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LIGHT IN THE ATTIC

Cover of Wont You Tell Your Dreams by Gold Leaves / Lee Hazlewood.

Gold Leaves / Lee Hazlewood

Wont You Tell Your Dreams

Light In The Attic

    Limited edition 7" series on "smokey grey" vinyl with custom LITA juke-box style sleeve in a poly bag with custom die-cut sticker.

    Other artists in the series include Iggy Pop & Zig Zags covering Betty Davis, Mark Lanegan covering Karen Dalton, and Sweet Tea (feat. Alex Maas of the Black Angels & Erika Wennerstrom of the Heartless Bastards) covering Wendy Rene. More releases in the series to be announced.

    For the 10 Year Anniversary 45's Series, Gold Leaves record a hazy take on Lee Hazlewood's "Won't You Tell Your Dreams." Found on the flip side is Hazlewood's version, which was originally included on his solo album Requiem For An Almost Lady, released in 1971 on his label LHI.

    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).

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    Cover of Somewhere Between: Mutant Pop, Electronic Minimalism & Shadow Sounds Of Japan 1980-1988 by Various Artists.

    Various Artists

    Somewhere Between: Mutant Pop, Electronic Minimalism & Shadow Sounds Of Japan 1980-1988

    Light In The Attic

      Somewhere Between: Mutant Pop, Electronic Minimalism & Shadow Sounds of Japan 1980–1988 hovers vibe–wise between two distinct poles within Light In The Attic’s acclaimed Japan Archival Series—Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980–1990 and Pacific Breeze: Japanese City Pop, AOR & Boogie 1976–1986. All three albums showcase recordings produced during Japan’s soaring bubble economy of the 1980s, an era in which aesthetic visions and consumerism merged. Music echoed the nation’s prosperity and with financial abundance came the luxury to dream.

      Sonically, Somewhere Between mines the midpoint between Kankyō Ongaku’s sparkling atmospherics and Pacific Breeze’s metropolitan boogie. The compilation encompasses ambient pop, underground electronics, liminal minimalism and shadow sounds—all descriptors emphasizing the hazy nature of the nebula. Out–of–focus rhythms wear ethereal accoutrements, ballads are shrouded in static, and angular drums snake skyward on transcendent tones. From the Avant–minimalism of Mkwaju Ensemble and Yoshio Ojima, to the leftfield techno-pop of Mishio Ogawa and Noriko Miyamoto (featuring members of YMO), and highlights from the groundbreaking Osaka underground label Vanity Records, these are blurry constellations defying collective categorization.

      These tracks also exist in a space of transition when the major label grip on the Japanese recording market began to give way to the escalation of independents. Thanks to the idyllic economic climate and innovations in domestically–manufactured music gear, creators on the edges were empowered to focus on satisfying their artistic visions in the open headspace of home studios. While labels like Warner Music and Nippon Columbia explored new sounds through traditional channels, it was possible for Vanity, Balcony and other indie labels, not to mention self–released artists like Ojima and Naoki Asai, to publish their work via affordable media such as cassettes, 7" vinyl, and flexi–discs.

      Expertly curated by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab), Somewhere Between is a collection of music, much of it released for the first time outside Japan, that is bound more by energetic vibration than shared history, genre or scene. They are the sounds of transition and searching—a celebration of the freedom found in floating.


      FORMAT INFORMATION

      2xColoured LP Info: Purple cornetto coloured vinyl exclusive to indie retailers.

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      Cover of Start Walkin' 1965-1976 by Nancy Sinatra.

      Nancy Sinatra

      Start Walkin' 1965-1976

      Light In The Attic

        Light In The Attic Records is proud to present Nancy Sinatra: Start Walkin’ 1965-1976. The definitive new collection surveys Sinatra’s most prolific period over 1965-1976, including her revered collaborations with Lee Hazlewood, over 23 tracks.

        Remastered from the original analog tapes by the GRAMMY®-nominated engineer John Baldwin, the collection is complemented by liner notes penned by Amanda Petrusich (author and music critic at The New Yorker), featuring insightful new interviews with Sinatra, as well as a Q&A with archivist and GRAMMY®-nominated reissue co-producer Hunter Lea. The CD edition comes housed in a 7”x7” hardcover book (featuring 64-pages) and the two-disc vinyl set is presented in a gatefold jacket (featuring a 24-page booklet), with special color editions available exclusively at NancySinatra.com, LightInTheAttic.net, and independent record stores.

        As the eldest daughter of Frank Sinatra, Nancy was born into the spotlight. At 19, she made her professional debut in front of millions of Americans, appearing alongside her father and Elvis Presley on the television special Welcome Home Elvis. Not long after, she released a series of singles. But those demure recordings didn’t reflect the real Nancy Sinatra – that Nancy would be re-introduced to the world just a few years later, thanks to an unlikely musical partnership with songwriter and producer Lee Hazlewood.

        Nancy’s performance of Lee’s song “These Boots Are Made for Walkin’” was a huge hit in 1966 and became her signature tune. The pair began a three year run of successful albums, duets and singles including “Sugar Town,” “Some Velvet Morning,” “Summer Wine,” “Sand,” “Jackson,” and the title track to the 1967 James Bond film “You Only Live Twice.”

        Start Walkin’ explores Nancy’s recordings with Lee, her inspired collaborations with songwriter Mac Davis (“Hello L.A., Bye Bye Birmingham”), producer Lenny Waronker (“Hook and Ladder”) and the “should’ve been hit” song with arranger/producer Billy Strange (“How Are Things In California.”)

        Over the years, she has been cited as an influence by countless artists, including Sonic Youth, Morrissey, Calexico, U2, and Lana Del Rey. Her haunting song “Bang, Bang” gained a new legion of fans when it appeared in the opening credits of Quentin Tarantino’s 2003 film, Kill Bill Volume 1. Most recently, Sinatra’s contributions to the industry were further recognized by her peers, when “Boots” was inducted into the GRAMMY ® Hall of Fame. The honor, bestowed in January of 2020, recognizes “musical recordings of lasting qualitative or historical significance.”


        FORMAT INFORMATION

        2xColoured LP Info: UK Exclusive 'Sugar Town' pink colour vinyl 2LP limited to 500 copies!

        2xLP Info: 2xLP available on Standard Black Wax.

        Deluxe CD Info: Deluxe CD housed in 7”x7” hardcover book w/ 64-pg booklet.

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        Cover of The Evil One by Roky Erickson.

        Roky Erickson

        The Evil One

        Light In The Attic

          As the core member of the 13th Floor Elevators and an undisputed pioneer of psychedelic rock, the ’60s were thrilling times for Erickson. His band riding high in their native Texas and beyond, the howling single ‘You’re Gonna Miss Me’ was his calling card, but Erickson’s ‘60s ended in the stuff of nightmares. Under sharp scrutiny by the authorities due to the band’s well-expounded fondness for psychedelic drugs, Erickson was found with a single joint on his person. Pleading not guilty by reason of insanity to avoid prison, he was sent to the Rusk State Hospital for the criminally insane, where he was ‘treated’ with electroconvulsive therapy and Thorazine treatment. Erickson pulled through his three and a half years at Rusk, and even put together a band while incarcerated. The Missing Links contained Roky plus two murderers and a rapist. Released from the institution in 1974, Roky found his legend had grown while he’d been away – not least because ‘You’re Gonna Miss Me’ was included on 1972’s Nuggets compilation.


          He formed a band, the Aliens, and set about honing a hard rock sound that placed the psychedelic garage blues of the Elevators firmly in the last decade. Though it was produced at a time when Roky was struggling to cope with drugs and life on the outside, he hit form on his first post Elevators album-proper, 1981’s The Evil One. Produced over a period of two years by Stu Cook, from Creedence Clearwater Revival, it’s a masterful collection of songs about zombies, demons, vampires and, yes, even the ‘Creature With The Atom Brain’. These tracks, inspired by schlock sci-fi and horror movies and colored by Roky’s distinctive, high-pitched vocal and squealing guitar, are among the maverick performer’s best. At the time, Roky explained the album this way: “It’s gonna go back to the ferocious kind of rock ‘n’ roll of the Kinks, the Who and the Yardbirds. It’s the kind of music that makes you wish you were playing it or listening to it for the first time ‘way back when.’” But the record would not reach the mass audience of those bands, its success hampered by erratic release schedules and disastrously awkward press interviews. A year after its release, Erickson would become convinced that a Martian had inhabited his body. He would soon become obsessed with mail, and take to taping it, unopened, to his bedroom walls. Many of Erickson’s demons were yet to show their faces. But the B-movie demons he exorcised on this record gave us one of hard rock’s strangest, most inventive albums.

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          Cover of Some Velvet Morning / Tired Of Waiting For You by Nancy Sinatra And Lee Hazlewood.

          Nancy Sinatra And Lee Hazlewood

          Some Velvet Morning / Tired Of Waiting For You

          Light In The Attic

            THIS IS A BLACK FRIDAY RELEASE AVAILABLE ONLINE ONLY ON FRIDAY NOVEMBER 27TH FROM 6PM.
            LIMITED TO ONE PER PERSON.

            • 2020 Record Store Day / Black Friday Exclusive Release.
            • Limited to 2,000 copies worldwide. Non-Returnable.
            • Two classics recorded with The Wrecking Crew in 1967 and 1968
            • Newly remastered from the original analog tapes
            • First time on vinyl for “Tired Of Waiting For You”
            • Produced by Lee Hazlewood and arranged by Billy Strange
            • Pressed on color wax
            • Pic sleeve with unseen photos

            Light in the Attic Records is proud to honor the enduring legacy of singer, actress, activist, and cultural icon Nancy Sinatra, who recently entered her eighth decade and sixth as a world–wide household name and a force for positive cultural change both at home and abroad.
            Limited edition 7” single featuring one of the 20th century’s greatest recordings, “Some Velvet Morning” on the A–side, while the flip includes a cover of the Kinks’ classic “Tired Of Waiting For You.”


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            Cover of Betty Davis - Light In The Attic Reissue by Betty Davis.

            Betty Davis

            Betty Davis - Light In The Attic Reissue

            Light In The Attic

            One can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can’t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.

            There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago – we live in an age that’s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn’t get sexy with their “Lady Marmalade” for another year while Millie Jackson wasn’t “Feelin’ Bitchy” until 1977. Even Tina Turner, the most obvious predecessor to Betty’s fierce style wasn’t completely out of Ike’s shadow until later in the decade.

            Ms. Davis’s unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song “Uptown” for the Chambers Brothers before marrying Miles Davis in the late ‘60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix — personally inspiring the classic album ’Bitches Brew.’

            But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty’s career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn’t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.

            In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as “If I’m In Luck I Might Get Picked Up” and “Game Is My Middle Name.” The album Betty Davis was recorded with Sly & The Family Stone’s rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.

            FORMAT INFORMATION

            Ltd LP Info: Limited Light In The Attic 180g reissue in heavyweight paste-on board sleeve and biography insert.

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            Cover of They Say I'm Different - Light In The Attic Reissue by Betty Davis.

            Betty Davis

            They Say I'm Different - Light In The Attic Reissue

            Light In The Attic

              One can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can’t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.

              There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago – we live in an age that’s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn’t get sexy with their “Lady Marmalade” for another year while Millie Jackson wasn’t Feelin’ Bitchy until 1977. Even Tina Turner, the most obvious predecessor to Betty’s fierce style wasn’t completely out of Ike’s shadow until later in the decade.

              Ms. Davis’s unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song “Uptown” for the Chambers Brothers before marrying Miles Davis in the late ’60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix - personally inspiring the classic album 'Bitches Brew'.

              But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty’s career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn’t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.

              Her 1974 sophomore album 'They Say I’m Different' features a worthy-of-framing futuristic cover challenging David Bowie’s science fiction funk with real rocking soul-fire, kicked off with the savagely sexual “Shoo-B-Doop and Cop Him” (later sampled by Ice Cube). Her follow up is full of classic cuts like “Don’t Call Her No Tramp” and the hilarious, hard, deep funk of “He Was A Big Freak.”

              FORMAT INFORMATION

              Ltd LP Info: Limited Light In The Attic 180g reissue in heavyweight paste-on board sleeve and biography insert.

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              Cover of Pacific Breeze: Japanese City Pop, AOR & Boogie 1976-1986 by Various Artists.

              Various Artists

              Pacific Breeze: Japanese City Pop, AOR & Boogie 1976-1986

              Light In The Attic

              Compiled by Andy Cabic (Vetiver), Zach Cowie (DJ & music supervisor) and Mark “Frosty” McNeill (dublab), "Pacific Breeze" documents Japan’s blast into the stratosphere. By the 1960s, the nation had achieved a postwar miracle, soaring to become the world’s second largest economy. Thriving tech exports sent The Rising Sun over the moon. Its pocket cassette players, bleeping video games, and gleaming cars boomed worldwide, wooing pleasure points and pumping Japanese pockets full of yen.

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

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

              Many of the key City Pop players evolved from the Japanese New Music scene of the early ’70s, as heard on Light In The Attic’s acclaimed Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, “Deconstructing the line between imitation and authenticity.” Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.


              STAFF COMMENTS

              says: If like me, Ryan Horsebeach, Piccadilly supply teacher Michael and mailorder Sil, you've had your head turned by the sounds of Japan, you'll be giddy at the arrival of this LITA compiled collection of City Pop gems. Featuring a who's who of 80s Japan, and their best moments no less, this is sunkissed tropical synth pop with a heavy helping of Japanese soul. Sophisticated music from the future past, presented in typically lavish fashion from the mighty Light In The Attic.

              FORMAT INFORMATION

              2xDeluxe LP Info: Brand new “Summer Fun” edition limited to 500 copies.

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              Cover of Green by Hiroshi Yoshimura.

              Hiroshi Yoshimura

              Green

              Light In The Attic

                * First ever reissue of this groundbreaking ambient work.
                * Produced in full cooperation with Yoshimura’s estate.
                * Unseen original handwritten track notes by Yoshimura.

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

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

                This edition marks the first reissue of the highly sought-after and impossible to find album. It features the original mix preferred by Yoshimura himself, previously available only on the initial Japanese vinyl release (a limited edition remixed version of the album, with added sound effects, was released on CD in the US). Additionally, this release is the first in our ongoing series, WATER COPY, focusing on the works of Hiroshi Yoshimura.


                FORMAT INFORMATION

                Coloured LP Info: "Clear/Green Swirl" Coloured Vinyl.

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                Cover of Shaggs' Own Thing by The Shaggs.

                The Shaggs

                Shaggs' Own Thing

                Light In The Attic

                  When The Shaggs’ Philosophy Of The World came out in 1969, some people couldn’t or wouldn’t understand it. But many musicians, including Frank Zappa and Kurt Cobain, cited the Shaggs as a major influence. Heck, Zappa exclaimed they were “better than the Beatles!” NRBQ’s Terry Adams and Keith Spring were such fans, and after reissuing Philosophy in 1980 on their own Red Rooster label, Adams began work on a collection of recordings the Wiggin sisters had made in the years following their debut. The result was Shaggs’ Own Thing – a beguiling follow-up that reveals a more developed and mature sound while still retaining all of their homespun uniqueness.

                  “The songs were better and they were recorded better, so it naturally made a better album,” Dot Wiggin said shortly after the original release of Shaggs’ Own Thing in 1982. It’s a “natural, organic extension” of the utterly original sound that The Shaggs had created, intentionally or not, with Philosophy Of The World, as John DeAngelis writes in the new liner notes. While Dot Wiggins originals like “You’re Somethin’ Special To Me” and “My Cutie,” and covers of classic songs like “Yesterday Once More” reveal a maturity not displayed on the debut, the two versions of “Shaggs’ Own Thing” and the revisiting of “My Pal Foot Foot” show that The Shaggs lost none of their pure and honest charm over the years.

                  Remastered from the original tapes with liner notes by John DeAngelis, this reissue includes the bonus track “Love at First Sight,” first issued on the 1988 Red Rooster/Rounder Shaggs CD and appears on LP for the first time, plus three additional tracks on CD: “Sweet Maria” and “The Missouri Waltz,” first released by Light In The Attic as a limited-edition Record Store Day 45 in 2016, and the previously unreleased cover of the classic surf instrumental “Wipe Out.”


                  FORMAT INFORMATION

                  Ltd LP Info: LP bonus track “Love At First Sight” first time on vinyl.

                  CD Info: CD includes 4 bonus tracks, 3 of which appear on the format for the first time.

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                  Cover of UFO by Jim Sullivan.

                  Jim Sullivan

                  UFO

                  Light In The Attic

                  In March 1975, Jim Sullivan mysteriously disappeared outside Santa Rosa, New Mexico. His VW bug was found abandoned, his motel room untouched. Some think he got lost in the desert. Some think he fell foul of a local family with alleged mafia ties. Some think he was abducted by aliens.

                  By coincidence - or perhaps not ' Jim’s 1969 debut album was titled "UFO" The album was a fully realised album of scope and imagination, a folk-rock record with its head in the stratosphere. Sullivan’s voice is deep and expressive like Fred Neil with a weathered and worldly Americana sound like Joe South, pop songs that aren’t happy – but with filled with despair. The album is punctuated with a string section (that recalls David Axelrod), other times a Wurlitzer piano provides the driving groove (as if Memphis great Jim Dickinson was running the show). "UFO" is a slice of American pop music filtered from the murky depths of Los Angeles, by way of the deep south.

                  FORMAT INFORMATION

                  Coloured LP Info: New version pressed on "galaxy" colored vinyl.

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                  Cover of Key To Love (Is Understanding) by BADBADNOTGOOD / Majestics.

                  BADBADNOTGOOD / Majestics

                  Key To Love (Is Understanding)

                  Light In The Attic

                    The latest installment of Light In The Attic’s exclusive vinyl and digital singles series features Toronto’s BADBADNOTGOOD with Jonah Yano on vocals covering “Key To Love (Is Understanding),” originally recorded in 1982 by Milwaukee’s funk/soul pioneers Majestics. The newly recorded cover and the original version are available for streaming and on “Majestic Pink” 7” vinyl.
                    “As lovers of old soul, funk and rare recordings, ‘Key to Love’ has always been a song that has had an impact on our heart and ears,” BADBADNOTGOOD said. “We hope our version relays how special this song is and gives it some new listeners and a second life […] It’s an incredibly beautiful song that deserves to be heard, and we hope to play a small part in that.”

                    The original Majestics single is highly sought after by diggers and DJs worldwide not only for “Key To Love (Is Understanding) but also for ”Class A”, which is considered the first-ever rap recording to come out of Milwaukee.

                    “It is a pleasant surprise,” Donald Cooper of Majestics said upon hearing BADBADNOTGOOD’s version of the song. “They did a good job and it was well done with their own slight personal twist […] [it’s] an honor to be recognized."

                    The single follows Mac DeMarco’s cover of Haruomi Hosono’s “Honey Moon” in the series, which features artwork conceptualized by Los Angeles-based fine artist Robbie Simon. These tunes come on the heels of widely popular past entries in the series, including pop-auteur Ariel Pink with future-funk pioneer Dâm Funk covering Donnie & Joe Emerson’s eternal anthem “Baby,” the inimitable Mark Lanegan covering the melancholy folk of Karen Dalton, and the one-and-only Iggy Pop with the Zig Zags transforming Betty Davis’ dirty funk into a heavy Sabbath grind.


                    FORMAT INFORMATION

                    7" Info: 'Majestic Pink' Vinyl.

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                    Cover of Stone Crush: Memphis Modern Soul 1977-1987 by Various Artists.

                    Various Artists

                    Stone Crush: Memphis Modern Soul 1977-1987

                    Light In The Attic

                      Memphis has always been a studio town, where making hit records looked easy. An unknown Elvis could walk into Sun Studios and cut a side, while Willie Mitchell worked his magic around the corner at the Hi Records studio. This vast studio ecosystem meant that even when Stax Records folded in 1975, everybody still knew somebody who could get them into a real recording facility. The city’s largest player in the business was gone, but the possibilities that it introduced were not.

                      Stone Crush is the definitive overview of Memphis’ modern soul scene of the post-Stax years. It’s a collection of funky tracks of hope—from dentist O.T. Sykes, who traded dental work for studio time, to the ad-man who moonlighted as the visionary mastermind behind Captain Fantastic & Starfleet, few of them ever had anything to do with a hit, but across the board, each believed. Like Cato Walker, whose father’s gig as B.B. King’s driver got him an in, and The Bar-Kays’ former costume maker Libra, some had tangential connections to the city’s deep-rooted music scene that gave them a head start on their hopeful path to fame.

                      Over a decade in the making, Stone Crush is an expertly curated compilation of these home-grown slices of Memphis stylings, from roller skate boogie to private press soul to bedroom funk—rare sides whose original copies are considered holy grails by DJs and collectors all over. This collection does more than transport us to a time gone by. It helps us hear what couldn’t be heard then.


                      FORMAT INFORMATION

                      2xColoured LP Info: Galaxy haze orange/red coloured vinyl, limited to 500 copies, housed in a gatefold jacket with 24-page full colour book.

                      2xLP Info: Black vinyl housed in a gatefold jacket with 24-page full colour book.

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                      Cover of Pacific Breeze 2: Japanese City Pop, AOR & Boogie 1972-1986 by Various Artists.

                      Various Artists

                      Pacific Breeze 2: Japanese City Pop, AOR & Boogie 1972-1986

                      Light In The Attic

                        When Light In The Attic released Pacific Breeze: Japanese City Pop, AOR & Boogie 1976-1986 in 2019, it was the first collection of its kind to be released outside Japan. It proved to be just what music fans had been waiting for—a compilation of sought-after tracks that had been nearly impossible to obtain unless you were well-connected with dealers and collectors, or traveled regularly to the countless record stores in Japan. Pacific Breeze included Minako Yoshida, Taeko Ohnuki, Hiroshi Sato and Haruomi Hosono among other key players of ‘70s-’80s Japanese City Pop, the nebulous genre that encompassed an “amalgam of AOR, R&B, jazz fusion, funk, boogie and disco, all a touch dizzy with tropical euphoria,” as we described it the first time around.

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

                        Pacific Breeze 2 once again feature the artwork of renowned Tokyo-based illustrator Hiroshi Nagai, whose iconic images of resort living have become synonymous with City Pop. Nagai’s urban tropical imagery is a perfect match for the expertly curated tunes, evoking a certain sense of nostalgia for the leisure lifestyles of ‘70s-’80s Tokyo, while simultaneously being perfectly in tune with the current zeitgeist.


                        STAFF COMMENTS

                        says: Light In The Attic return to the optimism and affluence of Japan’s City Pop era, digging a little deeper to find a wealth of sophisticated grooves largely unknown outside their homeland. Glistening with the sheen of a new technology, these tracks fused soul, funk and new wave influences into a pristine urban pop, perfectly suited to the heat and high rises of a modern Japan. Now you can savour the flavour of Eri Ohno or Yuji Toriyama while saving your air miles for a rainy day.

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                        Cover of Harlan County by Jim Ford.

                        Jim Ford

                        Harlan County

                        Light In The Attic

                        Another absolute gem of a reissue from Light In The Attic.

                        Album recorded at the legendary Wally Heider Los Angeles studios and features heavy session players Dr. John, Jim Keltner (John Lennon), and James Burton (Elvis Presley).

                        Release sports 32 page CD booklet and 180-gram wax, lovingly re-mastered from the original master tapes and a deluxe Stoughton “Tip-On” old school sleeve with faithfully reproduced original artwork.

                        What happens when a musically minded country boy from rural Kentucky heads to the Golden State and makes an album of blue-eyed soul with Dr. John, Jim Keltner (John Lennon), and James Burton (Elvis Presley) as his back-up band? Well, if the stars were aligned, singer songwriter Jim Ford would’ve had a major hit on his hands. As it was, 'Harlan County', released in 1969 on the minor label Sundown Records, simply fell through the cracks between monster selling titles by The Beatles, Led Zeppelin, and Creedence Clearwater Revival. Despite being allied with some of the biggest names in the business and a deft musical touch - Ford wrote songs for Bobby Womack (“Harry Hippie”), Aretha Franklin, P.J. Proby, The Temptations, and even appeared on Sly & the Family Stone’s 'There’s a Riot Goin’ On' - Ford never struck gold as a solo artist and eventually left the often cutthroat music business for a quieter life at the turn of the 1980’s.

                        “Jimmy Ford is the baddest white man on the planet,” said Sly Stone of Harlan County’s main man, and listening to the album today who’s to argue? Needless to say, Light In The Attic Records are honored to re-release these ten emotive country-soul songs on CD and LP with Ford’s original cover artwork, beautifully re-mastered audio, extensive liner notes by Kurt Wolff (The Rough Guide to Country Music), and rare photos, all presented with an adult portion of love. Fans of Charlie Rich, Tony Joe White, Lee Hazlewood, and Bobby Charles, please take note. 'Harlan County' is a revelation to deep music heads and for the previously converted, an opportunity to revisit one of the California studio scene’s crowning glories. To quote the title of Wolff’s booklet essay, “Jim Ford’s Music Will Kick Your Ass And Blow Your Mind.”

                        Armed with a powerful whiskey fueled voice, down home rhythms, tight horn section, and occasional spectral orchestration from Gene Page (The Righteous Brothers, Barry White, Marvin Gaye), Harlan County is ripe for reappraisal. And though Ford is unfortunately no longer with us - he passed away in 2007 - his musical legacy lives on. With fans and friends including Brinsley Schwarz leader Nick Lowe and actor Marlon Brando it’s safe to say that Jim Ford was the real deal. So head over to your local brick and mortar record shop, hit the liquor store for a bottle or two, and turn up the stereo. Take a country-funk trip to Harlan County. It’s cheaper than a flight and will take you right where you need to be.

                        FORMAT INFORMATION

                        Coloured LP Info: Limited blue vinyl version.

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                        Cover of Jim Sullivan by Jim Sullivan.

                        Jim Sullivan

                        Jim Sullivan

                        Light In The Attic

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

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

                          Light In The Attic’s reissue of U.F.O. introduced the world to an overlooked masterwork and won him, posthumously (presumably), legions of new fans. Those new admirers are in for a real treat: a lavish reissue of Jim’s 1972 sophomore album, Jim Sullivan.

                          The self-titled LP was originally released on Playboy mogul Hugh Hefner’s short-lived Playboy imprint. Horns sweeten this funky and bombastic session driven by Jim’s unmistakably larger-than-life voice and exceptional song-writing chops, alongside a cast of legendary session musicians including Jim Hughart. Another LP you’ll rarely see in the wild, it is by no means the poor relation of U.F.O., but rather a big stride into country, folk rock, and swampy blues, mesmerically finger-picked, brass-bedecked, and with that uniqueness of phrasing–part crooner, part jazz singer–that makes Sullivan such a rare performer.

                          Each song could have been a bonafide radio hit, but with spotty promotion and negative connotations surrounding the Playboy name, the self-titled album suffered a fate known all too well and fizzled out. While Sullivan’s disappearance remains unsolved, his music endures and is finally gaining him the recognition he deserves, albeit long overdue.


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                          Cover of If The Evening Were Dawn by Jim Sullivan.

                          Jim Sullivan

                          If The Evening Were Dawn

                          Light In The Attic

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

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

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

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

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

                            While Sullivan’s disappearance remains unsolved, his music endures and is finally gaining him the recognition he deserves, albeit long overdue. This recording serves as an unexpected missing piece of the puzzle; this is Jim Sullivan’s true swan song.


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                            Cover of 400 Miles From L.A. 1955-56 by Lee Hazlewood.

                            Lee Hazlewood

                            400 Miles From L.A. 1955-56

                            Light In The Attic

                              Phoenix, Arizona 1955…a twenty-five year old disc jockey and fledgling songwriter, Lee Hazlewood, is trying to break into the music industry. He takes Greyhound bus trips to Los Angeles to pitch songs, only to be rejected each time. Undeterred, Lee starts a record label called Viv Records. Running the label out of his house, Lee finds the artists, writes the songs, produces the sessions, arranges the pressings of the records and handles distribution. Recently discovered tapes in the Viv Records archive yielded an unbelievable find, the earliest known recordings of Hazlewood singing his songs…Lee’s first demo! The mysterious and bountiful tapes featured Lee singing early unheard compositions and a complete first draft of his Trouble Is A Lonesome Town song cycle that would become his first official solo album in 1963.

                              Light in the Attic Records is proud to continue it’s Lee Hazlewood archival series with 400 Miles From L.A. 1955-56, a collection of previously unknown intimate recordings, never intended for release. Lee sings, plays guitar and even presses the record button on the tape machine. These are rural sketches and small town dreams, captured in an innocent time before the path ahead was clear.

                              These songs rewrite Lee’s recorded history, adding a new first chapter to his saga. For Hazlewood addicts, hearing these early tracks and the embryonic version of Trouble Is A Lonesome Town is akin to finding an early draft of the Old Testament.

                              “That’s beauty of Lee’s songwriting. It lives on. People will hear it for the first time, even though it’s fifty years old or whatever, if it’s good enough and strong enough, they’ll accept and like it as much as if it was just created. That’s the wonderful legacy that Lee has. It’s wonderful to look back and make all this early work available. To put “Boots” and all those other LHI songs into perspective. That it all started somewhere and this is where.” – Arizona Music Historian and record producer, John Dixon.


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                              Cover of 1992-2001 by Acetone.

                              Acetone

                              1992-2001

                              Light In The Attic

                              Counting their early years in the scuzz-rock band Spinout, whose sole self-titled release came out in 1991 on Delicious Vinyl, guitarist Mark Lightcap, bassist Richie Lee, and drummer Steve Hadley played together for a total of 15 years. They disbanded in July 2001, when Lee committed suicide in the garage next to the house where the trio practiced. Afterwards, Rolling Stone ran a short obituary saying Acetone’s albums were “well received” but “failed to make any waves.” It was the first and only time they were featured in the national music press.

                              Between 1993 and 2001 the trio released two LPs and an EP on Vernon Yard—a Virgin subsidiary—and two LPs on Vapor, the L.A.-based label founded by Neil Young and manager Elliott Roberts. In that span, they were selected to tour with Oasis, Mazzy Star, The Verve, and Spiritualized. Against a rising tide of post-Nirvana grunge and slipshod indie rock, Acetone tapped into a timeless Southern California groove by fusing elements of psychedelia, surf, and country.

                              They rehearsed endlessly in an empty bedroom in northeast Los Angeles, recording hours of music onto cassettes that were subsequently stuffed into shoeboxes and left in a shed behind the drummer’s house. Those tapes are being released for the first time in this anthology, which also includes highlights from Acetone’s official releases. Taken together, the songs form a companion soundtrack to Sam Sweet’s book, which maps the character of Los Angeles as a place through the lens of these three unique characters bonded by music.

                              “I think our music is all about moods and feeling but hopefully it will get as weird as it possibly can,” said Richie Lee in 1997. “We want things to get weird in the way that you could hear an Acetone song and know that no one else in the world could make that kind of music but us.”

                              * First time band anthology.
                              * Includes 9 unreleased tracks.
                              * Audio restored and remastered from original tapes.
                              * Liner notes by Sam Sweet.

                              “Acetone are one of my all time favorite bands. Their music is still as electrifying and beautiful now as it was back then.” – Hope Sandoval (Mazzy Star)

                              “A lovely mix of what would it be like if Dick Dale and Neil Young played with Isaac Hayes and The Velvet Underground. A seminal American band.” – Richard Ashcroft (The Verve).


                              FORMAT INFORMATION

                              2xDeluxe LP Info: Double black vinyl. Housed in a deluxe gatefold Stoughton tip-on jacket.

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                              Cover of Cochin Moon by Haruomi Hosono.

                              Haruomi Hosono

                              Cochin Moon

                              Light In The Attic

                              "Cochin Moon" (コチンの月 Kochin no Tsuki) is Haruomi Hosono's fifth solo album. Initially intended as a collaboration with illustrator Tadanori Yokoo, who traveled to India alongside Hosono (as part of a group) for inspiration; Yokoo ended up only drawing the cover, having been the worst victim of an outburst of severe diarrhea amongst the group during the trip, rendering this as a Hosono solo album. Cochin Moon was conceptually written as the soundtrack of a non-existent Bollywood film, a trait inspired by the artists' trip. The album includes performances by Tin Pan Alley keyboardist Hiroshi Satō and Yellow Magic Orchestra members Ryuichi Sakamoto & Hideki Matsutake. Despite being Hosono's first completely electronic solo album (at the time YMO's debut was still being recorded, making this Hosono's first electronic album to be released), the exotica feel of Hosono's previous solo work is still present. The first half of the album (named after an Indian hotel that the group was in for the trip, a picture of the hotel's front appears in the back of the album's packaging) consists of three thematically themed songs, the second half of the album (and Hosono's keyboard performance) is credited to "Shuka Nishihara" (西原朱夏), a pseudonym Hosono created as a play on Hakushū Kitahara's pseudonym.

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                              Cover of Rose Colored Corner by Lynn Castle.

                              Lynn Castle

                              Rose Colored Corner

                              Light In The Attic

                              Though most of the world may not know the songs of Lynn Castle, she is an artist whose work stretches across seven decades. 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 Castle


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                              Cover of Sonhos E Memorias 1941-1972 by Erasmo Carlos.

                              Erasmo Carlos

                              Sonhos E Memorias 1941-1972

                              Light In The Attic

                              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.


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                              Reduced Cover of (The Microcosm): Visionary Music Of Continental Europe, 1970-1986 by Various Artists.

                              Various Artists

                              (The Microcosm): Visionary Music Of Continental Europe, 1970-1986

                              Light In The Attic

                              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 Microcosm demonstrates 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.


                              STAFF COMMENTS

                              says: Chakras fully aligned after their expansive introduction to America's new age movement, 'I Am The Center', Light In The Attic hop across the pond to explore the cosmic vibrations and healing frequencies of Europe's spirit guides. Floating through German kosmische, Italian ambient and prog Français, '(The Microcosm)' resonates deep within your soul, courses through your body and opens your mind wider than an orgonite overdose.

                              FORMAT INFORMATION

                              3xLP Box Set Info: 3xLP with deluxe Stoughton “tip-on” jackets and slipcase.


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                              Cover of Zulu Rock - Light In The Attic Edition by Lizzy Mercier Descloux.

                              Lizzy Mercier Descloux

                              Zulu Rock - Light In The Attic Edition

                              Light In The Attic

                              * Remastered from the original tapes
                              * Essay by “Punk Professor” Vivien Goldman, interviewing key players
                              * LP Includes download card for full album + 5 bonus tracks
                              * CD includes full album plus 5 bonus tracks

                              In the course of three albums, Lizzy Mercier Descloux, the rogue poet, artist, and singer-songwriter, travelled on a musical voyage from Manhattan (1979 debut 'Press Color') to The Bahamas (1981 follow-up 'Mambo Nassau') and apartheid South Africa (1984's 'Zulu Rock') - a controversial cultural boycott in protest of the nation's racially divided society.

                              One place Descloux had never visited was the pop charts, but that changed when “Mais Où Sont Passées Les Gazelles? (Where Have The Gazelles Gone?)” - a reworking of a South African Shangaan disco hit - went all the way to the top spot in her native France, giving her a platform and a profile in the land she'd fled many years before. Recorded at Satbel Studios in Johannesburg, the album followed what her mentor Michel Esteban describes as "an extraordinary adventure" through eastern Africa following the footsteps of 19th century poet Rimbaud through Sudan, Ethiopia, the East Coast.

                              A socially conscious person, Descloux wanted to use her music to draw some attention to the situation in South Africa, even obliquely, but there were musical motivations too - she was tapping into a hot and little-heard dance music in the aforementioned Shangaan disco, Soweto jive and mbaqanga, the style Malcolm McLaren had mined for his mash-up hit "Duck Rock" a year before.

                              The music of South Africa seduced, subsumed, and molded Lizzy, who sounds surer and more swinging than ever before throughout 'Zulu Rock', but credit must also go to British producer Adam Kidron, then best known for his work with Scritti Politti, who joined Esteban and Descloux for the entire African journey. Lizzy and Adam’s was a battle of wills from the start, but his insistence on getting Lizzy to sing in a more conventional, tuneful way resulted in an emotional, ambitious, creative power struggle that delivered arguably her best vocals yet.

                              In Vivien Goldman's new liner notes for this reissue, Kidron says: “My first impression of Lizzy was that she couldn’t sing but that she had that crazy Madonna, Neneh Cherry, Nina Hagen attitude thing going on and a magical way with words — a marketer’s gift for getting to the essence of a feeling or idea.” And for once, on this album, the marketing did itself. 


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                              Cover of Suspense - Light In The Attic Edition by Lizzy Mercier Descloux.

                              Lizzy Mercier Descloux

                              Suspense - Light In The Attic Edition

                              Light In The Attic

                              * Remastered from the original tapes
                              * Essay by “Punk Professor” Vivien Goldman, interviewing key players
                              * LP Includes download card for full album + 6 bonus tracks
                              * CD includes full album plus 6 bonus tracks

                              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' 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.

                              The pressure was on to repeat the success of “Mais Où Sont Passées Les Gazelles”, a smash hit in France, and Descloux's label were keen to make a conventional artist of her, pairing her with John Brand, an in-vogue producer with a style geared to a big, shiny 1980s chart sound - an approach Lizzy had never experienced before, nor intended to.

                              In Vivien Goldman's new liner notes, Esteban notes that Suspense sounds "less Lizzy than the other records, less open," but in splitting herself into two – English and Francophone – the album has two personalities too; oddly, it shines a light on the real Descloux that her cultural experiments never did.

                              Though the initial aim was to make a folky, acoustic album, the pop sound suited the singer, and “A Room In New York” is as fine and sparky as AOR gets. But when early single “Gueule D’Amour/Cry of Love” stiffed, EMI lost confidence and buried the LP. Bound by her contract to the label, Descloux moved away from music and focused on painting. She eventually settled in Corsica, the French island, where she died, aged 48, of cancer. Descloux's musical career ended, therefore, with the aptly titled Suspense. It was only a matter of time before this furiously creative artist's work was re-evaluated, and with these deluxe reissues, that time is now.


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                              Cover of One For The Soul - Light In The Attic Edition by Lizzy Mercier Descloux.

                              Lizzy Mercier Descloux

                              One For The Soul - Light In The Attic Edition

                              Light In The Attic

                              * Remastered from the original tapes
                              * Essay by “Punk Professor” Vivien Goldman, interviewing key players
                              * LP Includes download card for full album + 2 bonus tracks
                              * CD includes full album plus 2 bonus tracks

                              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.

                              The location, this time, was Rio De Janeiro, a suitably exotic location to follow their sojourn in Soweto given that Brazil had recently emerged from twenty years of dictatorship. But unlike 'Zulu Rock''s broad appropriation of the local sound, One For The Soul borrows very liberally from Brazilian culture. The aim, says Kidron, was to "reimagine the blues", but Lizzy’s musical essence was in flux. “A Word Is A Wah" meshes reggae with her beloved accordion, “Women Don't Like Me” is wild, new wave pop, and she even wanders into soul territory, with whispery lounge versions of Al Green's “Simply Beautiful”. Most notable is the album's foray into jazz, and the fact that Chet Baker, the master jazz trumpeter, blew his last on “Fog Horn Blues” and the sensuous “Off Off Pleasure”.

                              Rio was to be the last great hurrah of Lizzy and Michel’s global recording adventures, and although work proceeded apace, the experience was often quite tense. "The sessions were tough work,” says Kidron, in the new liner notes by Vivien Goldman accompanying this deluxe reissue. “Lizzy never quite got singing, no matter how much she drank, and no matter how hard she tried. Chet was very much at the drug-ravaged end of his life and had very little stamina or dexterity left… but there is a deep, sad, lyrical tone to his performances on the album.”

                              So fraught were the sessions, it's a miracle that such a cohesive, sparky record emerged. The record-buying public did not agree, and as the album crashed and burned, so did the relationship between its three heroes. Lizzy was, for the first time, about to take on the world alone – and there was but one album left in her. 


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                              Cover of Its Cause And Cure by Lee Hazlewood.

                              Lee Hazlewood

                              Its Cause And Cure

                              Light In The Attic

                                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.

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                                Cover of 'Second Poem To Karmela' Or Gypsies Are Important by Peter Walker.

                                Peter Walker

                                'Second Poem To Karmela' Or Gypsies Are Important

                                Light In The Attic

                                Remastered from the original stereo 1/4" tapes LP and CD feature expanded gatefold tip-on jackets and liner notes.

                                Light In The Attic and the legendary folk/blues/roots label Vanguard Records are proud to begin a series of collaborations under the umbrella Vanguard Vault.

                                The series will explore the vaults of Vanguard and see the reissuing of obscure nuggets, psychedelic weirdness and just some good old-fashioned seminal music.

                                Originally released in 1968 on Vanguard Records, Peter Walker’s album “Second Poem To Karmela” Or Gypsies Are Important was a ground breaking blend of folk, raga, psychedelia, Eastern and Modal sounds that has remained unsung for decades. While his debut album for Vanguard,Rainy Day Raga, has been reissued several times on LP and CD, this album (his sophomore effort), remains an obscure and hard to find vinyl relic. Until now..

                                Carefully re-mastered from the original tapes, guitar scholar Glenn Jones recently interviewed Peter Walker for hours and has written a book-deep essay for the CD and LP liner notes that detail Walker’s association with an incredible cross-section of 1960’s counter-culture icons including LSD guru Timothy Leary (Walker personally provided ‘the soundtrack’ to many a trip), he studied raga music with Ali Akbar Khan, and like his close friend Sandy Bull, Walker worked on a fusion of Western and Eastern sounds. Jim Pepper plays flute on Second Poem (he also recorded with The Fugs and Don Cherry), other accompaniment to Walker’s guitar, Sarod and Sitar playing includes violin, organ, tablas, and tamboura.

                                This is true “acid folk” as interesting, progressive, and memorable as fellow 1960’s world travelers Robbie Basho, Davy Graham, and the Incredible String Band.

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                                Cover of A World Of Peace Must Come by Stephen John Kalinich.

                                Stephen John Kalinich

                                A World Of Peace Must Come

                                Light In The Attic

                                  THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                  "A World Of Peace Must Come is his masterpiece. That was fantastic." - Brian Wilson
                                  "'Be Still' is the only song I've ever heard that made me want to be a better person." - Brian Barr, The Seattle Weekly

                                  "The only other artist as pure as him is Captain Beefheart." - Bill Bentley

                                  Stephen John Kalinich was born in Endicott, New York and grew up in Binghamton. In his early teens, he stared writing poems and articles about World Peace. He first came to California around 1964, fell in love with it, and promptly transferred from Harper College in upstate New York to UCLA.

                                  Kalinich found himself immersed in the vibrant anti-War culture of late 60’s California, often writing songs and poems against the War. He found a musical partner and kindred spirit in Mark Lindsey Buckingham. They cut a demo for a track called "Leaves of Grass," inspired by the famous Walt Whitman poem "Leaves Of Grass", and Kalinich started taking demos around.

                                  In the mid 60s, it was either at Brother Records or while pumping gas that Kalinich first met the Beach Boys. He hit it off with Brian, Carl and Dennis right away. As the first artist signed to the Beach Boys new label Brother Records, Carl Wilson produced a record for him. His first songs that saw release were "Little Bird" and "Be Still," which he wrote with Dennis and were released on the Friends album. His relationship with Dennis would lead to a number of further collaborations and Kalinich / Dennis Wilson co-writes, including: 20/20 - "All I Want To Do," Hawthorne, CA - "A Time to Live in Dreams", Pacific Ocean Blue - "Rainbows," and Bambu - "Love Remember Me.”
                                  A World of Peace Must Come was recorded at various LA studios and Brian's house in Bel-Air in 1969. The tapes were promptly lost, not to be heard again until our discovery of them in 2008. Following the CD-only reissue in that year, this is the first time this timeless snapshot of an era and an ethos will be available on vinyl for Record Store Day 2014.


                                  FORMAT INFORMATION

                                  Ltd LP Info: * First time reissued on vinyl
                                  * Long lost psych poetry album by legendary Beach Boy song-writer
                                  * Co-produced by Brian Wilson in Los Angeles in August 1969
                                  * Booklet featuring liner notes by Beach Boy archivist Alan Boyd, unseen photos, archival material, and full lyrics
                                  * Record Store Day exclusive featuring hand-numbered “tip-on” jacket.
                                  * Pressed on “ORANGE” wax for Record Store Day

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                                  Cover of Walk In Africa by National Wake.

                                  National Wake

                                  Walk In Africa

                                  Light In The Attic

                                  * First ever anthology
                                  * Remastered from original sources
                                  * 2xLP housed in a deluxe gatefold tip-on jacket with 20-pg book, and download card full full anthology
                                  * Vinyl cut by John Golden and pressed at RTI
                                  * CD housed in a deluxe gatefold tip-on jacket with 48-pg book
                                  * Scholarly liner notes by Punk In Africa director Keith Jones
                                  * Unseen photos, flyers, and band ephemera

                                  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.”

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                                  Cover of TOBE + Live At The Doubletree Inn by The Overton Berry Ensemble.

                                  The Overton Berry Ensemble

                                  TOBE + Live At The Doubletree Inn

                                  Light In The Attic

                                  Have you ever heard of Tukwila? Well, it's safe to say that if Light In The Attic wasn't located in Seattle, Washington, they might not have either. Just a short drive from the Emerald City it was once home to the now infamous Doubletree Inn. Despite its non-central location, the Doubletree was once the Pacific Northwest hotspot with line-ups around the block. The reason? The Overton Berry Trio, who ably filled the lounge with sounds of jazz, soul, and pop over clanking drinks and decadent dinners. While local music lovers, dedicated crate-diggers, and diehard funk heads will have heard of the classy pianist (often compared to his better-known peer, Ramsey Lewis), it's finally time to let the world in on this little secret.

                                  At the dawn of the 1970s, Berry and company recorded two long player albums: The Overton Berry Trio "At Seattle's Doubletree Inn" (1970) and "TOBE" (1972). Both take the listener to a time long forgotten, a place where music engaged, invited dialogue, and struck chords deep in one's soul. In celebration of this still relevant sonic legacy, Light In The Attic Records releases the original "Doubletree Inn" and "TOBE" (The Overton Berry Ensemble) albums in a lovingly packaged double vinyl-only reissue. Prominently featured on Light In The Attic's Wheedle's Groove release, their transcendental interpretation of The Beatles' "Hey Jude" (from The Overton Berry Trio At Seattle's Doubletree Inn) is notorious amongst forward thinking DJs and record collectors the world-over. The "TOBE" album (especially the break-beat heavy "Jesus Christ Superstar") has also piqued the radar of many a tastemaker and original copies are virtually extinct and prohibitively priced when available in record dealer's crates or offered for sale on the web.

                                  Now with lovingly remastered audio, extensive liner notes, and unpublished photos, this double LP set gives you both of the aforementioned rarities and the best of Overton Berry - that is, if you haven't had the good fortune of seeing the man play live. Still performing his trademark blend of standards, thoughtful interpretations, and original compositions weekly in-and-around Seattle, if you find yourself music hungry in the Pacific Northwest, you just might have a chance. Berry is still doing his thing with the utmost respect and dedication to his craft.

                                  FORMAT INFORMATION

                                  2xLP Info: Limited vinyl only reissue with re-mastered audio, hand numbered jacket, new notes and unseen photos. Includes download card featuring three previously unreleased live takes. 100o copies only.

                                  2xLP includes MP3 Download Code.

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                                  Cover of Passover by The Black Angels.

                                  The Black Angels

                                  Passover

                                  Light In The Attic

                                    This is the sound of a bad mescaline trip in the searing heat of the desert. It's the sound of 60s psychedelia reinvented through post-millennial angst. It's dangerous, it's dark and it's Texas-sized in scope. It's "Passover", the debut album from Austin's The Black Angels, and the sound they describe as Native American Drone 'n' Roll. Built on rumbling drums, searing guitars and an ever-present droning organ, "Passover" is a stunning, raw debut that's keen to address the big issues of the day.

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                                    Cover of Wheedle's Groove - Seattle's Finest Funk & Soul 1965 - 1975 by Various Artists.

                                    Various Artists

                                    Wheedle's Groove - Seattle's Finest Funk & Soul 1965 - 1975

                                    Light In The Attic

                                      Taking their title from an Annakonda's 45 (Wheedle was the mascot of Seattle's SuperSonics basketball team), Light In The Attic bring us 21 brilliant tracks of funk and soul from the Emerald City, including 18 original 60s / 70s grooves, and three 00s cuts inspired by them. DJ Mr Supreme searches out the rarities that vied for the attentions of KYAC Soul Radio, including original compositions and cover versions of "Hey Jude", "Cissy Strut", "Louie Louie" etc. With band names like The Ovetton Berry Trio, Black And White Affair, The Clarence Mack Express, Cold, Bold & Together and Cookin' Bag, you know you're in for a treat!

                                      FORMAT INFORMATION

                                      CD Info: In true LITA style, you get an informative full colour booklet with photos, gig posters and a blurb about each act included.

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