Spooky Distro Roundup With Jon Treneff!

October 30th, 2014

distro jon treneff

WHASSUP YOU CRAZEE GHOULS?! In case you’ve been out in the shed working on your sexy Headless Horseman and Ichabod Crane couples costume – let us remind you of the real spirit of Halloween – buying spooky records! So put down the pumpkin-flavored thong for a second, and try these on for size!

Douglas Pipes – Trick R Treat

CAN I GET A DUUUUUUUUHH??!?!! I mean, it’s the new jam on Waxwork so you know this is 200% over-the-top deluxe pimp-style, right?! People call this a modern Halloween classic – but what do they know? All we know is the bonus LP is an entire disc of spooky Halloween sound effects, sourced from the film. That, and the girl from True Blood was in this, so listen for that trademark “surprised inhale”.


Truth & Janey – Erupts!
(Lion Productions)

Many moons and sixpence ago we stocked T&J’s most excellent No Rest For The Wicked. Sadly, like a SPECTRE, it vanished as fast as it appeared – back, one can only assume, into the undead shredder’s grave depicted on the cover (Google it). FRET not (get it) ye depraved slaves to the six-string battle-axe! Erupts!, um…ERUPTS out of the foul earth to give you perverted metal maniacs another shot at life – after death, that is! Don’t think – just buy this now or forever REST IN PEEEAACCE.


Ennio Morricone – Il Gatto A Nove Code

Finally got enough of these to list! Among the deluge of Morricone soundtracks flooding LITA HQ in recent months, this is by far one of our faves. Like a cat, this one is slinky and a little devious. By turns, one of the grooving-est and creepiest works in the maestro’s catalog – and a perfect companion to this year’s pumpkin smashing duties.

All the other scary soundtracks in the world!

Friday the 13th! House of the Devil! Halloween II & III DEEE-LUX RE-ISSUUUUE!!! Get in the SPIRITS, you FREEAKZ! Yes, I mean liquor.

Costume Competition!

October 28th, 2014


* Pumpkin carved by Drew Christie

This Halloween we’re havin’ a little costume competition. Dress up like your favorite LITA character and post a picture on our facebook by Friday (Halloween!) and the best effort gets a $50 LITA gift card!

Here are some ideas to get you going:


Frost your tips and your lips like Lewis!


Don a ‘fro like Sly!


Craft yourself a makeshift Donnie & Joe jumpsuit!


Find your inner Nasty Gal!


 Tinariwen group costume, anyone?

Show us what you can do! Sorry it’s a little late notice, we were busy hangin’ out at our event at the Ace in Palm Springs. But hey, this probably just means that fewer people will actually enter the competition, so your chances of winning are pretty dang good!

RIP Val Bent!

October 27th, 2014

Val Bent

I got to know Jamaican singer-songwriter and guitarist Val Bent (born Rupert Valentine Bent) while producing the Jamaica to Toronto: Soul Funk & Reggae 1967-1974 compilation for Light in the Attic around 2004-5. He was back in Jamaica after living in Canada for many years, where he laid down some of the toughest soul and funk records this country has ever produced. Bent came to Toronto, Ontario, as a musician with the Sheiks in 1964, and decided to stay despite our chilly winters, a far cry the Jamaican sun. He became an important musical member of the city’s growing Caribbean community and a mentor to many young players. The Sheiks became the house band for Club Jamaica on Toronto’s busy Yonge Street, which acted as a second home to Bent. Manager Fitz Riley would cook up curry chicken for the patrons and musicians, which reminded Bent of his Jamaican roots. It was here that he first met another young Jamaican immigrant, Earle Heedram (aka The Mighty Pope), who quickly became the new lead vocalist for the Sheiks. Bent was knocked away by Heedram’s powerful voice and commanding stage presence. Together, they wrote and recorded “Eternal Love,” which was released as a 7” single on the Raymond Records label in 1967 (and subsequently featured on Jamaica to Toronto). Regardless of the record’s deep soul and passionate performances—listen for Bent’s twanging guitar and back up vocals—the record sank fast without radio or media support. Despite a lack of record sales, the Sheiks were trailblazing Jamaican-Canadians who brought their music throughout the provinces of Ontario and Quebec, even in the face of ignorant racism, which the group unfortunately encountered on occasion. After returning to Jamaica in the late 1960s for a series of performances (replete with “psychedelic light show”), both Bent and Heedram (along with Studio One alumni, drummer Joe Isaacs, and organ player Chris Scasserra) linked up with American transplant and rock and roll pioneer Frank Motley as the Hitch-Hikers featuring the Mighty Pope. Motley was active on Toronto’s bustling Yonge Street strip, which was filled with nightclubs, strip bars, and record stores, and where Bob Dylan first heard the Band, then performing as Levon and the Hawks. The Hitch-Hikers not only performed popular funk, soul, and pop covers by the like of Eddie Bo and the Beatles, but a series of Bent originals as well: “A Stranger in your Own World,” “Memory Lane,” “Smile Maria Smile,” “You Got the Green Light,” and his namesake “Hell Bent.” After Motley fell ill, the group gradually went their separate ways. Bent and Heedram picked up a couple of hippie musicians and formed the short-lived Wild Oats, but the unit never recorded. Apart from a series of minor regional recordings, Bent focused on live work and performed in Canada throughout the 1970s and into the 1980s. After returning to Jamaica, Bent suffered a stroke and retired from the business. He returned to Toronto in 2006 for the now legendary Jamaica to Toronto reunion concert and once again sang back ups behind his musical brother Heedram on the mighty “Eternal Love.” Bent reportedly passed away in his sleep last week in Jamaica and he will be missed by many the world over. We send our best regards to his family and loved ones and count ourselves very lucky to have met his acquaintance. Val, we will miss your laughter and words over the coming years, but will champion your sound forever!

Eternal love,
Voluntary in Nature

Record Store Day Black Friday 2014!

October 23rd, 2014


Fall is finally upon us. Leaves have turned from green to gold, the air is thin and crisp, and you can almost smell the Thanksgiving turkey in the oven. However, the best part of the season is not gathering with family and friends for a seasonal feast, but rather the limited edition vinyl available on Black Friday, November 28th! This year we have a beautiful cornucopia of official Record Store Day Black Friday titles. Don’t waste your money on pumpkin spice lattes… head over to your local record store and buy vinyl!

V/A – There’s A Dream I’ve Been Saving

First up is the vinyl edition of There’s A Dream I’ve Been Saving. Seven years in the making, this is the ultimate artifact for Lee Hazlewood heads new and old. Now, for the first time, you can enjoy the entire experience on vinyl. This landmark box set contains an expansive LP-sized hard cover book detailing the label history of Lee Hazlewood Industries, accompanied by 8LPs + 4CDs and the never-before-released film Cowboy in Sweden.

Lizzy Mercier Descloux – Fire b/w Morning High (duet w/ Patti Smith)

This year marks the ten-year anniversary of impassioned poet, painter, actor, and prolific, self-taught musician Lizzy Mercier Descloux‘s death. Instrumental in the late 70s New York underground, yet of Parisian origin, Mercier Descloux, with partner Michel Esteban, established the magazine Rock News and ran in the same circles as Patti Smith and Richard Hell. Lizzy became a genre defying artist, pioneer of worldbeat and avant garde rock, and supreme minimalist of the no wave genre in her own right. Next year, we will release a detailed series showcasing her work. A glimpse of what’s in store for this upcoming archival series, this 7″ presents two key tracks from the Mercier Descloux catalog: the epitomic, 1979 disco-punk classic “Fire” backed with a rare session featuring Lizzy and “Godmother of Punk” Patti Smith reciting a bilingual version of Arthur Rimbaud’s poem, “Matinée d’ivresse/Morning High,” set to music by experimental contemporary Bill Laswell. Remastered from the original tapes, this 33 1/3 RPM 7” single comes pressed on “blue” colored wax.

Wayne McGhie – S/T

Finally back in print and one of the pinnacle releases in our catalog, this 1970 masterpiece is the Holy Grail of Toronto Funk! The first true debut of Studio One veteran and Jackie Mittoo bandmate Wayne McGhie, this self-titled LP is a wicked mix of Caribbean Funk, Soul and Reggae. For this special Black Friday edition we have expanded the album to a deluxe gatefold “tip-on” jacket with rare archival photos and extensive liner notes featuring interviews with McGhie, Alton Ellis, and Lloyd Delpratt. Limited to 1,000 hand numbered copies on gold wax!

Listen, Whitey! The Sights and Sounds of Black Power 1965-1975 Author Pat Thomas On The Road Again!

October 22nd, 2014


Listen, Whitey! The Sights and Sounds of Black Power 1965-1975 author Pat Thomas is on the road again! Detroit! Washington, DC! San Francisco! Pat will be spinning discs, lecturing via a multi-media presentation as well as signing his book, and the companion soundtrack CDs and LPs. Check down below for dates and details!

10/29 - Jazz Café (at Music Hall)
350 Madison St, Detroit
7 – 9 pm
* This event will be hosted by Detroit literary maverick; M.L. Liebler

11/10 - George Washington University
Room 209 of the Multicultural Student Services Center (MSSC), 2127 G Street, NW
Monday Nov 10th from 6:30-8 pm
(Free and open to the public)

11/15- Howard Zinn Book Fair
Mission High School, 3750 18th street, San Francisco.
* Pat will be sharing the stage with Rickey Vincent, author of Party Music: The Inside Story of the Black Panthers Band

Warehouse Assistant Opening!

October 21st, 2014


Interested in working for Light In The Attic? We’re currently hiring a full-time Warehouse Assistant in the Ballard/Fremont area of Seattle. This will be an entry-level position and absolutely requires a candidate with a positive attitude who is self-motivated, well organized, focused and with strong attention to detail, able to work in a physically demanding, fast-paced and energetic environment, a problem-solver, and someone who is team oriented. Proficiency in all Microsoft products also required.

The Warehouse Assistant will be primarily responsible for the following duties:

• Retail order fulfillment

• Press/promotional mailings

• Warehouse organization and cleanliness

For a detailed job description click HERE

Compensation will start at $13.00/hour, health and 401K benefits offered; 40 hours per week, Monday through Friday, 8:30am to 5:00pm with a 30-minute unpaid lunch break.

There will be a review at the end of your first 90-days to make sure the role is a good fit.

If this job sounds like a good fit for you, please email your resume and a cover letter to: jobs@lightintheattic.net



LITA Seattle Needs an Intern!

October 17th, 2014


Boys and girls of Seattle, hold on to your Hazlewood ‘staches! Light in the Attic Records is currently offering a 3 month internship at our Seattle office. We’re looking for applicants who are interested in learning about the ins and outs of a record label operation, from the operation of a distribution warehouse to digital distribution, as well as press and radio promotional activity. Check out the details below and get in touch.

INTERNSHIP AVAILABILITY: 1 unpaid position, to last four months beginning immediately (school credit might be available)

HOURS: Approx. 4-6 hours per week, preferably broken up between two days – however, a more flexible schedule can be arranged. (The hours would need to fall between 9am and 5pm, Monday thru Friday).


  • Team player yet self-motivated, positive attitude
  • Strong organizational ability and attention to detail*** (very important)
  • Must have own laptop
  • Computer skills – Mac OSX and/or Windows PC, Excel/Word. Adobe Photoshop skills would be a bonus but not required
  • Mobile phone media savvy
  • Social media savvy
  • Familiarity, and ideally, active use of various online music services such as Spotify, rDio, Beats Music, etc.
  • 18 years of age or older


  • Assist with set up and management of online music service profiles and social media
  • Assistance with bulk promotional mailings
  • General office/administrative duties as needed

CONTACT: Please email resume and a brief message to: jobs@lightintheattic.net

We look forward to hearing from you!


Ennio Morricone Spaghetti Western Scores

October 16th, 2014



Gunslingers, drifters, outlaws… We’ve got three ace-high Ennio Morricone spaghetti western soundtracks out this week from our friends at CineVox Records. Bonus: each LP comes with an inlay poster!


Per un pugno di dollari / A Fistful of Dollars


One of the most influential films in the spaghetti western genre, A Fistful of Dollars (1964) was the breakout film for director Sergio Leone and catapulted Clint Eastwood to fame in Italy. With the unmistakable whistle of Alessandro Alessandroni over ominous Spanish guitar, Morricone crystallizes the ever-cool spaghetti western sound and transforms the visuals of the prairie into music.


Milano odia: la polizia non può sparare / Almost Human


This classic 1974 Italian crime film is unapologetically violent and Morricone’s score is obsessive and pulsating.


C’era una volta il West / Once Upon a Time in the West


Grand and at times romantic, Morricone’s score to this 1968 Leone film, features his orchestra, his choir, The Whistler, and the addition of female singer Edda Dell’Orso.


You can order these and other Morricone scores through our online shop.

Manufacturing Delays

October 14th, 2014


Remember your favorite dive bar? The one that you used to go to all the time because you and your friends always had the place to yourself and the two mean ol’ bartenders knew neither of mixology nor small talk?

But then word got out about the place. And now if you ever try to go, for old times’ sake, you have to stand in line for 20 minutes for your beer in a sea of mustaches and tattoos…

That’s kind of what’s happened with vinyl manufacturing over the years. For a long time everybody had forgotten about vinyl and because of that a lot of manufacturers shut down. Now everybody wants vinyl and the few remaining manufacturers are struggling to keep up with demand.

This is our roundabout way of announcing a few manufacturing delays for some of our releases.

Below are the affected titles and their new release dates:

Barbara Lynn - Here Is: LP 11/18

Sylvie Simmons - Sylvie: CD 11/11, LP 11/25

Lewis - Romantic Times: LP 12/16

Sincere apologies for the delays and thanks for standing in line with us.


October 9th, 2014


Earlier this year we reissued two albums from pioneering Austin, Texas hardcore band, The Big Boys. We were lucky enough to get to ask guitarist Tim Kerr some questions recently. Below we talk about jazz, traditional Irish music and Dadaism with the guy whose smile is too big for emojis. Instead, he actually writes out the word “smile.” How’s that for DIY? (Smile.)

Big Boys albums, shirts, and skateboard decks are available on our site.


Is it true that you started out playing traditional/acoustic music mostly? If so, how did you transition to punk?

Up until late junior high (‘68/’69) it was pretty much AM radio and the soul station my oldest brother listened to. I started to listen to FM radio back when it was pretty much free form and gravitated to British/Scottish/Irish folk with a good dose of Country blues. Nick Drake, John Martyn, Bert Jansch but also things like early James Taylor (on Apple), David Crosby, etc. But seeing Richie Havens on the WoodStock film led me to alternative tunings and I was hooked. I was the weird kid in high school because while all my so-called peers were listening to Deep Purple, James Gang, etc. I was listening to Pentangle and Bruce Cockburn. The only Led Zeppelin record I owned was the 3rd one because of all the acoustic stuff on it.

I have said before many times that it was not the music that initially pulled me in to the DIY/punk scene, it was the community of it. The idea that ANYONE could participate in some way (fanzines, photos, posters, bands). The crowd was just as important as the band. I thought that was the greatest thing ever, and hook line and sinker, I was in.


You have a mind-bogglingly eclectic range of musical interests and you’re a multi-media visual artist as well. What, if anything, would you say is the through line that connects all of your various creative pursuits?

Self-expression and the idea to keep seeking. Period. We all have it inside and it’s a shame when folks don’t participate in their own definition of it. I, for one, do it because I have to. Like breathing, I need it to feel/be alive.


Your music seems to always have been closely tied to ideals of social justice and activism. What are your thoughts on the relationship between music (and art) and political/social issues? Can the two influence one another? Should they? And could you explain the idea behind the Young Lions Conspiracy?

I believe that actions cause reactions. To each his own, but I just feel that if I am sending things out into the world, I want it to be something that might cause some sort of a positive reaction. I am living proof of the idea that you really have no idea when and what musical or visual thought might stick with someone else and in turn cause them to act. The Rodriguez story is a great example. What is going on around you is going to influence your thoughts even if you will not admit it. As for the Young Lion Conspiracy, thats a couple of volumes, sonic and written, to put into words (smile).


Was there ever a time in your creative career when you doubted the worth of artistic endeavor, say in the face of disheartening social issues or other real-world challenges?

As I said before, what I do is what I do to live/breathe/feel alive. What I do is always some sort of reaction to things going on around me or something that I feel is maybe being missed by others. I don’t really have doubt concerning the question of doing something, only doubt in the processes and how to maybe go about them when I have that doubt. I think for me, there are more times that I am surprised that something I did resonated with someone else (big smile).

Who (or what movements) are your biggest artistic influences in terms of your visual art?

The 60s, which I grew up through. All the crazy visuals of that time along with the different groups of people making their stands. As far as actual painters, I was always more into someone like Van Gogh where you could actually see the paint sticking up… You could see “his hand” in it. I always knew that art was everywhere we looked if we would just “see,” but being in Garry Winogrand’s classes brought that idea to a truth. I love art that is made because it has to be made, has to come out of that person and consumes them until it does. Visionary, graffiti, etc. Like music, I am not interested in self-expression that is solely made in the hopes of fame, recognition, or money. For me, that output never has “soul,” but whatever… To each his own.

In a previous interview, Chris Gates stated that punk started out being something you couldn’t do wrong because there were no rules, but that by the early 1980s that began to change and a more regimented and narrow view took hold. Are there contemporary bands now that you would describe as being “punk”?

One of my favorite lines that Chris said! (big smile) I have always told people we were playing DIY (smile). As soon as you give something a “name,” here come the rules, regulations, and uniform. DaDa, Beatnik, Hippie, Punk, Mod, etc. ALL came from the seeds of DIY in the beginning. A group of people not liking the choices given to them, so they made their own choices. Me and my friends will always be whatever they call it next. Self-expression is not supposed to have boundaries, so why confine it? Call it Self-Expression, and lets leave it at that (big smile).



Jazz music and figures seem to be a motif in much of your visual art. What does jazz mean to you? Has it influenced your music as well as your art?

I first got into Jazz because of my, now, wife’s mom when I had first started high school. I heard her Dave Brubeck records and it grew from there. Up until the early 90′s I was really into soul jazz and cool jazz. John Coltrane was a big inspiration, but anything from Love Supreme on was a bit much and too out there (sad smile). Through friends, thankfully, I became “enlightened” by Pharaoh Sanders, SunRa, the Art Ensemble, etc. And all the doors and windows inside of me blew wide open to all the endless possibilities. I am SO thankful to my friends.

You’ve mentioned Dadaism in passing in previous interviews. As a rejection of reason and logic, in favor of nonsense and intuition, dadaism seems like a pretty punk movement. What is your experience with dadaism? Do you believe that meaninglessness/randomness is essential to tapping into self-expression and creative flow?

Nobody ever seems to catch that. Yes, Biscuit was gay, BUT even more so, he completely embraced the idea of Dadaism. The idea of being so absurd that people have to stop and reevaluate their thoughts on what is being presented to them. The idea that art is everywhere if you just open up to the thought of that idea. The more you broaden your “vocabulary,”  the more you will hear, see, feel, taste, etc.

You’ve also said in interviews that nowadays you’re primarily playing traditional Irish music. Do you see connections between traditional folk and punk?

There is a purpose to that music, and it’s also the whole idea of community and anyone can come participate in his/her own way.

What projects are you working on at the moment that you’re are excited about? Any upcoming shows?

I tell people all the time that I am extremely honored and humbled and proud of all that I have gotten to be a part of, but I am not dead yet, and I hope I haven’t seen the best thing to come! (smile) There is a mini art tour coming up that is based on the idea of doing with art what we were all doing with music in the late 70s early 80s–booking shows and going on tour and sharing information. If we could get some sort of circuit going where artists could come into your town and put up art for a night or two just like bands and their music, we could turn the art world upside-down in the same way the music world was turned back in the 80s. There are more murals in the future, music with my friend Rich Jacobs and maybe some recordings. Up Around The Sun too. Art shows in San Jose and Tokyo and next summer a solo show at the Rosa Parks Museum in Montgomery. Really honored by that one!


                                                                                              (Tim and a friend performing. Tim is on the right.)

Up Around the Sun is a new release of old time music by Tim and Jerry Hagins.