - 1971
Box Set | 2013 | US | Original (Light In The Attic)
77,99 €* 103,99 € -25%
Release:2013 / US – Original
Genre:Rock / Indie
For more than a year now, Light In The Attic has been reissuing the solo work of this true American moustachioed maverick. Beyond restored versions of Lee’s debut Trouble is a Lonesome Town and the soundtrack A House Safe for Tigers, the lid has also been lifted on the rich, little-explored archives of the label Lee Hazlewood Industries (LHI), when Hazlewood was svengali and super-producer to a stable full of brilliant artists.This landmark box set is the ultimate artifact for Lee Hazlewood heads new and old, containing a lavishly packaged, expansive 172-page LP sized hard cover book. But every good book deserves a soundtrack and in this case it comes in the form of a four-CD anthology of the LHI label, along with the never-before-released 1970 film Cowboy in Sweden on DVD. The CDs feature Hazlewood songs familiar and less so; surprising covers, doleful duets and little heard LHI gold.One of the most impressive aspects of the LHI box set is the gorgeous 12”x12” LP sized book (perfect for your record shelf), packed with rare beautiful pictures of Lee, his artists (and the occasional horse). The pages roll out the full story of the LHI label, including interviews with Lee and Suzi Jane Hokum, re-assessments of key Hazlewood albums, and artist profiles for the label’s roster, lovingly written by renowned L.A. music journalist/novelist Jessica Hundley. In the illuminating text, a picture of Hazlewood emerges – fiercely talented, brutally independent, a rare, ornery, ruthless and visionary man.A Deluxe Edition of the box set contains all of the above housed in a cloth-bound clamshell box with reproductions of LHI-era artifacts including press photos and a reproduction plane ticket used by Hazlewood back in ‘70. But the true icing on the cake is three data discs which include just about every 45 single and every LP ever released onLHI — in both WAV and MP3 formats. At around 17 albums and 72 singles (totaling 305 songs!), that’s a whole lot of Lee.The deluxe edition includes the following:172 Page Hard Cover Book:- LP-sized cloth bound book with gold foil stamp- Over 150 rare &
unseen photos
+ In depth essays - LHI history, album breakdowns, 27 artist profiles, LHI timeline, and interviews with Lee & dozens of label alum.Cowboy in Sweden The Film, on DVD (1970, 60 mins):- First time available. New digital transfer from the original 16mm master negative at the Swedish Broadcasting Co. Fully restored in HD with re-mastered sound. Region Free.4 CDs (107 Tracks):- Meticulously Re-mastered. Analog transfers captured at 24-bit/96-kHz. 95% of transfers from original analog master tapes (remainder transferred from mint vinyl). - DISCS 1 & 2: Everything Lee recorded for LHI, including every 45 single and album (Cowboy in Sweden, Forty, The Cowboy & The Lady, and Requiem For an Almost Lady), plus a handful of unreleased tracks.- DISCS 3 & 4: Key tracks from the LHI stable
 of artists, including Suzi Jane Hokom, The Kitchen Cinq, Ann-Margret, Honey Ltd., The International Submarine Band, Arthur, The Aggregation, Sanford Clark, Lynn Castle, The Surprise Package, Virgil Warner, and Hamilton Streetcar, amongst many others.- 14 unreleased tracksFrom Lee’s Personal ‘Stache:- Flexi disc featuring unheard Lee ‘studio chatter’ (“Play it like a cowboy song”)- Reproduction of Lee’s original embossed LHI business card- 5 random copies include a “Golden Ticket” for a free subscription to Light In The Attic’s Lee Hazlewood Archive Series
National Wake - Walk In Africa 1979-1981
National Wake
Walk In Africa 1979-1981
2LP | 2013 | US | Original (Light In The Attic)
22,39 €* 27,99 € -20%
Release:2013 / US – Original
Genre:Rock / Indie
The South Africa of the late 1970s was neither the right place nor time to launch a mixed-race punk band. Yet, following the student-inspired Soweto Uprising of 1976, it was also exactly the right conditions to foster a band like National Wake, one formed in an underground commune, and one whose very name exists in protest at the divisive, racist apartheid regime. Never before collected together, Light In The Attic is set to release National Wake’s full body of work as Walk In Africa 1979-81.Featured heavily in the Punk In Africa documentary, National Wake played punk, reggae and tropical funk, equally at home in the city’s rock underground and the township nightclub circuit. Ivan Kadey started the band with two brothers, Gary and Punka Khoza. The three were from different worlds – while Ivan was an outsider, a Jewish orphan born in the traditional Johannesburg immigrant neighborhood, Gary, Punka and their family were forcibly moved to the troubled township of Soweto under the apartheid regime. Later joined by guitarist Steve Moni, the whole band grew up against a backdrop of township unrest, social upheaval and suburban tedium that characterized apartheid-era South Africa.National Wake released just one album, in 1981. It sold approximately 700 copies before being withdrawn under government pressure. The band subsequently disintegrated, but their influence could be traced in the racially mixed post-punk underground centered around Rockey Street in Johannesburg throughout the 1980s, their legacy transmitted through fanzines and underground cassette trading.Sadly, Gary and Punka Khoza both passed away in their 40s. Kadey now works as an architect in Los Angeles, but his attention eventually turned back to the band as their legacy grew in the digital era, with the emergence of specialized music websites and Punk In Africa leading to their rediscovery. Czech State Radio memorably described the band as “perhaps the most dissident music scene of the 20th century: a multi-racial punk band in a fascist police state.”In 2011, Kadey re-released the band’s self-titled album, but spoke about having more than 20 tracks that had never seen the light of day – until now. “All of these recordings put together they speak of the whole evolution of the band,” he has said. “From a sort of naive, almost belief that we could miraculously change everything to realizing what a struggle it was, and what the country was going through and what it would go through.”
Roky Erickson - Gremlins Have Pictures
Roky Erickson
Gremlins Have Pictures
LP+7" | 1986 | US | Reissue (Light In The Attic)
26,99 €*
Release:1986 / US – Reissue
Genre:Rock / Indie
By 1986, Roky Erickson’s career had endured twists, turns and a late-period purple patch marked by incredible music and self-destructive behavior. "The Evil One" (LITA 097) broke him out of the indie underground and "Don’t Slander Me" showed off his rock ‘n’ roll sensibilities. But Erickson was difficult to manage – and patience was running out. "I‘d given up after the second album,” Erickson’s then-manager, Craig Luckin, has said. “I had enough.”
Michael Chapman - Wrecked Again
Michael Chapman
Wrecked Again
LP | 1971 | US | Reissue (Light In The Attic)
19,19 €* 23,99 € -20%
Release:1971 / US – Reissue
Genre:Rock / Indie
Following Light In The Attic’s acclaimed reissues of British singer, songwriter and hugely talented psych, folk and rock guitarist Michael Chapman’s seminal albums Fully Qualified Survivor and Rainmaker, comes 1971’s Wrecked Again, his final for EMI’s seminal stoner imprint Harvest, home to Kevin Ayers and Syd Barrett. Like other artists in hte stable, Chapman’s music contains a drugged-out feel, sublime guitar playing and intense lyrics, yet Chapman’s career was not a pet project. Buried in EMI’s release schedule and afforded no promotional budget,Wrecked Again is his lost classic.Recorded at the noted Rockfield Studio, a residential complex-cum-working farm in Wales, Wrecked Again explores orchestration via Paul Buckmaster (Miles Davis, David Bowie) and The London Symphony Orchestra and production courtesy of Gus Dudgeon (Elton John, Bonzo Dog Band), but also explores a new sound influenced by Memphis soul. With a blend of electric and acoustic instruments, Chapman is found where he feels most comfortable: in-between folk and rock, contrasting soft with edgy.Wrecked Again was made at a turbulent time in Chapman’s life. Still struggling for money despite being four albums into his career, the sessions were marred by arguments over his pay. Unloved as it was by his label, the album did little to rectify the situation. Afterwards, Chapman and bassist Rick Kemp – later of Steeleye Span – set off on their first tour of the USA. Chapman was stoney broke – initially refused a visa as a result – and received no money. And that was the least of his troubles.By the third week, manager Andrew King had quit the country, and Kemp had run off with a woman in a green Mustang. Audiences couldn’t understand Chapman’s thick Yorkshire accent or British phrases, not least when he coughed on stage and told them, “these French fags are killing my throat”. After being mugged in New York, Chapman gave up – before even reaching the West Coast. There had been highs, such as being asked to perform at King Curtis’s funeral alongside the likes of Ray Charles, but the experience scarred the singer-songwriter. Back in the UK, he told his partner, Andru Chapman, “If that’s the big time then fuck it – I don’t want it.”Chapman did, of course, go on to record more than 30 albums and tour extensively, but Wrecked Again was a pivotal moment in his career; the tipping point between his earlier, folkier material and his later, rockier output on Deram.
Gold Leaves / Lee Hazlewood - Won't You Tell Your Dreams
Gold Leaves / Lee Hazlewood
Won't You Tell Your Dreams
7" | 2012 | US | Original (Light In The Attic)
4,49 €* 8,99 € -50%
Release:2012 / US – Original
Genre:Organic Grooves
A-side is produced by Gold Leaves, engineered by Chris Early, and recorded in Seattle in September 2012.  B-side features Lee's original version as remastered by John Baldwin for our recent compilation Lee Hazlewood - The LHI Years: Singles, Nudes, & Backsides (1968-71). 
V.A. - Listen, Whitey! The Sounds Of Black Power 1967-1974
V.A.
Listen, Whitey! The Sounds Of Black Power 1967-1974
2LP | 2012 | US | Original (Light In The Attic)
25,99 €*
Release:2012 / US – Original
Genre:Organic Grooves, Rock / Indie
Listen, Whitey! is cross-cultural overview that sees Bob Dylan’s out of print 1971 single “George Jackson” reissued for the first time along with several selections from Motown’s long forgotten ‘Black Forum’ label – Motown’s early 70’s Black Power militant imprint that has never been documented until now with provocative recordings from SNCC spokesman Stokely Carmichael, outspoken African-American poet Amiri Baraka, and Black Panther Party singer/songwriter Elaine Brown.
Shin Joong Hyun - Beautiful Rivers And Mountains: The Psychedelic Rock Sound Of South Korea's Shin Joong Hyun 1958-1974
Shin Joong Hyun
Beautiful Rivers And Mountains: The Psychedelic Rock Sound Of South Korea's Shin Joong Hyun 1958-1974
2LP | 2011 | US | Original (Light In The Attic)
28,99 €*
Release:2011 / US – Original
Genre:Organic Grooves, Rock / Indie
First anthology of Shin Joong Hyun’s music outside of Korea. Comprehensive liner notes by Kevin “Sipreano” Howes with an in-depth interview and track-by-track notes by Mr. Shin. 2x LP housed in a deluxe jacket with liner notes and rare photos!
Free Design, The - Kites Are Fun
Wheedle's Groove - Volume 1: Seattle's Finest In Funk & Soul 1965-75
Wheedle's Groove
Volume 1: Seattle's Finest In Funk & Soul 1965-75
2LP | 2004 | US | Reissue (Light In The Attic)
26,99 €*
Release:2004 / US – Reissue
Genre:Organic Grooves
It’s one of those things where you kind of had to be there, to get the full effect of what Seattle was like in the late ‘60s and early ’70s. I really didn’t know what to expect, when I arrived from Buffalo, New York, in ’72, other than Seattle had a history rich in music – Jimi Hendrix, Quincy Jones, Ernestine Anderson and Ray Charles.Back then, gas cost you twenty-seven cents a gallon to fill up your baddass ride. There was no Seahawks, no Mariners, or Microsoft or Amazon. Girls were still named Frances and Darlene, and guys were known by Freddie and Arthur. Garfield and Franklin were the leading high schools for setting Seattle’s soulful social standards. Dick’s and Dag’s were the spots for twenty-nine-cent burgers, while Helen’s Diner was (and still is) known for the best soul food on the West Coast. TJ’s and Mr. D’s were the clothing stores where most of the brothers shopped, and the CD, the Central District, was (and still is) the heart and soul of the city. The Facts and The Medium newspapers kept all abreast of what was happening in the CD, and KYAC radio tied everything together.There was a minimum of twenty live-music clubs specializing in funk and soul, and all those joints jammed. There must have been twenty-five hard-giggin’, Superfly-like, wide-leg-polyester-pant-and-platform-shoes-wearing, wide-brim-hat-and-maxi-coat-sportin’, big-ass, highly-“sheened”-afro-stylin’, Kool & the Gang song-covering live bands playing four sets a night from 8 p.m. ‘til O-dark-thirty in the morning. And of course, the ladies were not to be outdone with their Pam Grier-Foxy Brown hoop earrings, mini-skirts and the ever popular Afro Puffs. Each night, some band, somewhere, was kickin’ it. You could find Manuel Stanton of Black and White Affair doing flips while playing bass on a Monday at the Gallery. Meanwhile, you might catch Robbie Hill, flashing like a Christmas tree in a red rhinestone-studded jumpsuit, matching red Big Apple cap and the huge hair, keeping the beat for his band Family Affair at the District Tavern. The Dave Lewis Trio, the highly stylized Overton Berry and the ultra-funky Johnny Lewis Quartet regularly played the Trojan Horse, while Cold, Bold & Together was house band at the legendary Golden Crown Up. Cookin’ Bag, with their heavy horn vibe was a major draw from Perls’ Ballroom in Bremerton to Soul Street.The idea of Wheedle’s Groove (named after Wheedle, the worst mascot in the history of mascots ever) is quite exciting and long overdue. Each track on this compilation is an untold musical history lesson. Those of you who were around back then are likely to have a wonderful time reliving the good-old days. After all, you helped make it happen. Have fun.
Serge Gainsbourg - Histoire de Melody Nelson
Serge Gainsbourg
Histoire de Melody Nelson
LP | 1971 | US | Reissue (Light In The Attic)
26,99 €*
Release:1971 / US – Reissue
Genre:Organic Grooves
Arguably Ganinsbourg greatest rock-tinged album finally reissued by Light in the Attic!
Rodriguez - Coming From Reality
Betty Davis - They Say I'm Different
Betty Davis
They Say I'm Different
LP | 1974 | US | Reissue (Light In The Attic)
23,99 €*
Release:1974 / US – Reissue
Genre:Organic Grooves
Betty recorded some of the finest punk-funk of all time, introduced Miles to Hendrix, and inspired generations ... first official Betty Davis reissues, mastered from the original tapes, previously unreleased bonus tracks on 7inch, Ice Cube, Talib Kweli, and Ludacris have rhymed over these tracks ... new notes from Oliver Wang (O-Dub/Soul Sides), including Betty's second interview in over 25 years!
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