{"title":"All","description":"","products":[{"product_id":"cochin-moon","title":"Cochin Moon","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/RsD_iVrLETI\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eThe unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter, and producer. Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with \u003cem\u003eHosono House\u003c\/em\u003e, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom. Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (\u003cspan class=\"caps\"\u003eYMO\u003c\/span\u003e).\u003c\/p\u003e\n\u003cp\u003eReleased in September 1978, a mere two months before YMO’s debut, \u003cem\u003eCochin Moon\u003c\/em\u003e is a clear precursor to the groundbreaking synth and sequencer-dominated sounds that would come to define the iconic trio. Credited to Hosono and Pop Art legend Tadanori Yokoo (who created the cover art), \u003cem\u003eCochin Moon\u003c\/em\u003e is a fictional soundtrack to a journey into unknown worlds, inspired by Hosono and Yokoo’s trip to India. Initially the album was to be a kind of ethnographic musical document, using found sounds and field recordings made by Hosono himself. Instead, after Yokoo introduced Hosono to the sounds of Kraftwerk and krautrock during the trip, \u003cem\u003eCochin Moon\u003c\/em\u003e became something much stranger. Created almost entirely on synthesizers and sequencers with the help of future \u003cspan class=\"caps\"\u003eYMO\u003c\/span\u003e collaborators Ryuichi Sakamoto and Hideki Matsutake, the music on the album is the perfect encapsulation of Hosono’s concept of “sightseeing music,” transporting the listener to an exotic place that may or may not exist. This highly sought-after album sees its first-ever official release outside of Japan.\u003c\/p\u003e\n\u003cp\u003eAdmired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFirst ever release outside of Japan\u003c\/li\u003e\n\u003cli\u003eTranslated interview with Haruomi Hosono\u003c\/li\u003e\n\u003cli\u003eRemastered form the original analog master tapes\u003c\/li\u003e\n\u003cli\u003ePressed on Opaque Yellow Wax\u003c\/li\u003e\n\u003cli\u003e2xCD Bundle includes “Hosono House” (LITA173) \u0026amp; “Cochin Moon” (LITA174)\u003c\/li\u003e\n\u003cli\u003eProduct shots by Melissa Kagerer\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]][[Artist]]Haruomi Hosono\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Cochin Moon \/ Haruomi Hosono - MP3\/320 \/ album \/ MP3\/320","offer_id":32191331074127,"sku":"7R\/MP3","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Cochin Moon \/ Haruomi Hosono - 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2001","description":"[[Release Detail]][[Release Description]]\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/YSfoB3wEooI?si=TnlcCswNWdP2sdaM\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e\n\n\u003cp\u003e“Acetone are into it for what they get out of it. Their music reflects who they are, and that’s so rare in music today. It’s a soul music thing.” – Jason Pierce (Spiritualized)\u003c\/p\u003e\n\n\u003cp\u003e“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)\u003c\/p\u003e\n\n\u003cp\u003e“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)\u003c\/p\u003e\n\n\u003cp\u003eThe independent literary press All Night Menu published Sam Sweet’s Hadley, Lee, Lightcap, a nonfiction novel that traces the backstories of the three members in Acetone, a band that played in Los Angeles for nine years. Though few heard them, their recordings are time capsules of who they were, how they lived, and where they came from. Light in the Attic has partnered with All Night Menu to present Acetone 1992-2001, the first anthology of the trio’s music.\u003c\/p\u003e\n\n\u003cp\u003eCounting 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, \u003cem\u003eRolling Stone\u003c\/em\u003e 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.\u003c\/p\u003e\n\n\u003cp\u003eBetween 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.\u003c\/p\u003e\n\n\u003cp\u003eThey 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.\u003c\/p\u003e\n\n\u003cp\u003e“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.”\u003c\/p\u003e\n\n[[Selling Points]]\n\u003cul\u003e\n\u003cli\u003eFirst time band anthology\u003c\/li\u003e\n\u003cli\u003eIncludes 9 unreleased tracks\u003c\/li\u003e\n\u003cli\u003eAudio restored and remastered from original tapes\u003c\/li\u003e\n\u003cli\u003eDouble LP housed in a gatefold jacket\u003c\/li\u003e\n\u003cli\u003eLiner notes by Sam Sweet\u003c\/li\u003e\n\u003c\/ul\u003e\n\n[[Catalog Number]]LITA 159[[Artist]]Acetone","brand":"Light in the 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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 her son would marry a strawberry blonde woman, that he would have two sons after his mother died, and that his daughters would form a popular music outfit. The first two became reality, so Austin was certain the third would follow suit.\u003c\/p\u003e\n\u003cp\u003eWith 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 Recording studios in Revere, Massachusetts to record their sole album, \u003cem\u003ePhilosophy Of The World\u003c\/em\u003e, 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).\u003c\/p\u003e\n\u003cp\u003eThroughout _Philosophy_… 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.\u003c\/p\u003e\n\u003cp\u003eThe album failed to fulfill Austin’s expectations of rock stardom, though the group remained together until their father’s death, performing frequently at the Fremont town hall and a local nursing home, no further albums were released. That might have been the end of it, until rock band \u003cspan class=\"caps\"\u003eNRBQ\u003c\/span\u003e discovered a copy at a Massachusetts radio station and re-released it in 1980. \u003cem\u003eRolling Stone’s\u003c\/em\u003e reviewer at the time described it as “the most stunningly awful wonderful record I’ve heard in ages”.\u003c\/p\u003e\n\u003cp\u003eNearly 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.\u003c\/p\u003e\n\u003cp\u003eDecades later and one could argue that maybe Austin was right all along. We’re all here, still enthralled by the purity of The Shaggs.\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eIn 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 her son would marry a strawberry blonde woman, that he would have two sons after his mother died, and that his daughters would form a popular music outfit. The first two became reality, so Austin was certain the third would follow suit.\u003c\/p\u003e\n\u003cp\u003eWith 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 Recording studios in Revere, Massachusetts to record their sole album, \u003cem\u003ePhilosophy Of The World\u003c\/em\u003e, 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).\u003c\/p\u003e\n\u003cp\u003eThroughout 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.\u003c\/p\u003e\n\u003cp\u003eThe album failed to fulfill Austin’s expectations of rock stardom, though the group remained together until their father’s death, performing frequently at the Fremont town hall and a local nursing home, no further albums were released. That might have been the end of it, until rock band \u003cspan class=\"caps\"\u003eNRBQ\u003c\/span\u003e discovered a copy at a Massachusetts radio station and re-released it in 1980. \u003cem\u003eRolling Stone’s\u003c\/em\u003e reviewer at the time described it as “the most stunningly awful wonderful record I’ve heard in ages”.\u003c\/p\u003e\n\u003cp\u003eNearly 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.\u003c\/p\u003e\n\u003cp\u003eDecades later and one could argue that maybe Austin was right all along. 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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.\u003c\/p\u003e\n\u003cp\u003eCrate digger Jameson Sweiger found\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHave You Been Good To Yourself\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand a companion album,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eReal Education\u003c\/em\u003e, 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.\u003c\/p\u003e\n\u003cp\u003eThe seven songs on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHave You Been Good To Yourself\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eare 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. 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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.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDeceit\u003c\/em\u003e, This Heat’s 1981 album, had seen them work with David Cunningham, who had already helped mesh dub reggae with new wave pop on The Flying Lizards’ 1979 single, “Money (That’s What I Want Want).” Even so, \u003cem\u003eFor A Reason\u003c\/em\u003e was a great leap, one that created a strange, unsettling mood as Bullen’s multi-tracked, chant-like vocals met dub beats and Krautrock-informed repetition. 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It’s why Paul McCartney once reproduced Let It Be and why Kate Bush re-recorded Wuthering Heights for her best-of album. For the prolific Michael Chapman, that album is Window, the missing link in the series of Chapman’s early albums being reissued by Light In The Attic Records. Window sits just after the previously released Fully Qualified Survivor and Rainmaker, right before Wrecked Again.\u003c\/p\u003e\n\u003cp\u003eIn 1970, signed to the hip Harvest label (home to Kevin Ayers and Syd Barrett, among others), Chapman was still an artist waiting for that first big success, perpetually skint and permanently touring to make ends meet. With that in mind, he aimed to make Window in as little time as possible because being in the studio meant not being on the road. Producer Gus Dudgeon–who’d been working with Elton John–had other ideas and booked Chapman and his band into one of the UK’s most expensive studios, Trident.\u003c\/p\u003e\n\u003cp\u003eThe singer-songwriter and prodigious guitarist was in transition from his folkier origins to his heavier future and heading for a whole mess of trouble with the same year’s Wrecked Again. Given the touring bust-ups and tortured recording sessions to come, Michael’s wife Andru Chapman remembers the recording of Window was noted for a “lack of hiccups. No one threw their toys out of the pram, unlike Wrecked Again.” Recorded with U.S. guitar player Phil Greenberg, violin player Johnny Van Derek, and pianist Alex Atterson, the album has a blend of electric and acoustic instruments, both traditional and experimental at once, synthetic sounds melding with finger-picked guitars.\u003c\/p\u003e\n\u003cp\u003eThe trouble came later. Immediately after recording finished, Michael took the band back out on the road with the understanding that as soon as he got back, he’d put the final acoustic guitar tracks down to replace what he’s always said were only guide tracks. Unfortunately, Harvest’s parent label decided the album was finished and pressed it up anyway. And Chapman, as a result, hates it. Indeed, 34 years later he even set out to right the wrong, re-recording parts of the LP and noting it was a strange experience listening to “dead people on the between-track studio chatter” (Dudgeon, engineer Robin Cable, and drummer Richie Dharma have all since passed).\u003c\/p\u003e\n\u003cp\u003eAs part of Light In The Attic’s revival of Chapman’s early career, however, the album is presented as was originally released, with Michael’s blessing and albeit with two CD-only bonus tracks. Andru notes, \"Warts and all, it is an important part of the Michael Chapman: The Early Years story.” Michael has been less diplomatic in talking about the album. \"It is a piece of my history for those interested in that, even though I think it sounds like a piece of crap,” he says.\u003c\/p\u003e\n\u003cp\u003eWe’re loathe to disagree with him, but, well, why don’t you take a listen and decide for yourselves?\u003c\/p\u003e\n[[Selling Points]][[Catalog Number]]LITA 124[[Artist]]Michael Chapman","brand":"Light in the Attic","offers":[{"title":"Window \/ Vinyl \/ LP Black","offer_id":32200682176591,"sku":"DE-006","price":16.0,"currency_code":"USD","in_stock":true},{"title":"Window \/ Vinyl \/ LP","offer_id":32236501925967,"sku":"LITA124LP","price":18.0,"currency_code":"USD","in_stock":true},{"title":"Window \/ CD \/ CD","offer_id":32237411532879,"sku":"LITA124CD","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/products\/tmp_2F1420589160795-0x5bbyfzw4zyf1or-d1b778857b07e7e782ed89c421f836c8_2FLITA124_2d9a8bba-495b-457c-a677-bbcaa0951182.jpg?v=1590119590"},{"product_id":"ep","title":"EP","description":"\u003cp\u003e[[Artist]]\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"EP \/ Vinyl \/ 10\" Black","offer_id":32200688500815,"sku":"DWO003","price":16.0,"currency_code":"USD","in_stock":true},{"title":"EP \/ Vinyl \/ LP Etched","offer_id":43348180926709,"sku":"LOH-11","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/products\/tmp_2F1435013358724-prxyhvsf58czbyb9-3a0a11c4110330ff038e1fb5901a6865_2F5053760013013.jpg?v=1589569685"},{"product_id":"the-essential-disney-collection","title":"The Essential Disney Collection","description":"\u003cp\u003e[[Artist]]\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"The Essential Disney Collection \/ Vinyl \/ 2LP Black","offer_id":32200699183183,"sku":"DFLP6","price":35.0,"currency_code":"USD","in_stock":true},{"title":"The Essential Disney Collection \/ Vinyl \/ 2LP Blue","offer_id":43348182139125,"sku":"DFLP006M","price":34.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/products\/tmp_2F1585687809680-8cy76oohtrt-0953f805e584e9e6a3ce8c2acec67322_2FDisney_2B_283_29.jpg?v=1592848024"},{"product_id":"singles","title":"Singles","description":"\u003cp\u003e[[Artist]]\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Singles. \/ Vinyl \/ LP Black","offer_id":32201567404111,"sku":"LIONLP-144","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/products\/tmp_2F1412628961762-neijamh92wng66r-03179b729e167fc938b5a6feea44a64a_2F49th.jpg?v=1589584260"},{"product_id":"god-of-war-original-video-game-soundtrack-old","title":"God of War (Original Video Game Soundtrack)","description":"\u003cp\u003e[[Artist]]\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"God Of War (Original Video Game Soundtrack) \/ Vinyl \/ 2LP","offer_id":32201591816271,"sku":"MOND-129","price":38.0,"currency_code":"USD","in_stock":true},{"title":"God of War (Original Video Game Soundtrack) \/ Vinyl \/ 2LP Multicolor","offer_id":43348177453301,"sku":"MOND-129C","price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/products\/tmp_2F1528219043135-vtv6mpv9sj-6ce4997f22fa136da1858a1965ec2ad8_2FGod_2BOf_2BWar.jpg?v=1589584404"},{"product_id":"metal-gear-original-msx2-video-game-soundtrack","title":"Metal Gear Original MSX2 Video Game Soundtrack","description":"\u003cp\u003e[[Artist]]\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"METAL GEAR - 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The focus was making music and soul searching, as was the practice for affluent young hippies back then. They stayed for two months. “I wanted to go in a new direction,” says Marcos looking back. “I wanted to try out a rock influence and to risk a little bit more.” Shifting away from the studio musicians used on 1971’s \u003cem\u003eGarra\u003c\/em\u003e, \u003cem\u003eVento Sul\u003c\/em\u003e (translation “South Wind”) was a rewarding collaboration with Brazilian progressive rockers O Terço.\u003c\/p\u003e[[Release Description]]\u003cp\u003eDuring the hot Brazilian summer of 1971, Marcos and Paulo Sergio Valle, along with their significant others and six additional couples, rented a few modest fisherman shacks in the small village of Búzios to escape from Rio’s more populated beaches. The focus was making music and soul searching, as was the practice for affluent young hippies back then. They stayed for two months. “I wanted to go in a new direction,” says Marcos looking back. “I wanted to try out a rock influence and to risk a little bit more.” Shifting away from the studio musicians used on 1971’s \u003cem\u003eGarra\u003c\/em\u003e, \u003cem\u003eVento Sul\u003c\/em\u003e (translation “South Wind”) was a rewarding collaboration with Brazilian progressive rockers O Terço.\u003c\/p\u003e\n\u003cp\u003eOriginally released in 1972, \u003cem\u003eVento Sul\u003c\/em\u003e not only channeled the Búzios beach bum vibe, but also manifested a floating dream like psychedelic sound. Any way you spin it, we at Light In The Attic are extremely proud to present \u003cem\u003eVento Sul\u003c\/em\u003e 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, \u003cem\u003eVento Sul\u003c\/em\u003e (including a rare bonus track on the CD version) features extensive liner notes by San Francisco-based writer Allen Thayer (Wax Poetics) with exclusive interview content and song-by-song breakdown from Marcos himself. Fans new and old will finally have easy breezy access to these once hard-to-find Brazilian classics.\u003c\/p\u003e\n\u003cp\u003eElevated by a strong union between Valle and O Terço, \u003cem\u003eVento Sul’s\u003c\/em\u003e magical spell of an album is a welcome addition to any South American friendly record collection and sits proudly with the best of Brazil. File after Os Mutantes and before Caetano Veloso.\u003cbr\u003e\n\u003ciframe width=\"325\" height=\"183\" src=\"\/\/www.youtube.com\/embed\/mJYSmM6XQGU\" frameborder=\"0\" allowfullscreen\u003e\u003c\/iframe\u003e\u003cbr\u003e\n\u003ciframe width=\"325\" height=\"183\" src=\"\/\/www.youtube.com\/embed\/jmZqb_62Sck\" frameborder=\"0\" allowfullscreen\u003e\u003c\/iframe\u003e\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eIn-depth liner notes interviewing Valle\u003c\/li\u003e\n\t\u003cli\u003eFirst Time Available in North America\u003c\/li\u003e\n\t\u003cli\u003eCD version Includes bonus track “O Beato”\u003c\/li\u003e\n\t\u003cli\u003eLyrics in Portuguese \u0026amp; English\u003c\/li\u003e\n\t\u003cli\u003e180-gram wax LP with original art expanded on a gatefold old-school “tip-on” jacket\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]LITA092CD[[Artist]]Marcos Valle","brand":"Light in the Attic","offers":[{"title":"Vento Sul \/ Vinyl \/ LP Black","offer_id":32201725902927,"sku":"LITA092LP","price":19.0,"currency_code":"USD","in_stock":true},{"title":"Vento Sul \/ CD \/ CD","offer_id":32237504233551,"sku":"LITA092CD","price":14.0,"currency_code":"USD","in_stock":true},{"title":"Vento Sul \/ Vinyl \/ LP Blue","offer_id":44065410613493,"sku":"LITA092LP","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/ventoWEB.jpg?v=1696119810"},{"product_id":"spirit","title":"Spirit","description":"[[Release Detail]]\u003cp\u003eWillie Nelson’s 1996 album Spirit is an emotional concept album illustrating the forlorn tale of a man abandoned by the great love of his life. We follow him down the path of loss as he confronts grief, gets back on his feet, and eventually finds solace in acceptance. While producing Spirit, Nelson assuredly knew the commercial risks behind releasing an album this melancholic. After all, in 1973 he himself wrote “sad songs and waltzes ain’t selling this year.” Beloved by those familiar with Nelson’s deep catalog, Spirit largely slipped through the cracks in the mainstream, but remains highly revered amongst critics and fans alike.\u003c\/p\u003e\n\u003cp\u003eBacked by legendary country fiddler Johnny Gimble (of Bob Wills and His Texas Playboys), sister Bobbie Nelson on piano, and his longtime touring guitarist Jody Payne, the song-cycle is anchored by lilting Spanish-inspired instrumentals that absorb a lonesome gravity when placed next to ballads that tug at even the most unwavering heartstrings. Likened to Bob Dylan’s Time Out Of Mind or Waylon Jennings’ Right For the Time, Spirit sees Nelson maturing most gracefully: he trades rousing sing-alongs and saloon tunes for gut-wrenching lyrics and instrumentation of greater precision and skill, proving this release as deep and as challenging as his career-defining albums released twenty years before.\u003c\/p\u003e\n\u003cp\u003eOriginally released by Island Records in 1996, Spirit is issued here on vinyl for the first time as a special Record Store Day Black Friday release. Newly remastered with a deluxe, gatefold, ‘tip-on’ uncoated jacket, this is a chance to own this unique album in its most beautifully presented form.\u003c\/p\u003e[[Release Description]]\u003cp\u003eAvailable: June 25th, 2021\u003c\/p\u003e\n\u003cp\u003eWillie Nelson’s 1996 album Spirit is an emotional concept album illustrating the forlorn tale of a man abandoned by the great love of his life. We follow him down the path of loss as he confronts grief, gets back on his feet, and eventually finds solace in acceptance. While producing Spirit, Nelson assuredly knew the commercial risks behind releasing an album this melancholic. After all, in 1973 he himself wrote: “sad songs and waltzes ain’t selling this year.” Beloved by those familiar with Nelson’s deep catalog, Spirit largely slipped through the cracks in the mainstream, but remains highly revered amongst critics and fans alike.\u003c\/p\u003e\n\u003cp\u003eBacked by legendary country fiddler Johnny Gimble (of Bob Wills and His Texas Playboys), sister Bobbie Nelson on piano, and his longtime touring guitarist Jody Payne, the song-cycle is anchored by lilting Spanish-inspired instrumentals that absorb a lonesome gravity when placed next to ballads that tug at even the most unwavering heartstrings. Likened to Bob Dylan’s Time Out Of Mind or Waylon Jennings’ Right For the Time, Spirit sees Nelson maturing most gracefully: he trades rousing sing-alongs and saloon tunes for gut-wrenching lyrics and instrumentation of greater precision and skill, proving this release as deep and as challenging as his career-defining albums released twenty years before.\u003c\/p\u003e\n\u003cp\u003eOriginally released by Island Records in 1996, Spirit is newly remastered and housed in a gatefold jacket. 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That was when Light In The Attic released a landmark compilation called \u003cem\u003eWheedle’s Groove: Seattle’s Finest In Funk \u0026amp; Soul 1965-75\u003c\/em\u003e, and to celebrate brought together many of those original Seattle funk and soul artists for a one-night-only reunion concert, led by young blood music director and \u003cspan class=\"caps\"\u003eKEXP\u003c\/span\u003e DJ Johnny Horn, and featuring Robbie Hill, Overton Berry, Patrinell Staten, Ron Buford, and KYAC’s very own #1 boss-jock Robert Nesbitt. The following day, still on a high from the show, \u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e, Horn, DJ Mr. Supreme, and lead-producer Dynomite D (Beastie Boys) birthed the idea of cutting a new album – covers and originals – with some of these local music legends.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eSo the choice was made to record all analog at the very studio where it all began – Audio Recording – with the man who not only fostered an original Northwest sound but engineered a handful of the original Wheedle’s Groove tracks – studio wiz Kearney Barton (The Sonics, The Wailers, Black On White Affair). 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Light In The Attic proudly presents the first true debut of Studio One veteran and Jackie Mittoo band mate Wayne McGhie \u0026amp; the Sounds of Joy. Originally released in 1970 on the Birchmount label, this self-titled masterpiece is a wicked mix of reggae, funk, soul and wide open drum breaks. The best album you never got the chance to hear and cited by many as the first Canadian soul album!\u003c\/p\u003e[[Release Description]]\u003cp\u003eFinally back in print and one of the pinnacle releases in the Light in the Attic Records catalog, \u003cem\u003eWayne McGhie \u0026amp; the Sounds of Joy\u003c\/em\u003e is the debut album of Jamaican-Canadian legend Wayne McGhie. Originally released in 1970 on the Birchmount label, the Sounds of Joy is a crucial mix of funk, soul, and reggae. Cited as one of the first Canadian soul albums (and now heralded as one of Toronto’s best LPs ever), LITA’s expanded 2014 vinyl edition celebrates the ten-year anniversary of our landmark 2004 reissue.\u003c\/p\u003e\n\u003cp\u003eIn 1967, Kingston-born musician Jo-Jo Bennett (Byron Lee \u0026amp; the Dragonaires, Jo-Jo \u0026amp; the Fugitives), then living in Toronto, sent word to Jamaica: The West Indian Federation (W.I.F.) Club needs a band! Wayne quickly responded to the call, moving from Montego Bay to Ontario later that year. Possessed with an intensified vision, Wayne started to assemble a stellar cast of Jamaican ex-pat musical friends and Studio One vets to record his own album, captured during off-hours at Art Snider’s Sound Canada Recording Centre in the winter of 1969. Wayne was only twenty-three at the time.\u003c\/p\u003e\n\u003cp\u003eTwelve musicians are credited on the \u003cem\u003eSounds of Joy\u003c\/em\u003e LP sleeve including Alton Ellis, Ike Bennett, drummer Everton Paul, and Lloyd Delpratt; others, including keyboard king Jackie Mittoo, are rumored to have sat in. Of the ten songs, six were McGhie originals, and while the material moves from funk to soul to reggae, it’s Wayne’s pure and soulful voice that sets the tone. While the Sounds of Joy started to gig in support of the album, the Birchmount label did nothing to promote it. Months later, an accidental fire at the pressing plant destroyed all remaining copies of the record. The album was lost, never to be repressed. The Sounds of Joy were gone. Life moved on.\u003c\/p\u003e\n\u003cp\u003eMcGhie spent much of the 1970s recording one-off projects, occasionally touring throughout Canada. He also performed on a number of sessions for Mittoo, Bill King, and Studio One, but as the seventies drew to a close, McGhie started dealing with serious mental health concerns. He abandoned his creative aspirations and disappeared from the music world. Still, by the mid-1990s, the tides had turned. The Sounds Of Joy were back, on record at least, sparked by a renewed interest in the extremely rare Birchmount LP from talented hip-hop producers and forward-thinking vinyl champions like Q-Tip, Pete Rock, Supreme La Rock, and Mr. Attic (Da Grassroots).\u003c\/p\u003e\n\u003cp\u003eFor much of 2003, Light in the Attic searched high and low for McGhie’s whereabouts. Friends from Jamaica to Toronto had all lost touch years ago. Wayne was truly missing in action until a chance meeting with Toronto-based Jamaican singer Jay Douglas provided the clues and contacts needed. In January 2004, Light in the Attic, along with DJ and Canadian music historian\/liner notes author Kevin “Sipreano” Howes, flew to Toronto to meet the legend himself. 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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.\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eIt’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.\u003c\/p\u003e\n\u003cp\u003eBack 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 \u003cspan class=\"caps\"\u003eKYAC\u003c\/span\u003e radio tied everything together.\u003c\/p\u003e\n\u003cp\u003eThere 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 \u0026amp; 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 \u0026amp; Together was house band at the legendary Golden Crown Up. 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Located just outside of Toronto, the label fired their first shot in 1974 with Johnnie Osborne’s “Sun Rise” backed with the heavenly bounce of “Love Makes The World Go Round” (co-produced by Brown’s one-time collaborator and Half Moon Records founder, Oswald Creary). Throughout most of the seventies, Canadian-produced reggae music was a commercial non-entity, bar a thriving underground scene of ex-pats who simply did what came naturally to them in small studios and private dances.\u003c\/p\u003e[[Release Description]]\u003cp\u003eFor many locals and traveling Jamaican musicians, Jerry Brown’s Malton, Ontario-based Summer Sound Studios – known as Canada’s answer to Lee Perry’s Black Ark – was a creative haven that tapped deep into the depths of universal reggae consciousness. Located just outside of Toronto, the label fired their first shot in 1974 with Johnnie Osborne’s “Sun Rise” backed with the heavenly bounce of “Love Makes The World Go Round” (co-produced by Brown’s one-time collaborator and Half Moon Records founder, Oswald Creary). Throughout most of the seventies, Canadian-produced reggae music was a commercial non-entity, bar a thriving underground scene of ex-pats who simply did what came naturally to them in small studios and private dances. The records mostly sat unnoticed amidst the steady flow of JA product in the gaggle of independent record shops in Toronto that catered to the West Indian population.\u003c\/p\u003e\n\u003cp\u003eThis sleeping giant will rest no more…\u003c\/p\u003e\n\u003cp\u003eOver the years, a veritable who’s who of reggae music legends passed through Brown’s now defunct basement studio, wired by none other than Prince (now King) Jammy: Jackie Mittoo, Willi Williams, Noel Ellis, Johnnie Osbourne, Stranger Cole, Leroy Sibbles, and Carl Dawkins to name a few. One-by-one they recorded the otherworldly tracks that form the cornerstone of Light In The Attic’s \u003cem\u003eSummer Records Anthology (1974-1988)\u003c\/em\u003e. Compiled and annotated by \u003cem\u003eJamaica-Toronto\u003c\/em\u003e series producer Sipreano (aka Kevin Howes) along with art direction by Vincent Cook (2 Step\/Sandinista, Tokyo), this project is a testament to the dedication and persistence of Jerry Brown and his masterful sonic vision.\u003c\/p\u003e\n\u003cp\u003eReggae… Roots… Dub… \u003cspan class=\"caps\"\u003eDVD\u003c\/span\u003e…\u003c\/p\u003e\n\u003cp\u003eThe \u003cem\u003eSummer Records Anthology (1974-1988)\u003c\/em\u003e contains crucial catalogue tracks, unreleased masters, and never heard before alternate takes. Song highlights include Jerry Brown’s “Dreadlock Lady”, Johnnie Osbourne’s “Warrior” (Summer Records unreleased alternate version), and “Reach My Destiny” by Noel Ellis. Maintaining the high production standards of the rest of LITA’s \u003cem\u003eJamaica-Toronto\u003c\/em\u003e series, we are proud to announce a multi-media Dual Disc component to this release featuring over 20-minutes of unseen archival film footage of Jerry Brown, Jackie Mittoo, Willi Williams, and his Summer Records family shot in Toronto and Malton during the late seventies-early eighties.\u003c\/p\u003e[[Selling Points]][[Catalog Number]]LITA029CD[[Artist]]V\/A","brand":"Light in the Attic","offers":[{"title":"Summer Records Anthology (1974-1988) \/ CD \/ CD","offer_id":32236499140687,"sku":"LITA029CD","price":8.0,"currency_code":"USD","in_stock":true},{"title":"Summer Records Anthology (1974-1988) \/ Vinyl \/ 2LP Black","offer_id":44065408680181,"sku":"LITA029LP","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/summer-recs-anthology-cover.jpg?v=1696119789"},{"product_id":"black-monk-time","title":"Black Monk Time","description":"[[Release Detail]]\u003cp\u003eLight In The Attic is ecstatic to present the Monks recorded legacy through two lavishly packaged and lovingly researched reissues (available on CD, LP, and digital download): \u003cem\u003eThe Early Years 1964-1965\u003c\/em\u003e as well as their landmark studio album \u003cem\u003eBlack Monk Time\u003c\/em\u003e. Numerous period photographs (many unseen) and an extensive two-part essay by Canadian music journalist Kevin Howes (Jamaica-Toronto series) accompany both releases and tell the Monks story like it has never been told. Bonus material dating back to pre-Monks Torquays and up to post Black Monk Time 45s are also included.\u003c\/p\u003e[[Release Description]]\u003cp\u003e“Their melodies were pop destructive and must be played to your younger brother”\u003cbr\u003e\n- Jack White, The White Stripes\u003c\/p\u003e\n\u003cp\u003e“The Monks will always be a great band”\u003cbr\u003e\n- Colin Greenwood, Radiohead\u003c\/p\u003e\n\u003cp\u003e“Monastic Madness – Hard Driving Garage Rock!”\u003cbr\u003e\n- Krist Novoselic, Nirvana\u003c\/p\u003e\n\u003cp\u003e“This is a damned enjoyable slightly kinky 60’s garage record”\u003cbr\u003e\n- Iggy Pop\u003c\/p\u003e\n\u003cp\u003eThe Monks were five beat playing American GIs stationed in Germany who, after their discharge, decided to stay and continue their musical mission. Meeting up with a team of local managers, they transformed themselves and their sound into a holy racket like the world had never known. This five-person order literally birthed the above genres through a fuzz-drenched evolution of sound, bursting with social commentary and future primitive rhythms.\u003c\/p\u003e\n\u003cp\u003eLight In The Attic is ecstatic to present the Monks recorded legacy through two lavishly packaged and lovingly researched reissues (available on CD and LP): \u003cem\u003eThe Early Years 1964-1965\u003c\/em\u003e as well as their landmark studio album \u003cem\u003eBlack Monk Time\u003c\/em\u003e. Numerous period photographs (many unseen) and an extensive two-part essay by Canadian music journalist Kevin Howes (Jamaica-Toronto series) accompany both releases and tell the Monks story like it has never been told. Bonus material dating back to pre-Monks Torquays and up to post \u003cem\u003eBlack Monk Time\u003c\/em\u003e 45s are also included.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eCD includes 36-pg deluxe booklet feat. in-depth notes, interviews with band, lyrics, and trove of unseen photos.\u003c\/li\u003e\n\t\u003cli\u003eSelect CDs include limited edition Monks Trading Card (collect all 9 cards!) (\u003cspan class=\"caps\"\u003eNOW\u003c\/span\u003e \u003cspan class=\"caps\"\u003eOUT\u003c\/span\u003e OF \u003cspan class=\"caps\"\u003ePRINT\u003c\/span\u003e)\u003c\/li\u003e\n\t\u003cli\u003eLimited Edition Double Vinyl LP features 180 gram wax, gatefold old school tip-on jacket, band poster, lyrics, and notes. 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Duke Ellington’s celestial “I Like the Sunrise” takes on a life of its own, dazzling the listener and reminding one of Gil Evans, while original tunes such as “I Found Love” unearth Chris Dedrick writing one of the great moments in pop, though history doesn’t know it. The album’s closing number entitled “An Elegy” sees The Free Design at its starkest, musically and lyrically, in the group’s entire career, serving as a powerful tribute to Dwight Dedrick, who died in Vietnam the same year of this release.\u003c\/p\u003e\n\u003cp\u003eIn \u003cem\u003eYou Could Be Born Again\u003c\/em\u003e, The Free Design master the ability to cover previous songs with an innovative and unsullied feel! 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Within about a year, I met some musicians, some of whom were philosophy students and one in particular, Kenneth Mills, became my mentor and co-writer for a lot of my music.\u003c\/p\u003e\n\u003cp\u003eSoon after, my sisters came up and visited, and we sang at a Christmas party that Dr. Mills had, and within six months after that, sang for him some more. Since we were eager to sort of get off of the plateau that we felt we were on, he was willing to continue to work with us. He began to work on our voices and began to work with us on sort of a level of self-discovery that could free us of some of the personality and egotistical traits that everyone grows up accumulating and that tend to stand in the way of further progression, musically. We had actually let go of our identity as The Free Design and became the core of a vocal group that just sort of grew up around us, and really around this technique for freeing the voice, opening the voice. 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Featuring lyrics rife with social commentary masked by sugary yet complex harmonies and jazzy progressions, Kites Are Fun is a sunshine-bubblegum-daisy-puppy pop masterpiece that stands the test of time. Fans of the Beach Boys, the 5th Dimension and other seminal pop artists will wonder how they could’ve overlooked this 1967 gem, now admired by the likes of Beck, Madlib, and Belle \u0026amp; Sebastian.\u003c\/p\u003e\n\u003cp\u003eThe Free Design never achieved mainstream fame – an injustice that still puzzles many critics. Born out of the the Greenwich Village scene of 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. By 1972 they had released six albums, but with the likes of Zappa, Zeppelin, and Bowie on the scene, their tightly-knit vocal arrangements and intricately beautiful melodies were drowned out by the glitz and glamour of more heavy-hitters.\u003c\/p\u003e\n\u003cp\u003eNine of the album’s song are originals, notably the title track, which became an instant soft-pop classic; well-chosen covers, including the Beatles’ “Michelle” and Simon \u0026amp; Garfunkels’ “The 59th Street Bridge Song,” complete the collection. This Record Store Day Black Friday, 50 years after its original release, Light In The Attic is proud to introduce The Free Design to a new generation of listeners.\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eTo celebrate the 50th anniversary of one of Light In The Attic’s very first reissues, we are bringing back The Free Design’s debut album, Kites Are Fun. 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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.\" – \u003cstrong\u003eDavid Fricke, Rolling Stone\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eWhen last we met The Black Angels, they were staring into the desert sun somewhere outside of Austin, Texas. Two years later, night has fallen and the spirits have come out. It’s time for The Black Angels to provide \u003cem\u003eDirections To See A Ghost\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eIf you’re familiar with \u003cem\u003ePassover\u003c\/em\u003e, the band’s 2006 debut, you’ll know that The Black Angels’ music alone is enough to invoke spirits. There’s a name for the band’s sound: \"hypno-drone 'n' roll.\" It’s the sound of long nights on peyote, dreams of a new world order, and half-invented memories of the seamy side of 60s psychedelia.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThe Black Angels formed in Austin, Texas, in 2004, comprised of six people (now five) from very different backgrounds. Singer\/vocalist Christian Bland is the son of a Presbyterian Pastor and was raised in a devoutly religious household. Bassist\/guitarist Nate Ryan was born on a cult compound, and drummer Stephanie Bailey claims she’s a descendent of Davy Crocket. 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Like Devendra Banhart says, \u003cem\u003eSylvie\u003c\/em\u003e is “a gem of an album, fragile and fearless, direct and poetic, timeless and absolutely beautiful. Like Rosalie Sorrels meets the Only Ones.” Or Isobel Campbell on a lost desert night, maybe, with only the moon and a ukulele for company.\u003c\/p\u003e[[Release Description]]\u003cp\u003e\u003ciframe width=\"325\" height=\"183\" src=\"\/\/www.youtube.com\/embed\/1wKRD1VrPL4?rel=0\" frameborder=\"0\" allowfullscreen\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"325\" height=\"183\" src=\"\/\/www.youtube.com\/embed\/G7zphev_6Wk?list=UUPFJl-I-PhIonNPBGUK0Aog\" frameborder=\"0\" allowfullscreen\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e“A lovely voice, a unique voice, the kind of voice that people will get into- that they’ll want to get into.” \u003cbr\u003e\n- \u003cb\u003eBob Johnston\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e“Fragile and fearless, direct and poetic, such a beautifully constructed and timeless album…Rosalie Sorrels meets the Only Ones!” \u003cbr\u003e\n- \u003cb\u003eDevendra Banhart\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e“Sweet music just like Sylvie.” \u003cbr\u003e\n- \u003cb\u003eBrian Wilson\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eAvailable: November 11, 2014\u003c\/p\u003e\n\u003cp\u003eLight In The Attic has an impeccable reputation for uncovering rare and precious albums from the past. Their latest release, \u003cem\u003eSylvie\u003c\/em\u003e, is haunting and out-of-time—but it is also a brand-new, original debut album, by a singer-writer who has been making music since she was a little girl but just for herself. Like Devendra Banhart says, \u003cem\u003eSylvie\u003c\/em\u003e is “a gem of an album, fragile and fearless, direct and poetic, timeless and absolutely beautiful. Like Rosalie Sorrels meets the Only Ones.” Or Isobel Campbell on a lost desert night, maybe, with only the moon and a ukulele for company.\u003c\/p\u003e\n\u003cp\u003eThe raw, delicate, and sensual songs about love and love gone wrong are performed on a ukulele, which here sounds like a broken harp or a heartbroken guitar. “I’d always thought of the uke as a toy, a little handful of happiness,\" says Sylvie, “but not any more. My first ukulele—in fact all my ukuleles—came to me by accident, under strange circumstances usually involving mysterious, vanishing men. From the moment I picked it up, I fell in love. A uke has a sad, fractured sweetness and a modesty. It doesn’t try to impress you, it almost apologizes for being there. The notes are like feathers; you play them and they’re blown away in a second. And yet these songs kept coming through this tiny instrument with all their heartbreak and truth intact.”\u003c\/p\u003e\n\u003cp\u003eThe first person to hear them was Howe Gelb of Giant Sand. “I’d send them one at a time, as I’d written them, and if I left it too long before sending another, he would ask for the next installment. We would talk about recording an album of them one day, and we did.” Meanwhile, she began to make tentative moves back onto the stage, having abandoned it in her teens due to “paralyzing, deer-in-the-headlights stage fright. I guess as you grow up you become a little inured to that particular pain,” Sylvie says. “Or there’s so much other pain it gets put in perspective.” Starting at the deep end, she performed solo at \u003cspan class=\"caps\"\u003eSXSW\u003c\/span\u003e, going on to play a number of shows under the radar with celebrated guest musicians.\u003c\/p\u003e\n\u003cp\u003eLate last year, in a gap between tours, Howe lured Sylvie to the desert where they recorded live to tape in Wavelab Studio in Tucson, with Thoger Lund playing upright bass and Howe, who produced the album, backing her brilliantly on guitar, synthesizers, and piano. “I was staying in Tucson in a motel with no car, running alongside the freeway in the hot morning sun, and then we just went into the cool, dark studio and played. No rehearsals and no going back. It was magic. We planned to record ten of my songs, including a couple I’d just written. 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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.\u003c\/p\u003e[[Release Description]]\u003cp\u003eLegendary 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.\u003c\/p\u003e\n\u003cp\u003eOldham 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. 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It's an epic worthy of Morricone's spaghetti Western scores -- had Morricone been born a guitarist. Ultimately, Beautiful Rivers and Mountains is more than a mere curiosity piece; for all its easy-to-recognize styles, Shin's way of enmeshing them into something original underscores rather than erases their strangeness and splendor -- even to widely exposed Western ears -- making this is an excellent introduction to his work.” \u003c\/em\u003e\u003cstrong\u003e- AllMusic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eShin Joong Hyun’s tale is personal, spiritual, and deep, not only reflecting the full spectrum of human emotions but also reverberating with echoes of sound, some beautiful and life-giving, others restless and ungovernable. These career-spanning anthologies gather Shin’s work as a guitarist, songwriter, producer and arranger of mind-altering experimental pop, acid-folk, and extended psych-funk jams. A musical trip existing somewhere between Motown, Hendrix, and the Velvet Underground.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFirst anthology of Shin Joong Hyun’s music outside of Korea\u003c\/li\u003e\n\u003cli\u003eIncludes an in-depth interview and track-by-track notes by Mr. Shin plus comprehensive liner notes by Kevin “Sipreano” Howes\u003c\/li\u003e\n\u003cli\u003e2xLP housed in gatefold jacket\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 065[[Artist]]Shin Joong Hyun\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Beautiful Rivers and Mountains: The Psychedelic Rock Sound of South Korea's Shin Joong Hyun 1958-1974 \/ Shin Joong Hyun - MP3\/320 \/ album \/ MP3\/320","offer_id":32230142836815,"sku":"54R\/MP3","price":10.99,"currency_code":"USD","in_stock":true},{"title":"Beautiful Rivers and Mountains: The Psychedelic Rock Sound of South Korea's Shin Joong Hyun 1958-1974 \/ Shin Joong Hyun - FLAC \/ album \/ FLAC","offer_id":32230142869583,"sku":"54R\/FLAC","price":10.99,"currency_code":"USD","in_stock":true},{"title":"Beautiful Rivers and Mountains: The Psychedelic Rock Sound of South Korea's Shin Joong Hyun 1958-1974 \/ Shin Joong Hyun - WAV \/ album \/ WAV","offer_id":32230142902351,"sku":"54R\/WAV","price":10.99,"currency_code":"USD","in_stock":true},{"title":"Beautiful Rivers And Mountains: The Psychedelic Rock Sound Of South Korea's Shin Joong Hyun 1958-74 \/ Vinyl \/ 2LP Color","offer_id":32236500484175,"sku":"LITA065LP-COLOR","price":29.0,"currency_code":"USD","in_stock":true},{"title":"Beautiful Rivers And Mountains: The Psychedelic Rock Sound Of South Korea's Shin Joong Hyun 1958-74 \/ CD \/ CD","offer_id":32237409566799,"sku":"LITA065CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Beautiful Rivers And Mountains: The Psychedelic Rock Sound Of South Korea's Shin Joong Hyun 1958-74 \/ Vinyl \/ 2LP Black","offer_id":32237409632335,"sku":"LITA065LP","price":26.0,"currency_code":"USD","in_stock":true},{"title":"Beautiful Rivers And Mountains: The Psychedelic Rock Sound Of South Korea's Shin Joong Hyun 1958-74 \/ Vinyl \/ 2LP Blue Black Splatter","offer_id":45292635455733,"sku":"LITA065-1-1","price":38.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/lita065.jpg?v=1713988450"},{"product_id":"gotta-get-back-the-unreleased-l-a-sessions","title":"Gotta Get Back: The Unreleased L.A. Sessions (12\")","description":"[[Release Detail]]\u003cp\u003eAlmost 10 years ago, Light In The Attic and DJ Supreme La Rock compiled the first ever set of vintage Pacific Northwest soul on \u003cem\u003eWheedle’s Groove: Seattle’s Finest In Funk \u0026amp; Soul 1965-75\u003c\/em\u003e (\u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e 009) featuring such rare sides as “I Just Want To Be (Like Myself)” by legendary funk outfit Robbie Hill’s Family Affair.  Nearly a decade on, more unheard Seattle soul gems continue surfacing.  This November 29th, Light In The Attic is honored to release, for the first time on vinyl, \u003cem\u003eGotta Get Back: The Unreleased L.A. Sessions\u003c\/em\u003e from Robbie Hill’s Family Affair.\u003c\/p\u003e[[Release Description]]\u003cp\u003eAvailable: November 29, 2013\u003c\/p\u003e\n\u003cp\u003e*Please note that this is a Black Friday release and will not be available for pre-order.\u003c\/p\u003e\n\u003cp\u003eAlmost 10 years ago, Light In The Attic and DJ Supreme La Rock compiled the first ever set of vintage Pacific Northwest soul on \u003cem\u003eWheedle’s Groove: Seattle’s Finest In Funk \u0026amp; Soul 1965-75\u003c\/em\u003e (\u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e 009) featuring such rare sides as “I Just Want To Be (Like Myself)” by legendary funk outfit Robbie Hill’s Family Affair.  Nearly a decade on, more unheard Seattle soul gems continue surfacing.  This November 29th, Light In The Attic is honored to release, for the first time on vinyl, \u003cem\u003eGotta Get Back: The Unreleased L.A. Sessions\u003c\/em\u003e from Robbie Hill’s Family Affair.\u003c\/p\u003e\n\u003cp\u003eOriginally recorded at \u003cspan class=\"caps\"\u003eRCA\u003c\/span\u003e Studios in Los Angeles in January 1975 with Executive Producer Cuba Gooding Sr. and The Main Ingredient (the Family Affair were the Ingredient’s backing band at the time), these five tracks remained lost until the recent discovery of the original multi-track masters. The tapes were carefully mixed by renowned engineer and producer Steve Fisk. To say it’s a miracle that these tapes surfaced would be a massive understatement.\u003c\/p\u003e\n\u003cp\u003eRobbie named his band “Family Affair” for a reason – his band is his family and what you hear is proof that the blood really is thicker than the mud. What you’re now holding in your hands is a pinnacle recording from a band that continues on to the present day, surviving in Seattle’s Central District, carrying on a decades’ long tradition.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003ePreviously unreleased on vinyl\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\t\u003cli\u003eLimited and hand-numbered to 2,000 copies worldwide\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]LITA110LP[[Artist]]Robbie Hill's Family Affair","brand":"Light in the Attic","offers":[{"title":"Gotta Get Back: The Unreleased L.A. Sessions \/ Robbie Hill's Family Affair - MP3\/320 \/ album \/ MP3\/320","offer_id":32230150996047,"sku":"74R\/MP3","price":4.99,"currency_code":"USD","in_stock":true},{"title":"Gotta Get Back: The Unreleased L.A. 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A\u0026amp;M shelves the album, and now, 41\u003cbr\u003e\nyears later, the record is finally available for the first time.\u003cbr\u003e\nThat’s the story and here’s where it ends up. Over 40 years in the making, \u003cem\u003eA Fire Somewhere\u003c\/em\u003e is an album oozing with swampy Southern charm.\u003cbr\u003e\nA perfect melding of Memphis soul and San Francisco psych, folk, and\u003cbr\u003e\nrock.\u003c\/p\u003e[[Release Description]]\u003cp\u003e\u003ciframe width=\"325\" height=\"183\" src=\"\/\/www.youtube.com\/embed\/F2HcwdL77ys\" frameborder=\"0\" allowfullscreen\u003e\u003c\/iframe\u003e\u003cbr\u003e\n\u003ciframe width=\"325\" height=\"183\" src=\"\/\/www.youtube.com\/embed\/v0a6qzg2hEQ\" frameborder=\"0\" allowfullscreen\u003e\u003c\/iframe\u003e\u003cbr\u003e\nA hippie-fied, soul-rock, folk-rock, psych-rock gem lost in the vaults for four decades, \u003cem\u003eA Fire Somewhere\u003c\/em\u003e by Ray Stinnett (best known as a member of ‘60s outfit Sam The Sham \u0026amp; The Pharaohs) sounds as fresh as the day it was cut, and comes with extensive liner-notes detailing the fascinating life of a little-documented ‘60s rock voyager.\u003c\/p\u003e\n\u003cp\u003eBorn in Memphis in 1944, Ray Stinnett got his first guitar, aged 12, from Nathan Novak’s pawn shop, where Elvis got his first guitar. Heading back down Beale Street afterwards, the family stopped at a light and a huge pink Cadillac pulled up beside them. “And oh my god – it was Elvis!” recalls Ray, “So I held up my guitar and shouted, ‘Hey Elvis!’ and he looks over and says, “Hey cat.” Ray told his father he was going to work hard and make a gold record… just like Elvis.\u003c\/p\u003e\n\u003cp\u003eBefore long, he was putting the plan into action, first in teen group Johnny and the Electros, then as a duo with drummer Jerry Patterson, playing nightly at honkytonks, roadhouses, beer joints, nightclubs and the many Memphis recording studios. He achieved his promise with Sam The Sham \u0026amp; The Pharaohs – \u003cem\u003eWooly Bully\u003c\/em\u003e was the number one selling record of 1965. At 21, Stinnett was living a life of world tours and screaming fans – the whole mania. The wheels fell off a year later, amid managerial disputes. The four Pharaohs (including Ray) parted ways with Sam, wrote two stinging rebukes (“The Hanging” and “You Sure Have Changed”) and released them as The Violations. Ray became more and more of a prolific writer.\u003c\/p\u003e\n\u003cp\u003eBy 1967, the summer of love, Ray left for Haight Ashbury in San Francisco with his wife and young son, taking up residence at the legendary Morning Star Ranch, where Ray focused on finding his true voice. Returning to Memphis a year later, Ray formed a working friendship with Booker T Jones, who produced Ray’s unreleased \u003cem\u003eSun Tree at Pepper West\u003c\/em\u003e album. Eventually, when Jones moved to Malibu and took a contract with A\u0026amp;M, he lined up a deal for his old friend.\u003c\/p\u003e\n\u003cp\u003eStill working in Memphis with (old) friends Jerry Paterson and Mike Plunk on bass, along with Booker T. and co-mixer\/engineer Richard Rosebrough (Chris Bell, Big Star), Ray channelled his experiences in the pop machine, at Morningstar and beyond into the songs that would become \u003cem\u003eA Fire Somewhere\u003c\/em\u003e. It funnelled the vast experiences of this pop star, cosmic traveller and grounded, loving father.\u003c\/p\u003e\n\u003cp\u003eThe songs contained the fried country twang and boogie-woogie grooves of his hometown and of his youth, but were also threaded through with the new psychedelia – shreds of distorted guitar, looping experimental jams and acoustic renditions. “Art is a reflection of life,” says Ray of the making of \u003cem\u003eA Fire Somewhere\u003c\/em\u003e, “and my life was full of reflection at this time.” And it’s perhaps exactly that fact which kept this incredible record unreleased for all these years.\u003c\/p\u003e\n\u003cp\u003eBy summer, the album was ready for release. By winter, it remained on the shelf. A\u0026amp;M reassured Ray that they were going to make him a superstar. Ray had already done that; he just wanted the songs released. Soon, they hit an impasse. Ray took his tapes and songs and went on with his life. In the end, A\u0026amp;M’s loss – is our gain. Listen, and enjoy, this message from another time, and from an old head on young shoulders. “It’s a torch that’s been carried forty years through the desert, waiting for this moment to arrive,” says Ray.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eOriginal album Executive Producer: Booker T. Jones\u003c\/li\u003e\n\t\u003cli\u003eOriginal art intended for 1971 album release, seen for the first time\u003c\/li\u003e\n\t\u003cli\u003eAll songs previously unreleased\u003c\/li\u003e\n\t\u003cli\u003eCD with 40-pg book with liner notes interviewing Ray with unseen photos\u003c\/li\u003e\n\t\u003cli\u003eDouble LP with download card for full album, plus liner notes and rare photos\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]LITA088CD[[Artist]]Ray Stinnett","brand":"Light in the Attic","offers":[{"title":"A Fire Somewhere \/ Ray Stinnett - MP3\/320 \/ album \/ MP3\/320","offer_id":32230152470607,"sku":"62R\/MP3","price":10.99,"currency_code":"USD","in_stock":true},{"title":"A Fire Somewhere \/ Ray Stinnett - FLAC \/ album \/ FLAC","offer_id":32230152503375,"sku":"62R\/FLAC","price":10.99,"currency_code":"USD","in_stock":true},{"title":"A Fire Somewhere \/ Ray Stinnett - WAV \/ album \/ WAV","offer_id":32230152536143,"sku":"62R\/WAV","price":10.99,"currency_code":"USD","in_stock":true},{"title":"A Fire Somewhere \/ CD \/ CD","offer_id":32236500811855,"sku":"LITA088CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"A Fire Somewhere \/ Vinyl \/ 2LP Black","offer_id":44065410482421,"sku":"LITA088LP","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/LITA088_325_StinnettThumb.jpg?v=1696119810"},{"product_id":"wishbone","title":"Wishbone","description":"[[Release Detail]]\u003cp\u003eAs one of the first Jamaican-Canadian albums to hit the 70s marketplace, \u003cem\u003eWishbone\u003c\/em\u003e was a pioneering move from a recent immigrant. Criminally undocumented and kept a sweet soul secret by record collectors until now, this is a primetime slice of Jackie Mittoo magic, available to all. Meet Jackie and his reggae beat!\u003c\/p\u003e[[Release Description]]\u003cp\u003eBlack, bold, and beautiful, the joyous reissuing of Jackie Mittoo’s extra-rare Canadian debut \u003cem\u003eWishbone\u003c\/em\u003e is the fourth and perhaps most anticipated release in Light In The Attic’s ongoing \u003cem\u003eJamaica to Toronto\u003c\/em\u003e series.\u003c\/p\u003e\n\u003cp\u003eOver the years many have paid tribute to the dynamic range and skills of the late, great Jackie Mittoo. From the emergence of ska right through to rocksteady and the boss sounds of reggae, he was front and center – a pivotal figure and a sharp move-maker. Even after relocating to Canada, a land not necessarily known for its funk factor, this Studio One veteran worked tirelessly to share his gift and spread the music of Jamaica to a wider audience.\u003c\/p\u003e\n\u003cp\u003eIn 1971, Mittoo gave a deep, warm hello kiss to his adopted nation. In 2006, we are proud to re-release this ambitious sure shot from the original two-track masters. Art direction is once again taken care of by the talented Vincent Cook (2STEP-Tokyo) and contains thoughtful design and immaculate presentation to match the soulful sounds within. Both CD and LP versions of \u003cem\u003eWishbone\u003c\/em\u003e are also accompanied by an extensive essay from \u003cem\u003eJamaica-Toronto\u003c\/em\u003e series producer, DJ, and Canadian music historian Kevin Howes (\u003cspan class=\"caps\"\u003eAKA\u003c\/span\u003e Sipreano), making this release a visual and aural snapshot of an era long forgotten.\u003c\/p\u003e\n\u003cp\u003eThe album’s 12 songs reach far beyond the island rhythms of reggae and into the realms of stone cold soul, funk, gospel and R\u0026amp;B – an indication of the eclectic sounds that ruled the action-packed live music scene of Toronto in the day. Ranging from the entrancing Jamaica-meets-Santana vibe of “Grand Funk” to the undeniable percussive bounce of “Groovy Spirit” while “Soul Bird” sounds like an upbeat Jimmy Smith grinder, as the keyboard king takes us on an orchestral baroque\/mod journey with the organ\/harpsichord fueled “Steeple In The Snow”. Sweeping, ebullient Gospel-tinged Reggae comes courtesy of the vocal-strings-and tings “Love Of Life” and the cool rocksteady beat of the maestro’s “Mother Funk”.\u003c\/p\u003e\n\u003cp\u003eAs one of the first Jamaican-Canadian albums to hit the 70s marketplace, \u003cem\u003eWishbone\u003c\/em\u003e was a pioneering move from a recent immigrant. Criminally undocumented and kept a sweet soul secret by record collectors until now, this is a primetime slice of Mittoo magic, available to all.\u003c\/p\u003e\n\u003cp\u003eMeet Jackie and his reggae beat!\u003c\/p\u003e[[Selling Points]][[Catalog Number]]LITA021CD[[Artist]]Jackie Mittoo","brand":"Light in the Attic","offers":[{"title":"Wishbone \/ Jackie Mittoo - MP3\/320 \/ album \/ MP3\/320","offer_id":32230280495183,"sku":"46R\/MP3","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Wishbone \/ Jackie Mittoo - FLAC \/ album \/ FLAC","offer_id":32230280527951,"sku":"46R\/FLAC","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Wishbone \/ Jackie Mittoo - WAV \/ album \/ WAV","offer_id":32230280560719,"sku":"46R\/WAV","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Satisfaction \/ track \/ MP3\/320","offer_id":32230280593487,"sku":"617T\/MP3","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Satisfaction \/ track \/ 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WAV","offer_id":32230281576527,"sku":"626T\/WAV","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Mother Funk \/ track \/ MP3\/320","offer_id":32230281609295,"sku":"627T\/MP3","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Mother Funk \/ track \/ FLAC","offer_id":32230281674831,"sku":"627T\/FLAC","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Mother Funk \/ track \/ WAV","offer_id":32230281707599,"sku":"627T\/WAV","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Right Track \/ track \/ MP3\/320","offer_id":32230281740367,"sku":"628T\/MP3","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Right Track \/ track \/ FLAC","offer_id":32230281773135,"sku":"628T\/FLAC","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Right Track \/ track \/ WAV","offer_id":32230281805903,"sku":"628T\/WAV","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Wishbone \/ CD \/ CD","offer_id":32236499075151,"sku":"LITA021CD","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/jackiemittoo_cover.jpg?v=1696119789"},{"product_id":"noel-ellis","title":"Noel Ellis","description":"[[Release Detail]]\u003cp\u003e\u003cem\u003eNoel Ellis\u003c\/em\u003e features six dub-loved, heavy yet ethereal tracks, with contributions from OG reggae maestros Jackie Mittoo, Willi Williams, and Johnny Osbourne. The eponymous classic lost full-length includes the hugely influential \"Rocking Universally, whose rhythmic influence was Willi Williams’ “Armagideon Time” (covered by The Clash) and the poignantly autobiographical “Memories” (about Noel’s upbringing in Jamaica).\u003c\/p\u003e[[Release Description]]\u003cp\u003e★★★★ “Magnificent” – \u003cspan class=\"caps\"\u003eMOJO\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e★★★★1\/2 “Brilliant” – AllMusic\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNoel Ellis\u003c\/em\u003e features six dub-loved, heavy yet ethereal tracks, with contributions from OG reggae maestros Jackie Mittoo, Willi Williams, and Johnny Osbourne. The eponymous classic lost full-length includes the hugely influential “Rocking Universally”, whose rhythmic influence was Willi Williams’ “Armagideon Time” (covered by The Clash). The poignantly autobiographical “Memories” (about Noel’s upbringing in Jamaica) is a highpoint as well. “Stop Your Fighting” was a universal anti-materialism\/war plea that we should still heed today, while “Marcus Garvey” was delivered in Noel’s playful style, despite a solemn rallying cry of  “Africa it must be free…”\u003c\/p\u003e\n\u003cp\u003eNoel Ellis evoked a transcendent majesty, and the album’s economical performances were a blessing compared to certain overproduced recordings of the era. Tasteful keys, varied percussion, essential echo, conquering dub changeovers, and Noel’s impeccable mic control gave an otherworldly twist to Summer’s remarkable drum and bass sound. It was an end-to-end burner for midnight tokers and cool rulers alike.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eIncludes the original version of “Dance With Me” (sampled in Kanye West’s Grammy nominated single “All Day”)\u003c\/li\u003e\n\t\u003cli\u003eNew edition to celebrate 10 years since our first reissue\u003c\/li\u003e\n\t\u003cli\u003eRestored original album artwork and expanded to a Stoughton gatefold “tip-on” jacket\u003c\/li\u003e\n\t\u003cli\u003eIncludes updated liner notes by Kevin “Sipreano” Howes and archive photos\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]LITA020LP[[Artist]]Noel Ellis","brand":"Light in the Attic","offers":[{"title":"Noel Ellis \/ CD \/ CD","offer_id":32237503578191,"sku":"LITA020CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Noel Ellis \/ Vinyl \/ LP Black","offer_id":32237503610959,"sku":"LITA020LP","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1455144950227-v6ovhwmgny1ra4i-2ac411af49ba83308c12b02036d7affc_2FLITA020_Web.jpg?v=1696119790"},{"product_id":"romantic-times","title":"Romantic Times","description":"[[Release Detail]]\u003cp\u003eEarlier this year, we released the mysterious, bewitching \u003cem\u003eL’Amour\u003c\/em\u003e, a 1983 private press record thought to be the only release by one of music’s true lost talents: Lewis. \u003cem\u003eRomantic Times\u003c\/em\u003e 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.\u003c\/p\u003e[[Release Description]]\u003cp\u003eEarlier this year, we released the mysterious, bewitching \u003cem\u003eL’Amour\u003c\/em\u003e, a 1983 private press record thought to be the only release by one of music’s true lost talents: Lewis.\u003c\/p\u003e\n\u003cp\u003eSo 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.\u003c\/p\u003e\n\u003cp\u003eDeciding 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.\u003c\/p\u003e\n\u003cp\u003eOne 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.\u003c\/p\u003e\n\u003cp\u003eSourced soon after the re-release of \u003cem\u003eL’Amour\u003c\/em\u003e, \u003cem\u003eRomantic Times\u003c\/em\u003e is the 1985 follow-up to \u003cem\u003eL’Amour\u003c\/em\u003e – 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.\u003c\/p\u003e\n\u003cp\u003eRemastered 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 \u003cem\u003eL’Amour\u003c\/em\u003e – is presently soaring into quadruple digits on eBay.\u003c\/p\u003e\n\u003cp\u003eEven 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.\u003c\/p\u003e\n\u003cp\u003eThe 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 \u003cem\u003eL’Amour\u003c\/em\u003e ].  It was a personal plea, of sorts.  Something had gone wrong.  Nerves were clearly exposed.”\u003c\/p\u003e\n\u003cp\u003eIt 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.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eFirst ever LP reissue, first time on CD \u0026amp; Digital\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\t\u003cli\u003eAll tracks newly re-mastered\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\t\u003cli\u003eLP housed in deluxe Stoughton “Tip-On” gatefold jacket\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\t\u003cli\u003eLiner notes by Jack D. Fleischer\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\t\u003cli\u003eAll CD \u0026amp; LP Pre-orders include immediate MP3 download of the full album\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\t\u003cli\u003eLP includes download card for MP3 of the full album\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]LITA123LP[[Artist]]Lewis","brand":"Light in the Attic","offers":[{"title":"Romantic Times \/ Lewis Baloue - MP3\/320 \/ album \/ MP3\/320","offer_id":32230291996751,"sku":"82R\/MP3","price":7.99,"currency_code":"USD","in_stock":true},{"title":"Romantic Times \/ Lewis Baloue - FLAC \/ album \/ FLAC","offer_id":32230292029519,"sku":"82R\/FLAC","price":7.99,"currency_code":"USD","in_stock":true},{"title":"Romantic Times \/ Lewis Baloue - WAV \/ album \/ WAV","offer_id":32230292062287,"sku":"82R\/WAV","price":7.99,"currency_code":"USD","in_stock":true},{"title":"Romantic Times \/ Lewis Baloue - WAV-HD \/ album \/ WAV-HD","offer_id":32230292095055,"sku":"82R\/WAVHD","price":7.99,"currency_code":"USD","in_stock":true},{"title":"Romantic Times \/ Vinyl \/ LP Black","offer_id":32236501532751,"sku":"LITA123LP","price":19.0,"currency_code":"USD","in_stock":true},{"title":"Romantic Times \/ CD \/ CD","offer_id":32237410877519,"sku":"LITA123CD","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1406152015683-jew377kb0fqolxr-766a9de7996a26c7317bec5c7209497b_2FAlbum_2BCover.jpg?v=1696119833"},{"product_id":"a-house-safe-for-tigers-soundtrack","title":"A House Safe For Tigers","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003eLight In The Attic’s Lee Hazlewood Archive Series continues with the first time reissue of one of Hazlewood’s greatest yet largely unknown albums, \u003cem\u003eA House Safe For Tigers\u003c\/em\u003e. Never before available outside of an ultra-limited Swedish pressing in 1975, \u003cem\u003eTigers\u003c\/em\u003e is part reality, part fantasy and perhaps the most revealing portrait ever made by Lee Hazlewood. From the sweeping orchestrations of ‘Souls Island’ – arguably the\u003cbr\u003emost dramatic recording of his career, a memorable, bucolic counterpart to the psychedelic\u003cbr\u003eshowmanship of ‘Some Velvet Morning’ to the country-funk vibe of ‘Sand Hill Anna and the Russian Mouse,’ \u003cem\u003eA House Safe For Tigers\u003c\/em\u003e is a true masterwork in the same league as \u003cem\u003eCowboy In Sweden\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"325\" height=\"183\" src=\"https:\/\/www.youtube.com\/embed\/fNXIdT_gFQk?rel=0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"325\" height=\"183\" src=\"https:\/\/www.youtube.com\/embed\/xdrCA5rBsIw?rel=0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA House Safe For Tigers\u003c\/em\u003e is the soundtrack to one of the seven TV movies Lee Hazlewood made with the director Torbjörn Axelman during his period living in Sweden in the early 1970s. Hazlewood had moved there to lay low and to help his son avoid the draft, but wound up finding happiness and creative freedom. Many of the albums recorded in Sweden made their way no further than Scandinavia, but of them all, \u003cem\u003eA House Safe For Tigers\u003c\/em\u003e is the holy grail for collectors, often changing hands for hundreds of dollars.\u003c\/p\u003e\n\u003cp\u003eOriginally only available in Sweden, this marks the first time \u003cem\u003eTigers\u003c\/em\u003e has been reissued and available the world over. The movie was a “semi-documentary” featuring Hazlewood and his friend Axelman, looking back to childhood and contemplating the meaning of life. In it, Hazlewood runs a marathon, tells anecdotes about a bum who cured his stutter and convinces a group of Swedish children to take sides against Richard Nixon. “It’s strange, very strange,” Hazlewood said, “But we meant it to be strange.”\u003c\/p\u003e\n\u003cp\u003eIt’s not necessary to see \u003cem\u003eA House Safe For Tigers\u003c\/em\u003e to enjoy the soundtrack, of course. Despite the fact that it was never released outside of Sweden, the music’s hallowed reputation – cultivated in the intervening decades by the privileged few who were able to hear it – is testament to the strength of its material.\u003c\/p\u003e\n\u003cp\u003eThe album finds Hazlewood contentedly immersing himself in Swedish life, serenading Gotland, the island Hazlewood fell in love with during the shooting of the television movie \u003cem\u003eCowboy in Sweden\u003c\/em\u003e and where he spent time filming \u003cem\u003eTigers\u003c\/em\u003e. Highlights include “The Nights,” in which Lee conjures up an epic tale of love and genocide that draws on his Native American blood running, “Our Little Boy Blue,” a magical, sleepy lullaby, and the two versions of the stirring, cinematic “Souls Island” frame the album; within them is held the blueprint for Richard Hawley’s solo career.\u003c\/p\u003e\n\u003cp\u003eBefore he died, Hazlewood and Axelman talked about the soundtrack \u003cem\u003eA House Safe For Tigers\u003c\/em\u003e, and whether it would ever be released again. “I don’t know if anybody would be interested,” Lee said. “Maybe perhaps they are. Sometimes we have to wait 30 years to be discovered.”\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFirst ever reissue\u003c\/li\u003e\n\u003cli\u003eRe-mastered from original master tapes\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA087CD[[Artist]]Lee Hazlewood\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"A House Safe For Tigers Soundtrack \/ Lee Hazlewood - MP3\/320 \/ album \/ MP3\/320","offer_id":32230302089295,"sku":"61R\/MP3","price":9.99,"currency_code":"USD","in_stock":true},{"title":"A House Safe For Tigers Soundtrack \/ Lee Hazlewood - FLAC \/ album \/ FLAC","offer_id":32230302122063,"sku":"61R\/FLAC","price":9.99,"currency_code":"USD","in_stock":true},{"title":"A House Safe For Tigers Soundtrack \/ Lee Hazlewood - WAV \/ album \/ WAV","offer_id":32230302154831,"sku":"61R\/WAV","price":9.99,"currency_code":"USD","in_stock":true},{"title":"A House Safe For Tigers \/ Vinyl \/ LP Black","offer_id":32236500582479,"sku":"LITA087LP","price":18.0,"currency_code":"USD","in_stock":true},{"title":"A House Safe For Tigers \/ CD \/ CD","offer_id":32237410156623,"sku":"LITA087CD","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/LITA087_325.jpg?v=1696119811"},{"product_id":"in-my-own-time-50th-anniversary-edition","title":"In My Own Time (50th Anniversary Edition)","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eKaren Dalton’s 1971 album, \u003cem\u003eIn My Own Time\u003c\/em\u003e, stands as a true masterpiece by one of music’s most mysterious, enigmatic, and enduringly influential artists. Celebrating the album’s 50th anniversary, Light in the Attic is honored to present a newly remastered (2021) edition of the album on LP, CD, cassette, and 8-Track.\u003c\/p\u003e\n\u003cp\u003eThe \u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e Anniversary LP edition features the original 10-track album, pressed on clear wax at Record Technology Inc. (\u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e) and housed in an expanded gatefold LP jacket, while the album makes its long-overdue return on the almighty 8-Track format.\u003c\/p\u003e\n\u003cp\u003eBoth the CD and cassette editions feature 9 bonus tracks, including 3 alternate takes from the \u003cem\u003eIn My Own Time\u003c\/em\u003e album sessions, along with 6 previously unreleased tracks captured during Karen’s 1971 European tour, including live at The Montreux Golden Rose Pop Festival and Germany’s Beat Club.\u003c\/p\u003e\n\u003cp\u003eAll audio has been newly remastered by Dave Cooley, while lacquers were cut by Phil Rodriguez at Elysian Masters.\u003c\/p\u003e\n\u003cp\u003eA newly expanded booklet—featuring rarely seen photos, liner notes from musician and writer Lenny Kaye, and contributions from Nick Cave and Devendra Banhart—rounds out the \u003cmeta charset=\"utf-8\"\u003e package (CD booklet 32-pgs; LP \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003ebooklet\u003c\/span\u003e 20-pgs). \u003cbr\u003e\u003cbr\u003eThe Oklahoma-raised Karen Dalton (1937-1993) brought a range of influences to her work. As Lenny Kaye writes in the liner notes, one can hear “the jazz of Ella Fitzgerald and Billie Holiday, the immersion of Nina Simone, the Appalachian keen of Jean Ritchie, [and] the R\u0026amp;B and country that had to seep in as she made her way to New York.\"\u003c\/p\u003e\n\u003cp\u003eArmed with a long-necked banjo and a 12-stringed guitar, Dalton set herself apart from her peers with her distinctive, world-weary vocals. In the early 60s, she became a fixture in the Greenwich Village folk scene, interpreting traditional material, blues standards, and the songs of her contemporaries including Tim Hardin, Fred Neil, and Richard Tucker, whom she later married. Bob Dylan, meanwhile, was instantly taken with her artistry. “My favorite singer in the place was Karen Dalton,” he recalled in \u003cem\u003eChronicles: Volume One\u003c\/em\u003e (Simon \u0026amp; Schuster, 2004). “Karen had a voice like Billie Holiday and played the guitar like Jimmy Reed.”\u003c\/p\u003e\n\u003cp\u003eThose who knew Dalton understood that she was not interested in bowing to the whims of the record industry. On stage, she rarely interacted with audience members. In the studio, she was equally as uncomfortable with the recording process. Her 1969 debut, \u003cem\u003eIt’s So Hard to Tell Who’s Going To Love You The Best\u003c\/em\u003e, reissued by Light in the Attic in 2009, was captured on the sly when Dalton assumed that she was rehearsing songs. When Woodstock co-promoter Michael Lang approached Dalton about recording a follow-up for his new imprint, Just Sunshine, she was dubious to say the least. The album would have to be made on her own terms, in her own time. That turned out to be a six-month period at Bearsville Studios in Woodstock, NY.\u003c\/p\u003e\n\u003cp\u003eProducing the album was bassist Harvey Brooks, who played alongside Dalton on \u003cem\u003eIt’s So Hard to Tell Who’s Going To Love You The Best.\u003c\/em\u003e Brooks, who prided himself on being “simple, solid and supportive,” understood Dalton’s process but was also willing to offer gentle encouragement and challenge the artist to push her creative bounds. “I tried to present her with a flexible situation,” he told Kaye. “I left the decisions to her, to determine the tempo, feel. She was very quiet, and I brought all of it to her; if she needed more, I’d present options. Everyone was sensitive to her. She was the leader.”\u003c\/p\u003e\n\u003cp\u003eDalton, who rarely performed her own compositions, selected a range of material to interpret—from traditionals like “Katie Cruel” and “Same Old Man” to Paul Butterfield’s “In My Own Dream” and Richard Tucker’s “Are You Leaving For The Country.” She also expanded upon her typical repertoire, peppering in such R\u0026amp;B hits as “When a Man Loves a Woman” and “How Sweet It Is.” In a departure from her previous LP, Dalton’s new recording offered fuller, more pop-forward arrangements, featuring a slew of talented studio musicians.\u003c\/p\u003e\n\u003cp\u003eWhile 70s audiences may not have been ready for Dalton’s music, a new generation was about to discover her work. In the decades following her death, many artists would name Karen Dalton as an influence including Lucinda Williams, Joanna Newsom, Nick Cave, Angel Olsen, Devendra Banhart, Sharon Van Etten, Courtney Barnett, and Adele. In the recently acclaimed film documentary \u003cem\u003eKaren Dalton: In My Own Time\u003c\/em\u003e, Cave muses on Dalton’s unique appeal: “There’s a sort of demand made upon the listener,” he explains. “Whether you like it or not, you have to enter her world. And it’s a despairing world.” Peter Walker, who also appears in the film, elaborates on this idea: “If she can feel a certain way in her music and play it in such a way that you feel that way, then that’s really the most magical thing [one] can do.” He adds, “She had a deep and profound and loving soul… you can hear it in her music.”\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e1–10: Originally released as Just Sunshine – \u003cspan class=\"caps\"\u003ePAS\u003c\/span\u003e 6008, 1971\u003cbr\u003e11–13: Alternate Takes from album sessions, 1970\/71\u003cbr\u003e14–15: Recorded live at Beat Club, Germany, April 21, 1971\u003cbr\u003e16–19: Recorded live at The Montreux Golden Rose Pop Festival, May 1, 1971\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eAll tracks from 2021 transfers and newly remastered\u003c\/li\u003e\n\u003cli\u003eCD \u0026amp; Cassette Editions feature 9 bonus tracks, including 6 previously unreleased live performances from The Montreux Golden Rose Pop Festival (May 1971) and Beat Club, Germany (April 1971)\u003c\/li\u003e\n\u003cli\u003eCD \u0026amp; LP editions include a booklet featuring unseen photos and liner notes by Lenny Kaye with contributions from Nick Cave and Devendra Banhart\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eTacks 11-19 Only Available on CD \u0026amp; Cassette Editions\u003c\/li\u003e\n\u003cli\u003e8-Track \u0026amp; single LP editions only include tracks 1-10\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 200[[Artist]]Karen Dalton\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"In My Own Time (50th Anniversary Edition) \/ Karen Dalton - MP3\/320 \/ album \/ MP3\/320","offer_id":32230307921999,"sku":"85R\/MP3","price":10.99,"currency_code":"USD","in_stock":true},{"title":"In My Own Time (50th Anniversary Edition) \/ Karen Dalton - FLAC \/ album \/ FLAC","offer_id":32230307954767,"sku":"85R\/FLAC","price":10.99,"currency_code":"USD","in_stock":true},{"title":"In My Own Time (50th Anniversary Edition) \/ Karen Dalton - WAV \/ album \/ WAV","offer_id":32230307987535,"sku":"85R\/WAV","price":10.99,"currency_code":"USD","in_stock":true},{"title":"In My Own Time (50th Anniversary Edition) \/ Cassette \/ 8-Track","offer_id":46191549513973,"sku":"LITA200-9","price":35.0,"currency_code":"USD","in_stock":true},{"title":"In My Own Time (50th Anniversary Edition) \/ Cassette \/ Cassette Tape","offer_id":32236498649167,"sku":"LITA203-8","price":15.0,"currency_code":"USD","in_stock":true},{"title":"In My Own Time (50th Anniversary Edition) \/ CD \/ CD","offer_id":32237408649295,"sku":"LITA203-2.2","price":15.0,"currency_code":"USD","in_stock":true},{"title":"In My Own Time (50th Anniversary Edition) \/ Vinyl \/ LP Silver","offer_id":46191554232565,"sku":"LITA200-1-2","price":28.0,"currency_code":"USD","in_stock":true},{"title":"In My Own Time (50th Anniversary Edition) \/ Vinyl \/ LP Black","offer_id":32237408682063,"sku":"LITA200-1","price":27.0,"currency_code":"USD","in_stock":true},{"title":"In My Own Time (50th Anniversary Edition) \/ Vinyl \/ LP Clear","offer_id":46191551545589,"sku":"LITA200-1-1","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1636404315523-p452atftqym-fee1d2a312bf3f91b430c0f0d2442024_2Flita200_203_3000px_983965b4-b69f-490a-81a2-36a5bc2ca106.jpg?v=1734479748"},{"product_id":"u-f-o","title":"U.F.O.","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eIn 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.\u003c\/p\u003e\n\u003cp\u003eBy coincidence–or perhaps not–Jim’s 1969 debut album was titled \u003cem\u003eU.F.O.\u003c\/em\u003e Originally released in tiny numbers on a private label, \u003cem\u003eU.F.O.\u003c\/em\u003e was truly lost until Light in the Attic begun a years-long quest to give it the full release it always deserved–and to solve the mystery of Sullivan’s disappearance. Only one of those things happened.\u003c\/p\u003e\n\u003cp\u003eFor record collectors, some albums are considered impossible to get hold of, records so rare you could sit on eBay for years and not get a sniff of a copy. \u003cem\u003eU.F.O.\u003c\/em\u003e was one of those albums. A seventh son, Jim Sullivan was a West Coast should-have-been, an Irish-American former high school quarterback whose gift for storytelling earned him cult status in the Malibu bar where he performed nightly. Sullivan was always on the edge of fame: hanging out with movie stars like Harry Dean Stanton, performing on the Jose Feliciano show, even stealing a cameo in the ultimate hippie movie, \u003cem\u003eEasy Rider\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eFriend and actor Al Dobbs thought he could change all that and founded a label– Monnie Records–to release Jim’s album, enlisting the assistance of Phil Spector’s legendary Wrecking Crew to do so. That’s Don Randi, Earl Palmer, and Jimmy Bond you can hear, the latter also acting as producer and arranger.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eU.F.O.\u003c\/em\u003e was a different beast to the one-man-and-his-guitar stuff Jim had been doing on stage; the LP was a fully realized 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).\u003cem data-mce-fragment=\"1\"\u003e U.F.O.\u003c\/em\u003e is a slice of American pop music filtered from the murky depths of Los Angeles by way of the deep south.\u003c\/p\u003e\n\u003cp\u003eWith no music industry contacts, the record went largely unnoticed, and Jim simply moved on, releasing a further album on the Playboy label in 1972. But by 1975, his marriage breaking up, Jim left for Nashville and the promise of a new life as a sessioneer in the home of C\u0026amp;W. That’s where things get hazy.\u003c\/p\u003e\n\u003cp\u003eWe know he was stopped by cops for swerving on the highway in Santa Rosa some 15 hours after setting off. We know he was taken to a local police station, found to be sober, and told to go to the local La Mesa Motel to get some rest, which he did. Some time later, his car was spotted on a ranch belonging to the local Genetti family, who confronted him about his business there. The next day, his car was found 26 miles down the road, abandoned. His car and his hotel room contained, among other things, his twelve-string guitar, his wallet, his clothes, and several copies of his second album, but no note... and no Jim. It was as if he had simply vanished into thin air.\u003c\/p\u003e\n\u003cp\u003eJim’s family travelled out to join search parties looking for him, the local papers printed missing person stories, but the search proved fruitless. Around the same time, the local sheriff retired and the Genettis moved to Hawaii. Jim’s manager Robert “Buster” Ginter later stated that during the early morning hours of a long evening, Jim and Buster were talking about what one would do if they had to disappear. Jim said he’d walk into the desert and never come back.\u003c\/p\u003e\n\u003cp\u003eTracking down the truth behind Jim’s mystery became an obsession of Light in the Attic’s Matt Sullivan (no relation) when he happened upon a copy of the album and fell in love with it. He embarked on a cross-country pilgrimage in search of master tapes and truth but came back with neither, despite hundreds of phone calls, e-mails, letters, faxes, private detectives, telepathy, palm readings, and meetings with Jim’s wife, son, and producer. Thanks to superb digital mastering techniques, Light in the Attic is still able to present a clean, near perfect copy of Jim’s masterpiece for general consumption for the first time. Enjoy. And remember, beyond the mystery, there’s the music.\u003c\/p\u003e\n\u003cp\u003eThe Jim Sullivan Story on YouTube: \u003cbr\u003ehttp:\/\/www.youtube.com\/watch?v=WsIouGN0Wr8\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eUltra rare 1969 private press psych-folk-rock masterpiece – featuring the legendary Wrecking Crew (Beach Boys, Phil Spector)\u003c\/li\u003e\n\u003cli\u003eFirst time on CD, first LP reissue\u003c\/li\u003e\n\u003cli\u003eNewly remastered\u003c\/li\u003e\n\u003cli\u003eLacquers cut by John Golden Mastering\u003c\/li\u003e\n\u003cli\u003ePlated at Record Technology Inc. (\u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e)\u003c\/li\u003e\n\u003cli\u003eIncludes deep booklet with liner notes by Andria Lisle, rare photos, archival materials and full lyrics (LP: 16-pgs, CD: 48-pgs)\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 206[[Artist]]Jim Sullivan\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"U.F.O. \/ Jim Sullivan - MP3\/320 \/ album \/ MP3\/320","offer_id":32230310248527,"sku":"91R\/MP3","price":9.99,"currency_code":"USD","in_stock":true},{"title":"U.F.O. \/ Jim Sullivan - FLAC \/ album \/ FLAC","offer_id":32230310314063,"sku":"91R\/FLAC","price":9.99,"currency_code":"USD","in_stock":true},{"title":"U.F.O. \/ Jim Sullivan - WAV \/ album \/ WAV","offer_id":32230310346831,"sku":"91R\/WAV","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Jerome \/ track \/ 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Splatter","offer_id":43942347702517,"sku":"LITA206-1-1","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/JimSullivan.jpg?v=1697032706"},{"product_id":"still-dreamin-wild-the-lost-recordings-1979-81","title":"Still Dreamin' Wild: The Lost Recordings 1979-81","description":"[[Release Detail]]\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e[[Release Description]]\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/gOklbYMPfGM?rel=0\" height=\"183\" width=\"325\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/0OUdkC0QGTQ\" height=\"180\" width=\"320\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003ciframe width=\"320\" height=\"180\" src=\"https:\/\/www.youtube.com\/embed\/V8_RUf82I1Y\" frameborder=\"0\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eSome people have to wait for fame; some people wait even longer than most. Donnie and Joe Emerson are in a league of their own. In a relatively short span of time, just two-and-a-half years after releasing their first album \u003cem\u003eDreamin’ Wild\u003c\/em\u003e, the boys recorded close to 70 songs to tape at that magical home studio on the farm. A dozen of them are included here on \u003cem\u003eStill Dreamin’ Wild: The Lost Recordings 1979-81\u003c\/em\u003e and ready to be enjoyed for the first time ever.\u003c\/p\u003e\n\u003cp\u003eAs 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 \u003cem\u003eDreamin’ Wild\u003c\/em\u003e, 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.\u003c\/p\u003e\n\u003cp\u003eAs for \u003cem\u003eDreamin’ Wild\u003c\/em\u003e, 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. \u003cem\u003ePitchfork\u003c\/em\u003e described it as “a godlike symphony to teenhood.” \u003cem\u003eThe New York Times\u003c\/em\u003e flew out to the family farm, while Jimmy Fallon took to Twitter to proclaim his love for the duo.\u003c\/p\u003e\n\u003cp\u003eWith a familiar blend of FM rock, power pop, and new wave, the 12 tracks on \u003cmeta charset=\"utf-8\"\u003e\u003cem data-mce-fragment=\"1\"\u003eStill Dreamin’ Wild\u003c\/em\u003e 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 \u003cem\u003eDreamin’ Wild\u003c\/em\u003e captures the teenage experience, \u003cem\u003eStill Dreamin’ Wild\u003c\/em\u003e 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.\u003c\/p\u003e\n\u003cp\u003eThe long-belated success of \u003cem\u003eDreamin’ Wild\u003c\/em\u003e has given the Emerson brothers – 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. \u003cem\u003eStill Dreamin’ Wild\u003c\/em\u003e 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.\u003c\/p\u003e\n[[Selling Points]]\n\u003cul\u003e\n\u003cli\u003eFirst ever release\u003c\/li\u003e\n\u003cli\u003eAll tracks newly re-mastered from original tapes\u003c\/li\u003e\n\u003cli\u003eLP housed in a deluxe Stoughton “Tip-On” gatefold jacket\u003c\/li\u003e\n\u003cli\u003eLiner notes by Jack D. Fleischer, interviewing Donnie \u0026amp; Joe\u003c\/li\u003e\n\u003cli\u003eLP includes download card\u003c\/li\u003e\n\u003cli\u003eColor vinyl editions (including a “Jingle Demo Reel” 7\" featuring 4 unreleased jingles Donnie wrote for local Washington businesses back in the day)\u003cbr\u003e - 200 on “Snow White” wax + 7\" (\u003ca href=\"http:\/\/lightintheattic.net\/releases\/1006-2014-light-in-the-attic-subscription-part-i\"\u003e \u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e Vinyl subscriber exclusive\u003c\/a\u003e) \u003cbr\u003e - 500 on “Baby Blue” wax + 7\" (\u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e.net pre-orders exclusive – \u003cstrong\u003elimit 2 per customer\u003c\/strong\u003e)\u003cbr\u003e - 100 on “Red\/Black Shag” wax + 7\" (\u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e Shop exclusive – \u003cstrong\u003elimit 2 per customer\u003c\/strong\u003e)\u003c\/li\u003e\n\u003c\/ul\u003e\n[[Catalog Number]]LITA115CD[[Artist]]Donnie \u0026amp; Joe Emerson","brand":"Light in the Attic","offers":[{"title":"Still Dreamin' Wild: The Lost Recordings 1979-81 \/ Donnie \u0026 Joe Emerson - MP3\/320 \/ album \/ MP3\/320","offer_id":32230316605519,"sku":"76R\/MP3","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Still Dreamin' Wild: The Lost Recordings 1979-81 \/ Donnie \u0026 Joe Emerson - FLAC \/ album \/ FLAC","offer_id":32230316638287,"sku":"76R\/FLAC","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Still Dreamin' Wild: The Lost Recordings 1979-81 \/ Donnie \u0026 Joe Emerson - WAV \/ album \/ WAV","offer_id":32230316671055,"sku":"76R\/WAV","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Still Dreamin' Wild: The Lost Recordings 1979-81 \/ Vinyl \/ LP White","offer_id":32236502122575,"sku":"LITA115LP-WHITE","price":19.0,"currency_code":"USD","in_stock":true},{"title":"Still Dreamin' Wild: The Lost Recordings 1979-81 \/ CD \/ CD","offer_id":32237411401807,"sku":"LITA115CD","price":7.0,"currency_code":"USD","in_stock":true},{"title":"Still Dreamin' Wild: The Lost Recordings 1979-81 \/ Vinyl \/ LP Black","offer_id":32237411434575,"sku":"LITA115LP","price":18.0,"currency_code":"USD","in_stock":true},{"title":"Still Dreamin' Wild: The Lost Recordings 1979-81 \/ Vinyl \/ LP + 7\" Blue","offer_id":32237411467343,"sku":"LITA115LP-BLUE","price":19.0,"currency_code":"USD","in_stock":true},{"title":"Still Dreamin' Wild: The Lost Recordings 1979-81 \/ Vinyl \/ LP Black\/Red","offer_id":44065412743413,"sku":"LITA115LP-RED\/BLACK","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/Cover.jpg?v=1696119838"},{"product_id":"dreamin-wild","title":"Dreamin' Wild","description":"[[Release Detail]]\n\u003cp\u003e[[Release Description]]\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/mbK8QOgr7_8\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003ePacific Northwest isolation mixed with wide-eyed ambition, a strong sense of family, and the gift of music proved to be quite the combination for teenage brothers Donnie and Joe Emerson. Originally released in 1979, \u003cem\u003eDreamin’ Wild\u003c\/em\u003e is the sonic vision of the talented Emerson boys, recorded in a family-built home studio in rural Washington State. Situated in the unlikely blink-and-you-missed-it town of Fruitland and far removed from the late 1970s punk movement and the larger disco boom, Donnie and Joe tilled their own musical soil, channeling bedroom pop jams, raw funk, and yacht rock.\u003c\/p\u003e\n\u003cp\u003eSpurred on by their high school’s music program, Donnie and Joe received a further push from their lifelong farmer father, who drew up a contract stating that he’d support his sons lofty ambitions with their very own recording studio as long as they focused on original material, sage advice for a man with zero experience in the music business. After taking out a second mortgage to help cover costs, Don Sr. also built his children a 300-capacity concert hall (dubbed Camp Jammin’) replete with ticket booth, stage, and fully functioning snack bar. The only problem was that the projected audience never quite materialized, despite a prime time TV profile entitled “The Rock And Roll Farmers” from nearby Spokane, Washington. Even the Emerson brothers' school pals were nonplussed at their privately pressed long player; hand distributed to local music stores, but not quite so far as Seattle, five hours away from their rural home. Somewhat dejected by the muted response but never surrendering, both Donnie and Joe continued down a musical path and are still active as performers today.\u003c\/p\u003e\n\u003cp\u003eThis rare slice of bedroom-funk gets the usual Light In The Attic treatment with newly remastered audio, detailed liner notes, and expanded original album art with loads of photos from the Emerson’s collection. Be sure to also check out the short documentary, \u003cem\u003eThe \u003c\/em\u003e\u003cem\u003eRock-n-Roll Farmers: Donnie \u0026amp; Joe Emerson\u003c\/em\u003e.\u003c\/p\u003e\n[[Selling Points]]\n\u003cp\u003e\u003cstrong\u003e2023 Edition:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eIncludes newly expanded artwork\u003c\/li\u003e\n\u003cli\u003eDetailed liner notes by Dave Segal, interviewing the Emersons plus unseen photos, lyrics and \u003cspan class=\"caps\"\u003eOBI\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003eLP includes 20-page booklet\u003c\/li\u003e\n\u003cli\u003eLP pressed at \u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e and housed in a gatefold jacket\u003c\/li\u003e\n\u003cli\u003eSpecial LP color edition pressed on Transparent Blue wax\u003c\/li\u003e\n\u003cli\u003eNewly expanded CD edition includes 36-page booklet\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n[[Catalog Number]]LITA 082[[Artist]]Donnie \u0026amp; Joe 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This is easy-listening porno funk. Originally released as a cinema-only souvenir, this ultra-rare soundtrack stands as one of America’s cultural turning points, finally restored in all its glory.\u003c\/p\u003e\n\u003cp\u003eBoth legendary soundtracks are packaged and available on 1-single CD. And of course, gatefold 180g vinyl LPs with photos, new notes, a fold-out movie poster, and a few other surprises. Plus, liner notes by Ron Jeremy.\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"caps\"\u003eNOTE\u003c\/span\u003e:\u003c\/p\u003e\n\u003cp\u003eIn the early 1970’s, the U.S. government seized all film reels and master tapes for \u003cem\u003eDeep Throat: Part I\u003c\/em\u003e. Therefore all musicians and writers are unknown. In early 2004, a number of long-lost reels were discovered, giving fans a deeper glimpse into the legend of \u003cem\u003eDeep Throat\u003c\/em\u003e. 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He was engineering in the studio and cooking burgers in the Dairy Queen. He had a Robert Mitchum hair cut and a slow humorous style… He was one of the coolest people I ever met. He was Packy Axton.” – Jim Dickinson\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eDespite the loving support of his musically-minded mother, Charles \"Packy\" Axton was ostracized from Stax proper through a rift with uncle Jim Stewart because of his casual approach and oft-eccentric ways. Packy preferred hanging out and playing music with local black musicians, something that, in the racially tense South, was viewed negatively by some. 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Light In The Attic proudly presents the soundtrack to \u003cem\u003eLialeh\u003c\/em\u003e, the first major black porn movie and final word in soulful shaggin' music. Bryan Records originally released the soundtrack to this Shaft-era classic in 1974, and since then, it’s been impossible to find.\u003c\/p\u003e\n\u003cp\u003eMusic fans have long looked to \u003cem\u003eLialeh\u003c\/em\u003e for its seven original Bernard Purdie tracks, his first as writer\/composer, untempered by the A\u0026amp;R’s who guided his records for Flying Dutchman, Date, Prestige and Mega. \u003cmeta charset=\"utf-8\"\u003eBernard “Pretty” Purdie composed, produced, and performed \u003cem data-mce-fragment=\"1\"\u003eLialeh’s\u003c\/em\u003e score, while between projects with Curtis Mayfield, Aretha Franklin, The Last Poets, The Rolling Stones, and James Brown.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e[[Selling Points]][[Catalog Number]]LITA 003[[Artist]]Bernard Purdie\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Lialeh: Original Motion Picture Soundtrack \/ Bernard Purdie - MP3\/320 \/ album \/ MP3\/320","offer_id":32230327746639,"sku":"32R\/MP3","price":6.99,"currency_code":"USD","in_stock":true},{"title":"Lialeh: Original Motion Picture Soundtrack \/ Bernard Purdie - 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He suffered hardships to do so, living hand-to-mouth in a \u003cspan class=\"caps\"\u003eYMCA\u003c\/span\u003e hostel with two like-minded individuals: Mark Lindsey Buckingham and Stephen John Kalinich, whose \u003cem\u003eA World Of Peace Must Come\u003c\/em\u003e has been reissued by Light In The Attic. “Arthur was a peace person. He was all about peace, love, and harmony,” remembers Kalinich in the brand new, extensive liner notes for \u003cem\u003eDreams And Images\u003c\/em\u003e. “He was a person that believed you could change the world. We thought we would be some of the ones to usher in peace.”\u003c\/p\u003e\n\u003cp\u003eWhile Kalinich and Buckingham were signed by the Beach Boys’ Brother Records, Arthur allied with Hazlewood, having knocked on the door of the label’s Sunset Boulevard HQ and auditioned on the spot. Entering the studio with Hazlewood, Donnie Owens, Tom Thacker, and arranger Don Randi, who brought baroque pop grandeur to the songs, Arthur let his music do the talking. \"He stuttered and had a hard time getting his ideas out, so he would sing me the parts he had in mind,” remembers Randi.\u003c\/p\u003e\n\u003cp\u003eA mixture of things conspired to make sure few people heard Arthur, including a packed release schedule at \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e followed by the withdrawal of their major label funding and a lack of foundation on which to market the album. After the 1970 follow-up album, \u003cem\u003eLove Is The Revolution\u003c\/em\u003e, Arthur bowed out of the business, immersing himself in Christianity, family, and a career working first as a rocket engineer and, latterly, a teacher. “I never stopped writing or recording,” he later said. “I recorded in studios, friends’ houses, and live. I just recorded music with my friends or by myself when I felt inspired. For me, singing and songwriting is like breathing; I just do it.”\u003c\/p\u003e\n\u003cp\u003eOn January 10th, 2002, Arthur’s wife Lora died in a car crash. He tragically passed away of a heart attack the same night. Now, with this reissue of his great, lost album, Arthur’s fragile heart can finally be enjoyed by all.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFirst ever LP reissue, first time on CD \u0026amp; Digital\u003c\/li\u003e\n\u003cli\u003eProduced by Lee Hazlewood\u003c\/li\u003e\n\u003cli\u003eFeaturing three unreleased tracks\u003c\/li\u003e\n\u003cli\u003eIn-depth liner notes by \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e Archive Series co-producer Hunter Lea with unseen archive photos\u003c\/li\u003e\n\u003cli\u003eAll tracks newly remastered from the original tapes\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 118[[Artist]]Arthur\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Dreams and Images \/ Arthur - MP3\/320 \/ album \/ MP3\/320","offer_id":32230329155663,"sku":"79R\/MP3","price":10.99,"currency_code":"USD","in_stock":true},{"title":"Dreams and Images \/ Arthur - FLAC \/ album \/ FLAC","offer_id":32230329188431,"sku":"79R\/FLAC","price":10.99,"currency_code":"USD","in_stock":true},{"title":"Dreams and Images \/ Arthur - WAV \/ album \/ WAV","offer_id":32230329221199,"sku":"79R\/WAV","price":10.99,"currency_code":"USD","in_stock":true},{"title":"Dreams and Images \/ CD \/ CD","offer_id":32236501401679,"sku":"LITA118CD","price":14.0,"currency_code":"USD","in_stock":true},{"title":"Dreams and Images \/ Vinyl \/ LP Black","offer_id":44065412579573,"sku":"LITA118LP","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1417477766017-h2i3ovz66asxxbt9-718dad7bff367abe4506e88b23545be3_2FLITA118_Arthur_DreamsAndImages.jpg?v=1696119831"},{"product_id":"streets-ep","title":"Streets EP","description":"[[Release Detail]]\u003cp\u003eThe Blakes’ teaser-debut on Light In The Attic is a limited edition, foil-stamped digipak. The EP features three live-favorites from the band’s late 2007 full-length as well as two brand-new cuts. Like the album, the EP was mixed and mastered by Martin Feveyear (Kings of Leon, The Epoxies).\u003c\/p\u003e[[Release Description]]\u003cp\u003eThe Blakes’ teaser-debut on Light In The Attic is a limited edition, foil-stamped digipak. The EP features three live-favorites from the band’s late 2007 full-length as well as two brand-new cuts. Like the album, the EP was mixed and mastered by Martin Feveyear (Kings of Leon, The Epoxies).\u003c\/p\u003e[[Selling Points]][[Catalog Number]]LITA030CD[[Artist]]The Blakes","brand":"Light in the Attic","offers":[{"title":"Streets EP \/ CD \/ CD","offer_id":32236498321487,"sku":"LITA030CD","price":3.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/theblakes-streetsep-cover.jpg?v=1696119787"},{"product_id":"mingle","title":"Mingle","description":"[[Release Detail]]\u003cp\u003eLike Iceberg Slim chopped with MC5, \u003cem\u003eMingle\u003c\/em\u003e boasts big beats and lighthearted laments without irony or pretension. This is definitely one trio you want to rub shoulders with… dig in.\u003c\/p\u003e[[Release Description]]\u003cp\u003e\u003cem\u003e\u003cspan class=\"caps\"\u003eWICKED\u003c\/span\u003e mix of girl group harmonies, classic rock heaviness, and stone cold hustler humor. – \u003cstrong\u003eSF Weekly\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eUnderground rap hasn’t sounded so fun since the Pharcyde’s early-’90s heyday. – \u003cstrong\u003eEntertainment Weekly\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMight be the best Seattle album of 2008. – \u003cstrong\u003eSeattle Times\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMingle\u003c\/em\u003e is right! The Saturday Knights have been a crucial part of the Seattle music scene, taking on a room of timid rock and rap dwarves with pop smarts as thick as Sonny Liston’s fists. Tapping deep into their creative skills and unprecedented personal charm, Mingle is a flawlessly fluid integration of vintage rock, lady-loving soul, and trailer park punk.\u003c\/p\u003e\n\u003cp\u003eDJ Suspence uses the catchiest rhythms you’ve heard, weaving them through crisp bursts of surf guitar and classic rock. Rhyme-swappers Tilson and Barfly’s superb storytelling address twisted every-day-yet-subterranean subject matter, laid out in sweet barbershop harmonies.\u003c\/p\u003e\n\u003cp\u003eAssisting on the thirteen song debut are the likes of The Dap-Kings (Sharon Jones, Amy Winehouse), Soundgarden’s Kim Thayil, a dash of the Muscle Shoals Horns, and Nirvana producer Jack Endino playing drums on “45.”\u003c\/p\u003e\n\u003cp\u003eLike Iceberg Slim chopped with MC5, \u003cem\u003eMingle\u003c\/em\u003e boasts big beats and lighthearted laments without irony or pretension. This is definitely one trio you want to rub shoulders with… dig in.\u003c\/p\u003e[[Selling Points]][[Catalog Number]]LITA035CD[[Artist]]The Saturday Knights","brand":"Light in the Attic","offers":[{"title":"Mingle \/ CD \/ CD","offer_id":32236498419791,"sku":"LITA035CD","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/TheSaturdayKnights_-_Mingle_-_Cover.jpg?v=1696119788"},{"product_id":"the-blakes-s-t","title":"The Blakes - S\/T","description":"[[Release Detail]]\u003cp\u003ePitchfork has praised the band’s “swampy guitars, twitchy rhythms, and power-pop vocal harmonies” of their self-titled debut album. Mixed and mastered by Martin Feveyear (Kings of Leon, Crooked Fingers), The Blakes recall the stinging catchiness of early Who, Kinks, and other spitfire rock bands.\u003c\/p\u003e[[Release Description]]\u003cp\u003ePitchfork has praised the band’s “swampy guitars, twitchy rhythms, and power-pop vocal harmonies” of their self-titled debut album. Mixed and mastered by Martin Feveyear (Kings of Leon, Crooked Fingers), The Blakes recall the stinging catchiness of early Who, Kinks, and other spitfire rock bands.\u003c\/p\u003e\n\u003cp\u003eThe early influences of Garnet Keim (guitar, vocals) and Snow Keim (bass, vocals) were Hank Williams and Brian Wilson. The brothers busked all around North America, writing songs in hostels and motel bathrooms, finally ending up in Seattle. There they met animalistic, mesmerizing drummer Bob Husak and asked him to join the band. The trio hit the road and have been touring ever since. The band’s debut album has finally arrived! Thirteen tracks full of chaotic and sensuous rock and roll like the regional hits “Don’t Bother Me,” “Two Times,” and “Streets.”\u003c\/p\u003e[[Selling Points]][[Catalog Number]]LITA031CD[[Artist]]The Blakes","brand":"Light in the Attic","offers":[{"title":"The Blakes - S\/T \/ Vinyl \/ LP Black","offer_id":32236498354255,"sku":"LITA031LP","price":11.0,"currency_code":"USD","in_stock":true},{"title":"The Blakes - S\/T \/ CD \/ CD","offer_id":32237408616527,"sku":"LITA031CD","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/theblakes-theblakes-lp.jpg?v=1696119790"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/collections\/LITA_Cool_JeanClaudeVorgeack_WebRes_036.jpg?v=1649251113","url":"https:\/\/lightintheattic.net\/collections\/all.oembed?page=117","provider":"Light in the Attic","version":"1.0","type":"link"}