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It happened with essential punk doc \u003cem\u003eThe Decline of Western Civilization\u003c\/em\u003e, it happened with Dylan’s \u003cem\u003eDon’t Look Back\u003c\/em\u003e and Chet Baker’s \u003cem\u003eLet’s Get Lost\u003c\/em\u003e, and it happened with 1976’s \u003cem\u003eHeartworn Highways\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eThe iconic performance documentary saw filmmaker James Szalapski travel to Texas and Tennessee to capture the radical country artists reclaiming the genre via an appreciation for its heritage in folk and bluegrass and a rejection of the mainstream Nashville machine. Townes Van Zandt, Guy Clark, Steve Young, David Allan Coe, Steve Earle and many others appeared on both screen and soundtrack, where musical highlights include Clark’s brilliant “Desperados Waiting For A Train”, Young’s stirring “Alabama Highways” and Van Zandt’s emotional “Waiting Around To Die”.\u003c\/p\u003e\n\u003cp\u003eThe hard living – and hard partying – lifestyles of outlaw country’s figureheads are played out on screen as we visit Van Zandt’s Austin trailer, see Coe play in Tennessee State Prison, join the gang in Nashville’s notorious Wig Wam Tavern and witness a liquor-fuelled Christmas at Clark’s house. No wonder the film’s original tagline read: “The best music and the best whiskey come from the same part of the country”.\u003c\/p\u003e\n\u003cp\u003eOutside of a couple festival screenings, the movie remained unreleased for five years after its completion, finally hitting screens in 1981 and finding a cult audience ever since.\u003c\/p\u003e\n\u003cp\u003eFirst released in 2006 by Hacktone Records, we are proud to re-release the film’s stunning soundtrack on double vinyl and CD.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e20 page booklet with essay by Sam Sweet interviewing artists and documentary creators and crew\u003c\/li\u003e\n\u003cli\u003eProduced for rerelease by David Gorman, Patrick McCarthy, Michael Nieves, Matt Sullivan, and Sam Sweet\u003cbr\u003e\u003cbr\u003eSpecial thanks to David Gorman \u0026amp; Michael Nieves at Hacktone Records. 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He said, ‘No, I want you to do it and I want to just be a singer.’ So I said okay.” -Shel Talmy\u003c\/p\u003e\n\u003cp\u003eOriginally titled Will The Real Lee Hazlewood Please Stand Up?, Forty was a different kind of Hazlewood album, one in which Lee just focused on being a performer. In 1969 on the eve of his fortieth birthday, Lee flew to England and enlisted Shel Talmy (The Kinks, The Who, Chad \u0026amp; Jeremy, Bert Jansch) to produce an album and hand pick the songs. Shel picked some incredible songs for Lee to sing and even wrote him a song that should’ve been a hit, “Bye Babe.” Recorded at famed \u003cspan class=\"caps\"\u003eIBC\u003c\/span\u003e recording studio with cream of the crop British session musicians and arrangers, no expense was spared.\u003c\/p\u003e\n\u003cp\u003eNicky Hopkins piano\/organ work on “The Bed” and “The Night Before” evoke his then recent work with the Rolling Stones on Beggar’s Banquet and Let It Bleed. Arranger David Whitaker’s (Serge Gainsbourg, Vashti Bunyan, Air, “Bittersweet Symphony”) wizardry creates a lush, sophisticated orchestral sound.\u003c\/p\u003e\n\u003cp\u003e“He was one of the more unique arrangers I’ve ever run into. I think “It Was A Very Good Year” is one of the best arrangements of that song ever.” – Shel Talmy\u003c\/p\u003e\n\u003cp\u003eForty begins with the boozy suite “It Was A Very Good Year”, a swingin’ shapeshifter that could’ve been a James Bond theme. The album traverses many styles from melancholy baroque orchestral pop(“What’s More I Don’t Need Her” “Bye Babe” \u0026amp; “The Night Before”) to country funk (“The Bed” \u0026amp; “Let’s Burn Down the Cornfield.”)\u003c\/p\u003e\n\u003cp\u003eLight in the Attic Records is proud to continue its Lee Hazlewood Archival series with an expanded reissue of Forty. Every track Shel and Lee recorded for Forty are included here for the first time, including the outtake “For Once in My Life” and the previously unreleased backing track “Send Out Love.”\u003c\/p\u003e\n\u003cp\u003eIn exchange for piles of money from major labels, Lee and \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e made promises to produce an amount of recorded material that wasn’t humanly possible for one man and a small label. The logistics didn’t matter to Lee; once the check was cashed, he would do his damnedest to deliver the herculean output. Forty was one of those records, but what a beautiful way to meet a quota.\u003c\/p\u003e\n\u003cp\u003eLee liked his work with Shel so much that tracks from Forty were included on subsequent Hazlewood albums Cowboy in Sweden (1970) and Movin’ On (1977).\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eAlbum remastered from pristine \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e master tapes\u003c\/li\u003e\n\u003cli\u003eIncludes session outtake “For Once in My Life” and previously unreleased backing track “Send Out Love”\u003c\/li\u003e\n\u003cli\u003eLiner notes by Hunter Lea including an interview with Shel Talmy\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 161[[Artist]]Lee Hazlewood\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Forty \/ Lee Hazlewood - MP3\/320 \/ album \/ 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You could tell by the look in his eyes, that the half-dozen shots of Chivas Regal had put his ego to rest, and he was ready to sing with the “Lady.” They Sang for three nights – the “Cowboy” and the “Lady”, and the Gods were kind, and their album was finished on time. Herein, lie the results…some good, some bad and some more. -Lee Hazlewood\u003c\/p\u003e\n\u003cp\u003e“He had that wonderful, raw sense of humor and that good ol’ boy accent. He certainly could turn a phrase.” -Ann-Margret\u003c\/p\u003e\n\u003cp\u003eIn 1969 Lee Hazlewood’s personal record label \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e Records was flush with major label cash and Lee wanted to make Ann-Margret his next big star. In the quest for a hit, the pair recorded fuzzed out acid rock (“It’s A Nice World To Visit (But Not To Live In)” \u0026amp; “You Turned My Head Around,”) orchestral pop (“Sleep in the Grass” \u0026amp; “Chico”) and a genuine country album cut in Nashville.\u003c\/p\u003e\n\u003cp\u003eLight in the Attic Records is proud to continue it’s Lee Hazlewood archival series with an expanded reissue of Lee \u0026amp; Ann-Margret’s The Cowboy \u0026amp; The Lady. The album is Hazlewood’s truest country album and a perfect example of the genre hopping he was afforded at \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e with unlimited creative freedom and money to burn. Recorded over a weekend in Nashville with the help of Charlie McCoy and some Nashville session musicians.\u003c\/p\u003e\n\u003cp\u003e“That was 47 years and about 5000 sessions ago.” – Charlie McCoy\u003c\/p\u003e\n\u003cp\u003eWith improvised lines like “Look at her standing there with chili all over her dress \/ If I knew her better, I’d give her a puppy,” the sessions were loose and fun, with most tracks cut in one or two takes.\u003c\/p\u003e\n\u003cp\u003e“I had done things in Nashville before. I worked with The Jordanaires in ’62 or ’63. We did a lot of things. I had worked with Charlie McCoy, Floyd Cramer, and Chet Atkins. I love the feeling of Nashville.” – Ann-Margret\u003c\/p\u003e\n\u003cp\u003eA whirlwind year of lear jet promo tours, magazine photo shoots, television specials and cutting records for \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e wasn’t able to bring the success that Lee and Ann-Margret pushed for. A second \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e album with Ann-Margret was planned but never recorded. Within a year of making the trip to Nashville, Lee would be living in Sweden full-time and Ann-Margret would focus on her acting career for the better part of a decade. Nothing exemplifies Lee’s “throw it against the wall and see if it sticks” record production of the \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e era like his work with Ann-Margret. Though it didn’t stick, and it didn’t sell, Lee’s adventure with Ann-Margret is an extravagant tangent that has since grown a cult following…\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eAlbum remastered from pristine \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e master tapes\u003c\/li\u003e\n\u003cli\u003eIncludes non-album \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e singles as bonus tracks\u003c\/li\u003e\n\u003cli\u003eLiner notes by Hunter Lea including interviews with Ann-Margret \u0026amp; Suzi Jane Hokom\u003c\/li\u003e\n\u003cli\u003eEssay by Lydia Hyslop\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 160[[Artist]]Lee Hazlewood \u0026amp; Ann-Margret\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"The Cowboy \u0026 The Lady \/ Ann-Margret \u0026 Lee Hazlewood  - MP3\/320 \/ album \/ 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Color","offer_id":44065414578421,"sku":"LITA160LP-COLOR","price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1505941827357-4f1g42bjhx8-bc3619e570ec4fa63439ebf8572703ba_2FLITA160_Cover.jpg?v=1696119870"},{"product_id":"1992-2001","title":"1992 - 2001","description":"\u003cp\u003e[[Release Detail]][[Release Description]] \u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/YSfoB3wEooI?si=TnlcCswNWdP2sdaM\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\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\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\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\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\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\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\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\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\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\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\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eLiner notes by Sam Sweet\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 159[[Artist]]Acetone\u003c\/p\u003e","brand":"Light in the 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Blue","offer_id":44088493277429,"sku":"LITA159-1-1","price":38.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1493764351162-ai8hwwa3hsh-806ff153653ea7306f069a8cda76efd7_2FAcetone-Cover.jpg?v=1697032707"},{"product_id":"rose-colored-corner","title":"Rose Colored Corner","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/vgQvE62Ebag\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003eThough most of the world may not know the songs of Lynn Castle, she is an artist whose work stretches across seven decades. She has created a diverse and vast (albeit mostly unreleased) discography of pop, folk, country, gothic, rock, punk, blues, and children’s songs. Light In The Attic Records is very excited to continue its Lee Hazlewood Archive Series with \u003cem\u003eRose Colored Corner\u003c\/em\u003e, a collection of intimate recordings Lynn Castle made with Jack Nitzsche in 1966 and her complete recorded output with Lee Hazlewood on \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e Records. For the first time ever Lynn is sharing recordings from her personal archive and telling her story.\u003c\/p\u003e\n\u003cp\u003eIn the 1960s Lynn became the first lady barber in LA just as long hair on men became hip. By day she was styling The Monkees, Boyce and Hart, Del Shannon, Sonny \u0026amp; Cher, the Byrds and countless others…by night she was writing songs. Despite lacking the desire to self promote and a crippling insecurity that made it hard to sing in front of anyone, her songs managed to bend the ears of such industry heavyweights as Phil Spector, Jack Nitzsche and Lee Hazlewood. “It was so hard to get me to sing,” explained Castle. “I had buried it so low, I didn’t think I was good at all. Lee heard my songs and thought I was fabulous. He said, ‘Oh my god, you’re really good! Let’s cut a record.’\u003c\/p\u003e\n\u003cp\u003eHer sole 1967 45 “The Lady Barber\" b\/w \"Rose Colored Corner,” released on Lee Hazlewood Industries is a slice of psychedelic pop heaven. A full length album was never completed, but her sparse demos with Jack Nitzsche give the listener a peek of what one might have sounded like. If you are familiar with Nitzsche’s mid-60s work with Tim Buckley, Bob Lind, and Buffalo Springfield…you can squint your ears and imagine her songs bejeweled with lush strings, finger cymbals, and delicate harpsichord. Instead, the songs remained unheard until now.\u003c\/p\u003e\n\u003cp\u003eJust because her songs weren’t recognized at the time doesn’t diminish their magic. This music is meant to be found and heard. Though commercial success may remain elusive, sometimes strange premonitions are realized… “When I was young, making music in the ‘60s, I had this strange thought that one day I would be this old woman, and young people would come find me and tell me that my music meant something to them.” – Lynn Castle\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRemastered from pristine original master tapes\u003c\/li\u003e\n\u003cli\u003e10 previously unreleased songs recorded with Jack Nitzsche\u003c\/li\u003e\n\u003cli\u003eIncludes Lynn’s sole \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e 45 produced by Lee Hazlewood\u003c\/li\u003e\n\u003cli\u003eLiner notes by Hunter Lea with Lynn Castle interview\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 157[[Artist]]Lynn Castle\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Rose Colored Corner \/ Lynn Castle - MP3\/320 \/ album \/ 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src=\"https:\/\/www.youtube.com\/embed\/0aCYVWbqxMI\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn February of 1971, Larry Ray and Bill Szymczyk fled an earthquake and a debauched L.A. music scene to claim their own slice of utopia in Denver, Colorado. After meeting and bonding at \u003cspan class=\"caps\"\u003eABC\u003c\/span\u003e-Dunhill, where Ray landed as general manager, and where Szymczyk had breezed in from New York — fresh off his first real hit as a burgeoning engineer\/producer with BB King’s “The Thrill is Gone” — they’d often daydreamed about starting their own label.\u003c\/p\u003e\n\u003cp\u003eIn Denver, Ray and Szymczyk settled on the name Tumbleweed Records, and through industry connections they secured multi-million-dollar financing from Gulf + Western, whose head honchos believed they were bankrolling the hippie movement’s next big thing.\u003c\/p\u003e\n\u003cp\u003eBut instead of producing the next Janis Joplin or Jimi Hendrix, Ray and Szymczyk turned their sights on idiosyncratic wunderkinds like Pete McCabe, moody songwriters Robb Kunkel and Danny Holien, psych-folk rocker Arthur Gee, all the while providing a platform for more established musicians like Albert Collins and Dewey Terry (of Don \u0026amp; Dewey fame), while launching the career of Michael Stanley.\u003c\/p\u003e\n\u003cp\u003eIt was the best of times, it was the worst of times, and, per Szymczyk, it was a “bitchin’ disco time.” Drugs, parties, poetry, celebrities, money—Tumbleweed had it all, except airplay and distribution. Two years after its storied start, the label was finished.\u003c\/p\u003e\n\u003cp\u003eRay would go on to various opportunities, including producing five country albums alongside Bill Halverson, while Szymczyk would soon skyrocket to fame after producing The Eagles’ Hotel California. Yet most of Tumbleweed’s artists have been relegated to thrift store bin obscurity—until now. This landmark release not only showcases Ray’s vision and Szymczyk’s early work, but begins a major reappraisal of Tumbleweed’s catalog by bringing these songs out of the shadow of the Rocky Mountains and back into the spotlight.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRestored and remastered audio\u003c\/li\u003e\n\u003cli\u003eLiner notes interviewing Tumbleweed principals Larry Ray and Bill Szymczyk, as well as surviving employees and artists\u003c\/li\u003e\n\u003cli\u003eUnseen archive photos, album artwork and label history\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 154[[Artist]]V\/A - Tumbleweed Records\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"The Tumbleweed Records Story 1971 - 1973 \/ Various Artists - MP3\/320 \/ album \/ 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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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Sharecropper. Church deacon. Civil Rights activist. Hayes McMullan should be a name on every Blues aficionados’ short-list and thanks to the preservation fieldwork carried out by one of the genre’s greatest researchers some 50 years ago – it might soon be.\u003c\/p\u003e\n\u003cp\u003eBorn in 1902, Hayes McMullan was discovered by the renowned American roots scholar, collector and documentarian Gayle Dean Wardlow. Wardlow, author of the seminal blues anthology \u003cem\u003eChasin’ That Devil Music – Searching for the Blues\u003c\/em\u003e, may be most famous for uncovering Robert Johnson’s death certificate in 1968, finally revealing clues to the bluesman’s mysterious and much disputed demise. Moreover, in his tireless and committed mission to preserve the Blues for future generations, he captured McMullan’s raw talent on tape and on paper. Wardlow recorded these sessions, transcribed the songs and now, writes the sleeve-notes for this landmark release.\u003c\/p\u003e\n\u003cp\u003eWardlow and McMullan met by chance on one of the former’s record-hunting trips, in Tallahatchie County, Mississippi, in 1967. Having introduced himself to McMullan on a hunch, it turned out this unassuming elderly man had not only heard of Wardlow’s idol, Charley Patton, but had played alongside him in the 1920s, as part of a brief musical journey that took him from the plantation to the open roads and juke joints of the Depression-era South. Striking up a friendship that was deemed unorthodox in 1960’s Mississippi, Wardlow traveled to McMullan’s sharecropper’s shack and convinced him to play guitar for the first time since he quit the Blues for the Church in the 30’s. “Hayes was playing like no one I had ever heard,” Wardlow writes with amazement.\u003c\/p\u003e\n\u003cp\u003eWardlow visited McMullan on a handful of occasions, always taking his recorder, a guitar and some whiskey with him. It was during these visits that Wardlow captured – with surprising clarity – the songs that make up \u003cem\u003eEveryday Seem Like Murder Here\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eHayes McMullan passed away at the age of 84 in 1986, his talent and legacy largely unknown. “Reflecting now on our brief time together, I marvel at the small glimpse of something much larger I was lucky to have captured,” writes Wardlow. “The few old snapshots I took, the handful of tunes we recorded, and his brilliant performance of “Hurry Sundown” captured on film are all that’s left of the musical legacy of Hayes McMullan, sharecropper, deacon, and—unbeknownst to so many for so long—reluctant bluesman.”\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eAll tracks previously unreleased (except track #3)\u003c\/li\u003e\n\u003cli\u003eRemastered from original tapes\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eLiner notes by blues historians Gayle Dean 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It is perhaps the strangest record in one of the most varied discographies in music. The bombastic brass heavy funk, deep blues and soul paired with Hazlewood’s subterranean baritone would be best enjoyed with a tall Chivas in an off-strip seedy Vegas lounge. It also features one of Hazlewood’s greatest lines ever “One week in San Francisco, existing on Nabisco, cookies and bad dreams, sad scenes and dodging paranoia.”\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“Pimps… whores… pushers… dopers… gangsters… and bottom of the human chain shit-heels. Now you’re probably thinking I’m writing about major record companies and their unscrupulous executives… and lawyers. You could be right… but this time… YOU’RE \u003cspan class=\"caps\"\u003eWRONG\u003c\/span\u003e!\u003c\/em\u003e \u003cem\u003eI’m describing the characters in my album ‘13’\u003c\/em\u003e \u003cem\u003e…Some I knew… some I invented … some are true… some are false… some I liked… some I didn’t. But they all had a story to tell and I told it…none of ‘em seem to care… and I don’t either… have fun…\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e- Lee Hazlewood\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“He took my voice off the album and put his voice on the album. Now don’t forget these were in my keys, it was my charts, it was my everything. Lee Hazlewood was not even remotely going to be considered as an artist for this album and that’s the way he wanted it.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e- Larry Marks\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e13\u003c\/em\u003e was never supposed to be a Lee Hazlewood album. It is perhaps the strangest record in one of the most varied discographies in music. The bombastic brass-heavy funk, deep blues and soul paired with Hazlewood’s subterranean baritone would be best enjoyed with a tall Chivas in an off-strip seedy Vegas lounge. It also features one of Hazlewood’s greatest lines ever “One week in San Francisco, existing on Nabisco, cookies and bad dreams, sad scenes and dodging paranoia.”\u003c\/p\u003e\n\u003cp\u003eBy 1972 Lee Hazlewood had settled in his new homeland of Sweden. His days were spent carousing, making movies with Torbjörn Axelman and releasing albums. To keep up his prolific recorded output, Lee began to mine the recently defunct \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e Records archives for material. One such gem, was an unreleased album by Larry Marks.\u003c\/p\u003e\n\u003cp\u003eIn what became the final days of \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e, staff producer Larry Marks’ sonic fingerprints were on nearly everything; songwriting, producing, arranging, and singing. His most profound contribution was steering the creative direction of the label towards soul and R\u0026amp;B, arranging the downright funky \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e singles by Barbara Randolph and Jon Christian. Larry’s concept was to take Hazlewood’s strongest compositions and arrange them in a soul vibe. An album was completed, but with no distribution in America and no funding, Lee had no vehicle to release Larry’s record. The tapes were taken to Sweden, Larry’s voice was wiped and Hazlewood’s was dubbed….\u003cem\u003e13\u003c\/em\u003e was born.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"caps\"\u003ePRE\u003c\/span\u003e-\u003cspan class=\"caps\"\u003eORDER\u003c\/span\u003e \u003cspan class=\"caps\"\u003eEDITION\u003c\/span\u003e:\u003cbr\u003e“Golden Memories” gold wax limited to 300 copies. Limit two per customer.\u003c\/li\u003e\n\u003cli\u003eLee Hazlewood comic strip, the story of \u003cem\u003e13\u003c\/em\u003e told through original artwork by Jess Rotter\u003c\/li\u003e\n\u003cli\u003eIncludes previously unreleased session outtake of “Cold Hard Times” plus never before heard Hazlewood compositions “Drums” \u0026amp; “Susie”\u003c\/li\u003e\n\u003cli\u003eDownload card for complete \u003cem\u003e13\u003c\/em\u003e sessions including Larry Marks unreleased album, session outtakes and acoustic demos, 30 tracks total\u003c\/li\u003e\n\u003cli\u003eLiner notes by Hunter Lea including interviews with Larry Marks, Joe Cannon, Torbjörn Axelman \u0026amp; Suzi Jane Hokom\u003c\/li\u003e\n\u003cli\u003eLP housed in a deluxe gatefold Stoughton tip-on jacket\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 142[[Artist]]Lee Hazlewood\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"13 \/ Lee Hazlewood - MP3\/320 \/ album \/ 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songs are a truthful attempt to show the effect the loss of this love had on me… They are not all sad songs full of self pity and remorse… but more a mixture of good and hard time, old and new thought, lost and found feeling, and near and far places… There was no pleasure (as there usually is) in writing this album… there was only the dull “thud” of realization that something you once took for granted is gone… and those “blue eyes” will never again look through this “old grey curtain”…The lady is dead now and I’m still alive… doing the same things with others I once did with her… and maybe that’s what being alive is all about it… if it isn’t… “to hell with it”.\u003cbr\u003e- Lee Hazlewood\u003c\/p\u003e\n\u003cp\u003e“He was a storyteller, that’s his music… the storytelling. That’s the thing I fell in love with him for. This final story that we see, the Requiem story, is kind of looking back at a career, I think. Not just a relationship—it’s his story. I think it’s authentic and the most revealing, really, because other things are cloaked, cloaked in romanticism, in a way. When you think of ‘Sand’ and ‘Jose,’ ‘My Autumn’s Done Come’ and ‘Some Velvet Morning’… those are stories, they’re stories you make up… they’re fiction. This is a little closer to home, I think.” -Suzi Jane Hokom.\u003c\/p\u003e\n\u003cp\u003eLight in the Attic Records is proud to continue its Lee Hazlewood Archival Series with \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e Records final release. 1971’s Requiem for An Almost Lady is a personal statement and one of the heaviest break-up albums of all time. There are no lilting strings, sweeping choirs, or dancing trumpets. The arrangements are stripped down to the raw nerve; Lee’s emotions are the orchestra here. The listener eavesdrops on a sonic journal of heartbreak. After losing his lady, his record label, and his country, Lee etches his woes to wax.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eAlbum remastered from pristine \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e master tapes\u003c\/li\u003e\n\u003cli\u003eIncludes outtake “I’ve Just Learned to Run” and previously unreleased demo “Little Bird”\u003c\/li\u003e\n\u003cli\u003eLiner notes by Hunter Lea including an interview with Suzi Jane Hokom\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 162[[Artist]]Lee Hazlewood\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Requiem for an Almost Lady \/ Lee Hazlewood - MP3\/320 \/ album \/ MP3\/320","offer_id":32191713902671,"sku":"27R\/MP3","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Requiem for an Almost Lady \/ Lee Hazlewood - FLAC \/ album \/ FLAC","offer_id":32191713935439,"sku":"27R\/FLAC","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Requiem for an Almost Lady \/ Lee Hazlewood - WAV \/ album \/ WAV","offer_id":32191713968207,"sku":"27R\/WAV","price":9.99,"currency_code":"USD","in_stock":true},{"title":"I'm Glad I Never... \/ track \/ MP3\/320","offer_id":32191714000975,"sku":"356T\/MP3","price":1.29,"currency_code":"USD","in_stock":true},{"title":"I'm Glad I Never... \/ track \/ FLAC","offer_id":32191714033743,"sku":"356T\/FLAC","price":1.29,"currency_code":"USD","in_stock":true},{"title":"I'm Glad I Never... \/ track \/ WAV","offer_id":32191714066511,"sku":"356T\/WAV","price":1.29,"currency_code":"USD","in_stock":true},{"title":"If It's Monday Morning \/ track \/ MP3\/320","offer_id":32191714099279,"sku":"357T\/MP3","price":1.29,"currency_code":"USD","in_stock":true},{"title":"If It's Monday Morning \/ track \/ FLAC","offer_id":32191714132047,"sku":"357T\/FLAC","price":1.29,"currency_code":"USD","in_stock":true},{"title":"If It's Monday Morning \/ track \/ WAV","offer_id":32191714164815,"sku":"357T\/WAV","price":1.29,"currency_code":"USD","in_stock":true},{"title":"L.A. 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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\/p\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). And now, 5 years later, Light In The Attic is happy to put forth Wheedle’s Groove – \u003cem\u003eKearney Barton\u003c\/em\u003e, an album of 9 new earth shaking, head nodding grooves, including Patrinell (Pastor Pat Wright) Staten and the Total Experience Gospel Choir’s interpretation of Soundgarden’s “Jesus Christ Pose,” Overton Berry’s keyboard led “Humpty Dumpty” (originally recorded by Placebo\/Marc Moulin), and the long overdue reunion of Ron Buford with Ural Thomas – the talented pair behind the 1965 local smash “Deep Soul”.\u003c\/p\u003e\n\u003cp\u003eFar from retro cash grab rehash, this is a serious funk throw down and original work of art, shaming musicians half their ages in the process. 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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\n\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. 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The on-going \u003cem\u003eWheedle’s Groove\u003c\/em\u003e series continues to present a vast chapter of the city’s musical heritage that has little to do with long-haired rock dudes with guitars. \u003cmeta charset=\"utf-8\"\u003eNo – in the world of \u003cem\u003eWheedle’s Groove\u003c\/em\u003e, platform shoes and pimp hats were the order of the day. But unlike \u003cem\u003eVolume I\u003c\/em\u003e, Seattle’s soul scene did not stop in 1975. A new volume, \u003cem\u003eWheedle’s Groove Vol. II\u003c\/em\u003e, documents the period from 1972 to 1987, when funk was superseded by disco and modern soul. 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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. 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Even state-of-the-art recording techniques and contributions from a stable of the finest session musicians around weren’t enough for Enoch Light’s Project 3 label (who released six of seven Free Designs LPs between 1967-72) to register a chart smash. Perhaps it came down to promotion, with the label spending more money on well-produced yet trite easy listening sounds.\u003c\/p\u003e\n\u003cp\u003eAll but disappearing after the 1972 release of \u003cem\u003eThere Is A Song\u003c\/em\u003e, it took over two decades and stealth-like interest from underground Japanese tastemakers, sunshine pop fanatics, and dusted beat diggers to bring long overdue credit to Chris, Bruce, Sandy, and Ellen Dedrick. Word spread fast about the group’s mellifluous sounds, with vinyl junkies scouring shops the world over in search of their musical ornaments.\u003c\/p\u003e\n\u003cp\u003eInspired by a serious Cuban feast in L.A. with DJ, producer, and Stones Throw label owner Peanut Butter Wolf, we collectively birthed the idea of bringing The Free Design’s music into the 21st century. It didn’t take long to realize that everyone involved sought something deeper and more meaningful than your average remix series. In other words, \u003cem\u003eThe Free Design Redesigned\u003c\/em\u003e, which saw three separate limited 12\" singles hit the streets with over a dozen reinterpretations from today’s finest music-makers: Madlib, Belle \u0026amp; Sebastian’s Chris Geddes \u0026amp; DJ Hush Puppy, Danger Mouse \u0026amp; Murs, Nobody, Caribou (formerly known as Manitoba), Super Furry Animals, Stereolab \u0026amp; the High Llamas, Kid Koala \u0026amp; Dynomite D., Koushik \u0026amp; Dudley Perkins, and more!\u003c\/p\u003e\n\u003cp\u003eNow on CD for the first time, \u003cem\u003eThe Free Design: The Now Sound Redesigned\u003c\/em\u003e, includes every track from the 12\" vinyl series housed in a beautiful gatefold digipak. 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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[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e50th Anniversary Record Store Day Black Friday edition\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eUpdated booklet with liner notes by Michael White\u003c\/li\u003e\n\u003cli\u003eNewly restored artwork\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA004CD[[Artist]]The Free Design\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Kites Are Fun \/ The Free Design - MP3\/320 \/ album \/ MP3\/320","offer_id":32229158453327,"sku":"33R\/MP3","price":10.99,"currency_code":"USD","in_stock":true},{"title":"Kites Are Fun \/ The Free Design - FLAC \/ album \/ FLAC","offer_id":32229158486095,"sku":"33R\/FLAC","price":11.99,"currency_code":"USD","in_stock":true},{"title":"Kites Are Fun \/ The Free Design 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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. She and Alex Maas (vocals\/guitar) both believe a little girl in a red linen dress haunts the group’s home.\u003c\/p\u003e\n\u003cp\u003e“Civil War battlefields are prime spots for seeing ghosts,” says Bland. “One time at Kennesaw mountain in Georgia, I was climbing the mountain in the middle of June and it must have been close to 100 degrees, but in this one particular spot it was very cold. The hairs on my neck stood up and I knew something strange was happening. Then the wind whispered something like ‘retreat,’ and I did. I later learned that the spot where I was on the battlefield was known as ‘the dead angle,’ the place where the fiercest fighting took place. The confederates ended up retreating from the mountain towards Peachtree Creek.”\u003c\/p\u003e\n\u003cp\u003eThe band released \u003cem\u003ePassover\u003c\/em\u003e in 2006 to critical acclaim for both the album and song sharing the same name, \u003cem\u003eThe First Vietnamese War\u003c\/em\u003e. Most of all, \u003cem\u003ePassover\u003c\/em\u003e established The Black Angels as a band with brains, gusto, and a strong message. And this time around, the message is there to read in a 16-page booklet.\u003c\/p\u003e\n\u003cp\u003e“Our central theme is that people need to open up their minds and let everything come through, and to learn from past mistakes,” says Christian. “Only then will we understand the reality of this world and progress beyond where we are now as humans. We’ve built upon that theme with \u003cem\u003eDirections To See A Ghost\u003c\/em\u003e. We want people to study the booklet we are providing with the album in hopes that they will be able to relate each song to something in their life.”\u003c\/p\u003e\n\u003cp\u003e\"War is Peace.\u003c\/p\u003e\n\u003cp\u003eFreedom is Slavery.\u003c\/p\u003e\n\u003cp\u003eIgnorance is Strength.\u003c\/p\u003e\n\u003cp\u003eKeep Music Evil.\"\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eThe Black Angels’ classic sophomore album\u003c\/li\u003e\n\u003cli\u003ePressed at \u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"caps\"\u003e\u003cspan\u003eTriple LP housed in a Stoughton tri-fold gatefold jacket\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eSpecial color edition pressed on Metallic Silver Wax\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 033[[Artist]]The Black Angels\u003c\/p\u003e","brand":"Light in 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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\u003e\u003ciframe width=\"325\" height=\"183\" src=\"https:\/\/www.youtube.com\/embed\/1wKRD1VrPL4?rel=0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"325\" height=\"183\" src=\"https:\/\/www.youtube.com\/embed\/G7zphev_6Wk?list=UUPFJl-I-PhIonNPBGUK0Aog\"\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- \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- \u003cb\u003eDevendra Banhart\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e“Sweet music just like Sylvie.” \u003cbr\u003e- \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. We ended up with twelve: one spontaneous cover, and an instrumental with all of us gathered around Howe’s piano, which sounds like the soundtrack to a lost David Lynch film.”\u003c\/p\u003e\n\u003cp\u003eIt’s apt that the album should be made in such a musically evocative setting, because another love affair that informs the record is that of Sylvie and the \u003cspan class=\"caps\"\u003eUSA\u003c\/span\u003e. Born in London, she’d felt the pull of America since childhood and ran away to LA in the late seventies to write about music, convinced she’d never have the nerve to perform it. She became renowned as a rock writer (she’s the subject of a \u003cspan class=\"caps\"\u003eBBC\u003c\/span\u003e documentary, \u003cem\u003eThe Rock Chick\u003c\/em\u003e) and also as an acclaimed author. Her books include the cult fiction \u003cem\u003eToo Weird For Ziggy\u003c\/em\u003e and biographies \u003cem\u003eSerge Gainsbourg: A Fistful of Gitanes\u003c\/em\u003e and \u003cem\u003eI’m Your Man: The Life of Leonard Cohen\u003c\/em\u003e. Following numerous movements across the globe—including three years in a tumbledown French chateau—she now lives in San Francisco.\u003c\/p\u003e\n\u003cp\u003e“The main constant in my life, aside from escape, has been music,” Sylvie says, “writing about it in public and playing it in secret, until now.” On her intimate, mesmerizing debut she lays herself bare. “Clearly from my songs, my skin is thinner than a butterfly’s wing, but these are true songs, and this is how they came out, alone in the dead of night, sad, sweet, and mysterious.”\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eProduced by Howe Gelb and engineered by Chris Schultz (expect for “The Rose You Left Me”-produced by Tim Carter, engineered by Chris Schultz, and “Midnight Cowboy” -produced by Matt Wilkinson, engineered by Mike Patten)\u003c\/li\u003e\n\u003cli\u003eDebut album by esteemed writer and Leonard Cohen biographer Sylvie Simmons\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 122[[Artist]]Sylvie Simmons\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Sylvie \/ Sylvie Simmons - MP3\/320 \/ album \/ MP3\/320","offer_id":32229695848527,"sku":"81R\/MP3","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Sylvie \/ Sylvie Simmons - FLAC \/ album \/ FLAC","offer_id":32229695881295,"sku":"81R\/FLAC","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Sylvie \/ Sylvie Simmons - WAV \/ album \/ WAV","offer_id":32229695914063,"sku":"81R\/WAV","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Sylvie \/ Sylvie Simmons - WAV-HD \/ album \/ WAV-HD","offer_id":32229695946831,"sku":"81R\/WAVHD","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Sylvie \/ Vinyl \/ LP Black","offer_id":32236501598287,"sku":"LITA122LP","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Sylvie \/ CD \/ CD","offer_id":32237411074127,"sku":"LITA122CD","price":13.0,"currency_code":"USD","in_stock":true},{"title":"Sylvie \/ Vinyl \/ LP Turquoise","offer_id":44065412645109,"sku":"LITA122LP-ONLINE","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1406584129656-s1lgcijko7n1att9-fc3b6f2f0bcaf468a745532b0d6364cf_2FLITA122_SylvieSimmons_Sylviejpg.jpg?v=1696119834"},{"product_id":"pot-luck","title":"Pot Luck","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eLegendary ivory-tickler Spooner Oldham is synonymous with the Muscle Shoals sound. 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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. 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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":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\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\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ePreviously unreleased on vinyl\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eLimited and hand-numbered to 2,000 copies worldwide\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA110LP[[Artist]]Robbie Hill's Family Affair\u003c\/p\u003e","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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Sessions (12\") \/ Vinyl \/ LP Black","offer_id":32237503938639,"sku":"LITA110LP","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/RobbieHills_Jacket_OneSheet.jpg?v=1696119825"},{"product_id":"a-fire-somewhere","title":"A Fire Somewhere","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eSummer of ’67. Ray Stinnett, original guitarist in Sam The Sham \u0026amp; The Pharaohs (“Wooly Bully”), finds himself drawn to the scene in Haight Ashbury and spends the ‘Summer of Love’ at the Morning Star Ranch in Northern California. In keeping with the zeitgeist of the times, he tunes in and drops out. Fast forward to ‘71 and Ray is back in Memphis recording his masterpiece for A\u0026amp;M at the legendary Fame and Ardent Studios with assistance from Booker T. and co-mixer\/ engineer Richard Rosebrough (Chris Bell, Big Star). A\u0026amp;M shelves the album, and now, 41\u003cbr\u003eyears later, the record is finally available for the first time.\u003cbr\u003eThat’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\u003eA perfect melding of Memphis soul and San Francisco psych, folk, and\u003cbr\u003erock.\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\/F2HcwdL77ys\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003ciframe width=\"325\" height=\"183\" src=\"https:\/\/www.youtube.com\/embed\/v0a6qzg2hEQ\"\u003e\u003c\/iframe\u003e\u003cbr\u003eA 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\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eOriginal album Executive Producer: Booker T. Jones\u003c\/li\u003e\n\u003cli\u003eOriginal art intended for 1971 album release, seen for the first time\u003c\/li\u003e\n\u003cli\u003eAll songs previously unreleased\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 088[[Artist]]Ray Stinnett\u003c\/p\u003e","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":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\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 Jackie Mittoo magic, available to all. Meet Jackie and his reggae beat!\u003c\/p\u003e\n\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\n\u003cp\u003e[[Selling Points]][[Catalog Number]]LITA 021[[Artist]]Jackie Mittoo\u003c\/p\u003e","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 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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":"walk-in-africa-1979-81","title":"Walk In Africa 1979-81","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/k5_EXQ40DEk?rel=0\" height=\"180\" width=\"320\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eThe South Africa of the late 1970s was neither the right place nor time to launch a mixed-race punk band. Yet, following the student-inspired Soweto Uprising of 1976, it was also exactly the right conditions to foster a band like National Wake, one formed in an underground commune, and one whose very name exists in protest at the divisive, racist apartheid regime. Never before collected together, Light In The Attic is set to release National Wake’s full body of work as \u003cem\u003eWalk In Africa 1979-81\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eFeatured heavily in the recent documentary \u003cem\u003ePunk In Africa\u003c\/em\u003e , National Wake played punk, reggae and tropical funk, equally at home in the city’s rock underground and the township nightclub circuit. Ivan Kadey started the band with two brothers, Gary and Punka Khoza. The three were from different worlds – while Ivan was an outsider, a Jewish orphan born in the traditional Johannesburg immigrant neighborhood, Gary, Punka and their family were forcibly moved to the troubled township of Soweto under the apartheid regime. Later joined by guitarist Steve Moni, the whole band grew up against a backdrop of township unrest, social upheaval and suburban tedium that characterized apartheid-era South Africa.\u003c\/p\u003e\n\u003cp\u003eNational Wake released just one album, in 1981. It sold approximately 700 copies before being withdrawn under government pressure. The band subsequently disintegrated, but their influence could be traced in the racially mixed post-punk underground centered around Rockey Street in Johannesburg throughout the 1980s, their legacy transmitted through fanzines and underground cassette trading.\u003c\/p\u003e\n\u003cp\u003eSadly, Gary and Punka Khoza both passed away in their 40s. Kadey now works as an architect in Los Angeles, but his attention eventually turned back to the band as their legacy grew in the digital era, with the emergence of specialized music websites and \u003cem\u003ePunk In Africa\u003c\/em\u003e leading to their rediscovery. Czech State Radio memorably described the band as “perhaps the most dissident music scene of the 20th century: a multi-racial punk band in a fascist police state.”\u003c\/p\u003e\n\u003cp\u003eIn 2011, Kadey re-released the band’s self-titled album on CD in South Africa, but spoke about having more than 20 tracks that had never seen the light of day – until now. “All of these recordings put together they speak of the whole evolution of the band,” he has said. “From a sort of naive, almost belief that we could miraculously change everything to realizing what a struggle it was, and what the country was going through and what it would go through.”\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/SFXVt95_o-Y?rel=0\" height=\"250\" width=\"325\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFirst ever anthology\u003c\/li\u003e\n\u003cli\u003eRemastered from original sources\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eScholarly liner notes by \u003cem\u003ePunk In Africa\u003c\/em\u003e film director Keith Jones\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 105[[Artist]]National Wake\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Walk in Africa 1979-81 \/ National Wake - MP3\/320 \/ album \/ MP3\/320","offer_id":32230284853327,"sku":"71R\/MP3","price":10.99,"currency_code":"USD","in_stock":true},{"title":"Walk in Africa 1979-81 \/ National Wake - FLAC \/ album \/ FLAC","offer_id":32230284886095,"sku":"71R\/FLAC","price":10.99,"currency_code":"USD","in_stock":true},{"title":"Walk in Africa 1979-81 \/ National Wake - WAV \/ album \/ WAV","offer_id":32230284918863,"sku":"71R\/WAV","price":10.99,"currency_code":"USD","in_stock":true},{"title":"International News \/ track \/ 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CD","offer_id":32237503709263,"sku":"LITA105CD","price":6.0,"currency_code":"USD","in_stock":true},{"title":"Walk In Africa 1979-81 \/ Vinyl \/ 2LP Black","offer_id":32237503742031,"sku":"LITA105LP","price":7.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/LITA105_Highres_Cover.jpg?v=1696119829"},{"product_id":"playing-guitar-the-easy-way","title":"Playing Guitar The Easy Way","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eFollowing on the heels of LITA’s previous Chapman reissues comes an ultra-rarity, 1978’s Playing \u003cem\u003eThe Guitar The Easy Way\u003c\/em\u003e – an instructional record (complete with a 20 page booklet of notation) making its CD debut and reissued on vinyl for the first time ever! For guitar geeks, it’s one of the first instructional methods to deal with open tunings like \u003cspan class=\"caps\"\u003eDADGAD\u003c\/span\u003e. For Chapman fans, it’s merely a gas to listen to!\u003c\/p\u003e\n\u003cp\u003eAlong with Bert Jansch, Roy Harper, and John Martyn – Michael Chapman is one of the most influential and important British singer\/songwriter\/folk guitarists of his generation.\u003c\/p\u003e\n\u003cp\u003eLike his peers, Chapman blended traditional folk influences with rock and jazz overtones for a unique sound that remains fresh to this day. Michael Chapman is also legendary for discovering electric guitar maverick Mick Ronson and recording with him before David Bowie did! Chapman also utilized string arranger Paul Buckmaster (whose name appears on early 70’s LPs by Elton John, the Rolling Stones and Miles Davis).\u003c\/p\u003e\n\u003cp\u003eFollowing on the heels of LITA’s previous Chapman reissues comes an ultra-rarity, 1978’s \u003cem\u003ePlaying Guitar The Easy Way\u003c\/em\u003e – an instructional record (complete with a 20 page booklet of notation) making its CD debut and reissued on vinyl for the first time ever! For guitar geeks, it’s one of the first instructional methods to deal with open tunings like \u003cspan class=\"caps\"\u003eDADGAD\u003c\/span\u003e. For Chapman fans, it’s merely a gas to listen to!\u003c\/p\u003e\n\u003cp\u003eReleased with the direct involvement of Michael – who supplied the original master tape as well as some new liner notes – he still stands by this record as he told Thurston Moore during a recent interview for the Fretboard Journal:\u003c\/p\u003e\n\u003cp\u003e“I still think it was a good idea. [But] it wasn’t meant to be for people starting the guitar; it was for people who had maybe got bogged down a bit and then maybe wanted to write some songs, and here comes an interesting way to find some new chords, which is what I did, you know, I just went.”\u003c\/p\u003e\n\u003cp\u003eNow just about everyone can try \u003cem\u003ePlaying Guitar The Easy Way\u003c\/em\u003e!\u003c\/p\u003e\n\u003cp\u003e[[Catalog Number]]LITA 114[[Artist]]Michael Chapman\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Playing Guitar the Easy Way \/ Michael Chapman - MP3\/320 \/ album \/ MP3\/320","offer_id":32230286590031,"sku":"75R\/MP3","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Playing Guitar the Easy Way \/ Michael Chapman - FLAC \/ album \/ FLAC","offer_id":32230286622799,"sku":"75R\/FLAC","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Playing Guitar the Easy Way \/ Michael Chapman - WAV \/ album \/ 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Description]]\u003c\/p\u003e\n\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\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\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\u003eAll tracks newly re-mastered\u003c\/li\u003e\n\u003cli\u003eLiner notes by Jack D. Fleischer\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 123[[Artist]]Lewis\u003c\/p\u003e","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":"lamour","title":"L'Amour","description":"\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eIn 1983, a man named Lewis recorded an album named \u003cem\u003eL’Amour\u003c\/em\u003e, which was released on the unknown label R.A.W. And that’s about all we know.\u003c\/p\u003e\n\u003cp\u003eThe record itself is a delicate, whispered album, reflecting the way the artist himself – spectral, movie star-like – almost disappears into the grey of the cover. It should come as no surprise that it failed to shout loudly enough to be noticed, another private press album that sank without trace.\u003c\/p\u003e\n\u003cp\u003eThe ingredients are simple: smooth synthesizers, feather-light piano, ethereal, occasionally inaudible vocals and the gentle plucking of acoustic guitars. But the effects are arresting: a spine-tingling, sombre album that echoes Springsteen’s Nebraska or Angelo Badalamenti’s atmospheric soundtracks. Later, Arthur Russell would grasp for something similar on the epochal \u003cem\u003eWorld Of Echo\u003c\/em\u003e LP.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eL’Amour\u003c\/em\u003e is a true discovery of the blog age, uncovered in an Edmonton flea-market by collector Jon Murphy, passed on to private press fanatic Aaron Levin, shared on the internet and speculated over by lovers of curious LPs. There’s almost no information about Lewis or the album on the internet. There’s precious little on the sleeve: a dedication to Sports Illustrated supermodel Christie Brinkley, a photo credit for Ed Colver, the noted L.A. punk rock photographer, and credits for engineer Bob Kinsey and synth player Philip Lees. All that was known of Lewis is conjecture: a rumor that he was a con artist who fled after not paying for \u003cem\u003eL’Amour’s\u003c\/em\u003e photo-shoot and a dubious theory that he was not actually of this earth.\u003c\/p\u003e\n\u003cp\u003eWhen Light In The Attic looked to release the album, they set out to investigate the mystery. They found some answers, but more intrigue too. Colver was able to fill in some blanks. Firstly, Lewis is a pseudonym. The man the photographer met was named Randall Wulff. He stayed in the Beverley Hills Hotel, drove a white convertible Mercedes and dated a girl who looked like a model. He paid for his photo session with Colver with a $250 check, which bounced.\u003c\/p\u003e\n\u003cp\u003eEventually, the trail led to Alberta, Canada, where that first LP had been found. Liner notes writer Jack Fleischer along with master detective Markus Armstrong found Randall’s nephew, who remembered Randall as a stockbroker. His vague recollections include a visit to Randall’s apartment, with all-white furniture and that beautiful girlfriend \u003cem\u003ein situ\u003c\/em\u003e. Crucially, he offered another name – another of Randall’s pseudonyms – which led to a Vancouver studio and the revelation that Lewis had recorded three or four albums of “soft religious music” there. Alas, even the new nom de plume led only to dead ends.\u003c\/p\u003e\n\u003cp\u003eLewis remains a ghost, a total mystery, but the music will be heard. The album is being pressed for the first time in more than 30 years, and widely distributed for the first time ever. Lewis’s royalties will be placed in escrow until he makes himself known. Perhaps you know Lewis. Perhaps Lewis is you. The only certainty is this: Lewis is about to find a whole bunch of new fans.\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\u003eAll tracks newly re-mastered\u003c\/li\u003e\n\u003cli\u003eNew liner notes by Jack D. 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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]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003cmeta charset=\"utf-8\"\u003e\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\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\u003e\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/WsIouGN0Wr8?si=UHrL6T6D8Bidnaot\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\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":"\u003cp\u003e[[Release Detail]]\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 width=\"325\" height=\"183\" src=\"https:\/\/www.youtube.com\/embed\/gOklbYMPfGM?rel=0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"320\" height=\"180\" src=\"https:\/\/www.youtube.com\/embed\/0OUdkC0QGTQ\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/V8_RUf82I1Y\" height=\"180\" width=\"320\"\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\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFirst ever release\u003c\/li\u003e\n\u003cli\u003eAll tracks newly re-mastered from original tapes\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eLiner notes by Jack D. Fleischer, interviewing Donnie \u0026amp; Joe\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 115[[Artist]]Donnie \u0026amp; Joe Emerson\u003c\/p\u003e","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. 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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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Mastered from the original tapes, and untouched for over 30 years, this release features detailed liner notes by Oliver Wang (Soul Sides, \u003cem\u003eBetty Davis\u003c\/em\u003e and \u003cem\u003eThey Say I’m Different\u003c\/em\u003e re-issue contributor), the originally intended artwork housed in a lavishly packaged digipak, rare photos, archival material, and recent interviews with Davis and her skin-tight band, Funk House.\u003c\/p\u003e\n\u003cp\u003eBetty Davis was a musical maverick with vision. Image, substance, sex, and grit combined with a badass band that could deliver the funk bed backbone to the sultry music between the sheets. After cutting two notorious discs for the Just Sunshine label (\u003cem\u003eBetty Davis\u003c\/em\u003e and \u003cem\u003eThey Say I’m Different\u003c\/em\u003e), and \u003cem\u003eNasty Gal\u003c\/em\u003e for Island Records, Davis went to work on her most personal and expressive record yet. 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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":"sing-for-very-important-people","title":"Sing For Very Important People","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eThe Free Design make childhood a bit more psychedelic with this 1970’s children’s album, featuring many of the group’s classic favorites, plus a number of new cuts!\u003c\/p\u003e\n\u003cp\u003eThe Free Design make childhood a bit more psychedelic with this 1970’s children’s album, featuring many of the group’s classic favorites, plus a number of new cuts!\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eExcerpt from CD Liner Notes (by The Free Design’s Bruce Dedrick):\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eBack in 1969, we were all big fans of \u003cspan class=\"caps\"\u003ePPM\u003c\/span\u003e and when Mary Travers became a mother, they released the Peter, Paul and Mommy album. I think it was one of the seeds that resulted in the germination of the Free Design Sings for Very Important People album. Other contributing factors included the fact that we were all parents by then and that several (“Bubbles”, “Kites”, “Daniel Dolphin”) of our songs already on our other albums were ideal for a children’s album. Our father, Art Dedrick, a prolific composer of Concert Band, Jazz Band and Choral music had a song he had written years before called “Little Cowboy” that was perfect for the album and Sandy’s “Love You” fit right in. Sesame Street the TV program was in full swing and that theme was one we had fun with in the studio. 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The newly recorded cover and the original version are available for streaming and on “Majestic Pink” 7” vinyl.\u003c\/p\u003e\n\u003cp\u003e“As lovers of old soul, funk and rare recordings, ‘Key to Love’ has always been a song that has had an impact on our heart and ears,” \u003cspan class=\"caps\"\u003eBADBADNOTGOOD\u003c\/span\u003e said. “We hope our version relays how special this song is and gives it some new listeners and a second life […] It’s an incredibly beautiful song that deserves to be heard, and we hope to play a small part in that.”\u003c\/p\u003e\n\u003cp\u003eThe original Majestics single is highly sought after by diggers and DJs worldwide not only for “Key To Love (Is Understanding) but also for ”Class A”, which is considered the first-ever rap recording to come out of Milwaukee.\u003c\/p\u003e\n\u003cp\u003e“It is a pleasant surprise,” Donald Cooper of Majestics said upon hearing BADBADNOTGOOD’s version of the song. “They did a good job and it was well done with their own slight personal twist […] [it’s] an honor to be recognized.\"\u003c\/p\u003e\n\u003cp\u003eThe single follows Mac DeMarco’s cover of Haruomi Hosono’s “Honey Moon” in the series, which features artwork conceptualized by Los Angeles-based fine artist Robbie Simon. These tunes come on the heels of widely popular past entries in the series, including pop-auteur Ariel Pink with future-funk pioneer Dâm Funk covering Donnie \u0026amp; Joe Emerson’s eternal anthem “Baby,” the inimitable Mark Lanegan covering the melancholy folk of Karen Dalton, and the one-and-only Iggy Pop with the Zig Zags transforming Betty Davis’ dirty funk into a heavy Sabbath grind.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eLatest release in Light In The Attic’s Cover Series\u003c\/li\u003e\n\t\u003cli\u003eArtwork by Robbie Simon\u003c\/li\u003e\n\t\u003cli\u003ePressed on “Majestic Pink” wax\u003c\/li\u003e\n\t\u003cli\u003e45 \u003cspan class=\"caps\"\u003eRPM\u003c\/span\u003e single housed in a heavy, uncoated sleeve\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]LITA 45-039[[Artist]]BADBADNOTGOOD \/ Majestics","brand":"Light in the Attic","offers":[{"title":"Key to Love (Is Understanding) \/ BADBADNOTGOOD; Jonah Yano - MP3\/320 \/ album \/ MP3\/320","offer_id":32347376091215,"sku":"95R\/MP3","price":1.99,"currency_code":"USD","in_stock":true},{"title":"Key to Love (Is Understanding) \/ BADBADNOTGOOD; Jonah Yano - FLAC \/ album \/ FLAC","offer_id":32347376123983,"sku":"95R\/FLAC","price":1.99,"currency_code":"USD","in_stock":true},{"title":"Key to Love (Is Understanding) \/ BADBADNOTGOOD; Jonah Yano - WAV \/ album \/ WAV","offer_id":32347376156751,"sku":"95R\/WAV","price":1.99,"currency_code":"USD","in_stock":true},{"title":"Key to Love (Is Understanding) (BBNG Version) \/ track \/ MP3\/320","offer_id":32347376189519,"sku":"1300T\/MP3","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Key to Love (Is Understanding) (BBNG Version) \/ track \/ FLAC","offer_id":32347376222287,"sku":"1300T\/FLAC","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Key to Love (Is Understanding) (BBNG Version) \/ track \/ WAV","offer_id":32347376255055,"sku":"1300T\/WAV","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Key to Love (Is Understanding) (Majestics Version) \/ track \/ MP3\/320","offer_id":32347376287823,"sku":"1301T\/MP3","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Key to Love (Is Understanding) (Majestics Version) \/ track \/ FLAC","offer_id":32347376320591,"sku":"1301T\/FLAC","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Key to Love (Is Understanding) (Majestics Version) \/ track \/ WAV","offer_id":32347376353359,"sku":"1301T\/WAV","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Key To Love (Is Understanding) \/ Vinyl \/ 7” Black","offer_id":32369918476367,"sku":"LITA 45-039","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1574791502069-agx2i2in83-66596b6ff6f6b2630a7c77e899ddab31_2FLITA45-039_Cover_2B_281_29.jpg?v=1696119875"},{"product_id":"spirit-child","title":"Spirit Child","description":"[[Release Detail]]\u003cp\u003e\u003ci\u003eSpirit Child\u003c\/i\u003e is the debut LP from Inuk singer-songwriter Willie Thrasher. Thrasher was born in Aklavik, a hamlet located in the Inuvik region of the Northwest Territories, Canada, in 1948.\u003c\/p\u003e[[Release Description]]\u003cp\u003e\u003ci\u003eSpirit Child\u003c\/i\u003e is the debut LP from Inuk singer-songwriter Willie Thrasher. Thrasher was born in Aklavik, a hamlet located in the Inuvik region of the Northwest Territories, Canada, in 1948. At five years of age, Thrasher was taken from his family and sent to a residential school where he was forbidden to practice his Inuvialuit culture, a shameful initiative by the Canadian government to assimilate Indigenous people into mainstream society. Music was a way for Thrasher to escape the pain and longing.\u003c\/p\u003e\n\u003cp\u003eIn the mid-1960s, Thrasher drummed for The Cordells, one of the first Inuit rock bands. One evening, a stranger recommended that the group tap into their Aboriginal roots instead of the charts for inspiration. This prompted Thrasher to take up the guitar and write songs about his life, people, and the environment. Despite losing a portion of his left middle finger in a work accident, Thrasher became a musical vagabond, travelling across Canada and the United States throughout the 1970s and well into the 1980s meeting many other First Nations, Métis, and Inuit musicians. \u003ci\u003eSpirit Child\u003c\/i\u003e was released by the Canadian Broadcasting Corporation (\u003cspan class=\"caps\"\u003eCBC\u003c\/span\u003e) in 1981 and provided a further opportunity for Thrasher to reconnect with his Native heritage and share this love and understanding with people from other cultures. “Silent Inuit” became a northern hit for Thrasher, but with limited commercial support and little promotion outside of northern communities, the album eventually fell to the wayside.\u003c\/p\u003e\n\u003cp\u003eToday, Thrasher lives in the town of Nanaimo, B.C., where he performs as a city sanctioned busker with his partner Linda Saddleback. The global attention garnered by Light In The Attic’s \u003ci\u003eNative North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985\u003c\/i\u003e has led to recent performances at the Austin Psych Fest and Levitation Vancouver. Wherever he may be, Willie Thrasher is a trailblazing troubadour with an Indigenous heartbeat sound. Let \u003ci\u003eSpirit Child\u003c\/i\u003e open your ears, heart, and mind to a new folk-rock reality.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eOfficially licensed reissue\u003c\/li\u003e\n\t\u003cli\u003eFeatured on \u003ci\u003eNative North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985\u003c\/i\u003e\n\u003c\/li\u003e\n\t\u003cli\u003eExpanded gatefold edition with full lyrics\u003c\/li\u003e\n\t\u003cli\u003eNewly re-mastered\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]FDR 619[[Artist]]Willie Thrasher","brand":"Future Days Recordings","offers":[{"title":"Spirit Child \/ Willie Thrasher - MP3\/320 \/ album \/ MP3\/320","offer_id":32350351032399,"sku":"133R\/MP3","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Spirit Child \/ Willie Thrasher - FLAC \/ album \/ FLAC","offer_id":32350351065167,"sku":"133R\/FLAC","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Spirit Child \/ Willie Thrasher - WAV \/ album \/ 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In that year alone there were debut albums from The Velvet Underground, The Doors, and Pink Floyd, to name a few. The Beatles had combined orchestration with their music—the result was Sgt. Peppers in June, the same month that Tim Buckley recorded Goodbye \u0026amp; Hello.\u003c\/p\u003e\n\u003cp\u003eBuckley was no longer just another singer-songwriter with an acoustic guitar; he was drenched in acid-folk tinges of harpsichord and harmonium. Lyricist Larry Beckett embellished Tim’s songs with introspective lyrics at times, worldly views at others. It was the first major triumph for Tim as an album artist, partially because there were a remarkable amount of pre-production demos that led to it.\u003c\/p\u003e\n\u003cp\u003eAvailable here for the first time are these newly discovered master tapes, recorded by Goodbye \u0026amp; Hello’s producer Jerry Yester, along with an ultra-rare acetate, found to be in co-songwriter (and best friend) Beckett’s possession.\u003c\/p\u003e\n\u003cp\u003eOf the 13 previously unreleased solo acoustic songs contained here, six of them did eventually appear with more expansive instrumentation on Goodbye \u0026amp; Hello (along with another four not included here). However, the crown jewel of this package is seven never-before-heard compositions.  These will be new to even the most devoted Buckley fan. Arguably, two of them crept out decades after Tim’s death (albeit, much different recordings than what you have here) but with little fanfare.\u003c\/p\u003e\n\u003cp\u003eSo much has been written about Tim Buckley but so little of it by people who actually knew him.  This booklet, however, includes a detailed interview with both Larry Beckett and Jerry Yester, providing real insight on how these recordings came to be and attempting to uncover the man behind all the myths, the real Tim Buckley.\u003c\/p\u003e\n\u003cp\u003eSeveral rarities releases in the 1980s and ‘90s shed light on his talent, especially the live recordings, but all of the studio material has generally been alternative versions of songs that fans already knew—until now. This is the first-ever posthumous release that reveals a wealth of previously unreleased and unheard tracks from Tim at the peak of his career. In short, you need this!\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003e13 previously unissued solo acoustic demos\u003c\/li\u003e\n\t\u003cli\u003eRemastered from the original analog tapes and acetate\u003c\/li\u003e\n\t\u003cli\u003eBook includes in-depth interview with Buckley’s lyricist Larry Beckett\u003cbr\u003e\n\u003cbr\u003e\n\u003cbr\u003e\n\u003c\/li\u003e\n\t\u003cli\u003e\n\u003cspan class=\"caps\"\u003ePRE\u003c\/span\u003e-\u003cspan class=\"caps\"\u003eORDER\u003c\/span\u003e \u003cspan class=\"caps\"\u003eEDITION\u003c\/span\u003e: Gold wax limited to 300 copies. 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