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:



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:

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.

Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966–1985 |Pre-Order!

October 8th, 2014


Largely unheard, criminally undocumented, but at their core, utterly revolutionary, the recordings of the diverse North American Aboriginal community will finally take their rightful place in our collective history in the form of Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966–1985. An anthology of music that was once near-extinct and off-the-grid is now available for all to hear, in what is, without a doubt, our most ambitious and historically significant project in the label’s 12-year journey.

Native North America (Vol. 1) features music from the Indigenous peoples of Canada and the northern United States, recorded in the turbulent decades between 1966 to 1985. It represents the fusion of shifting global popular culture and a reawakening of Aboriginal spirituality and expression. The majority of this material has been widely unavailable for decades, hindered by lack of distribution or industry support and by limited mass media coverage, until now. You’ll hear Arctic garage rock from the Nunavik region of northern Quebec, melancholy Yup’ik folk from Alaska, and hushed country blues from the Wagmatcook First Nation reserve in Nova Scotia. You’ll hear echoes of Neil Young, Velvet Underground, Leonard Cohen, Creedence Clearwater Revival, Johnny Cash, and more among the songs, but injected with Native consciousness, storytelling, poetry, history, and ceremony.


*Willy Mitchell and Desert River Band, photo courtesy of artist

The stories behind the music presented on Native North America (Vol. 1) range from standard rock-and-roll dreams to transcendental epiphanies. They have been collected with love and respect by Vancouver-based record archaeologist and curator Kevin “Sipreano” Howes in a 15-year quest to unearth the history that falls between the notes of this unique music. Tirelessly, Howes scoured obscure, remote areas for the original vinyl recordings and the artists who made them, going so far as to send messages in Inuktitut over community radio airwaves in hopes that these lost cultural heroes would resurface.

With cooperation and guidance from the artists, producers, family members, and behind the scenes players, Native North America (Vol. 1) sheds real light on the painful struggles and deep traditions of the greater Indigenous community and the significance of its music. The songs speak of joy and spirituality, but also tell of real tragedy and strife, like that of Algonquin/Mohawk artist Willy Mitchell, whose music career was sparked by a bullet to the head from the gun of a trigger-happy police officer, or those of Inuk singer-songwriter Willie Thrasher, who was robbed of his family and traditional Inuit culture by the residential school system.


*Willie Dunn, photo courtesy of artist

Considering the financially motivated destruction of our environment, the conservative political landscape, and corporate bottom-line dominance, it’s bittersweet to report that the revolutionary songs featured on Native North America hold as much meaning today as when they were originally recorded. Dedicated to legendary Métis singer-songwriter and poet Willie Dunn, featured on the anthology but who sadly passed away during its making, Native North America (Vol. 1) is only the beginning. A companion set featuring a crucial selection of folk, rock, and country from the United States’ Lower 48 and Mexico is currently in production.

Deluxe 2xCD set features a hard-cover 120 page book with comprehensive liner notes by Kevin “Sipreano” Howes, artist interviews, unseen archival photos, and lyrics (with translations). Deluxe 3xLP set includes 60 page booklet with all the same goodies as the deluxe CD and is housed in a “Tip-On” slip case with three “Tip-On” jackets. Pre-order now and receive limited edition tan wax, tote bag and sticker!

Sylvie Simmons Playlist & Tour!

October 6th, 2014


Happy Monday! Check out the below playlist of handpicked songs that have influenced and inspired Sylvie Simmons’ forthcoming debut, out November 11! Also, be sure to check out her tour dates for a chance to see her live!!

 October 10th & 11th, Dublin, Ireland – Young Hearts Run Free Festival

Oct 28th, Reno, Nevada – Sundance book and record store

November 8th, Martinez, CA – Armando’s

November 15th, Santa Rosa, CA – Last Record Store

November 22nd, New York City – Le Poisson Rouge

November 29th,Winchester, UK – University of Winchester

December 11th, San Francisco – The Jewish Community Library

Jan 29th to Feb 1st 2015, Cartagena, Colombia – Hays Festival of the Americas

Light In The Attic x Ace Hotel Palm Springs

October 2nd, 2014


Join us Friday, October 24th, for a special screening of Lee Hazlewood‘s Cowboy In Sweden at Ace Hotel & Swim Club in Palm Springs. Stick around after the film as we spin some of our favorite records and hang in the Amigo Room. We’ll also have a pop-up shop selling wax and official LITA swag!

Sly Stone’s Stone Flower

September 30th, 2014

Sly Album cover

We are honored to announce our latest release of I’m Just Like You: Sly’s Stone Flower 1969-70. For all of us here at Light In The Attic, it has been surreal to work directly with the legend himself, SLY STONE!

In 1970, The Family Stone were at the peak of their popularity, but the maestro Sly Stone had already moved his head to a completely different space. The first evidence of Sly’s musical about-turn was revealed by the small catalog of his new label, Stone Flower: a pioneering, peculiar, minimal electro-funk sound that unfolded over just four seven-inch singles. Stone Flower’s releases were credited to their individual artists, but each had Sly’s design and musicianship stamped into the grooves-and the words “Written by Sylvester Stewart/Produced and arranged by Sly Stone” on the sticker.

Set up by Stone’s manager David Kapralik with distribution by Atlantic Records, Stone Flower was, predictably, a family affair: the first release was by Little Sister, fronted by Stone’s little sister Vaetta Stewart. It was short lived too-the imprint folded in 1971, but its influence was longer lasting. The sound Stone formulated while working on Stone Flower’s output would shape the next phase in his own career as a recording artist: it was here he began experimenting with the brand new Maestro Rhythm King drum machine. In conjunction with languid, effected organ and guitar sounds and a distinctly lo-fi soundscape, Sly’s productions for Stone Flower would inform the basis of his masterwork There’s A Riot Goin’ On.

Available on 2xLP (November 4th), CD and digitally (September 30th), this long overdue compilation of Sly’s Stone Flower era gathers rare 45s plus ten previously unissued cuts from the label archives, all newly remastered from the original tapes. In these grooves, you’ll find the missing link between the rocky, soulful Sly Stone of Stand! and the dark, drum machine-punctuated, overdubbed sound of There’s A Riot Going On. I’m Just Like You: Sly’s Stone Flower 1969-70 opens up the mysteries of an obscure but monumental phase in Stone’s career. Pre-order now at and receive lime green wax (while supplies last)! Also available for pre-order, Rotter & Friends x Light In The Attic “Stone Flower” silkscreened t-shirts, as well as limited edition hand-numbered 18” x 24” prints.