Archive for the ‘Uncategorized’ Category

Sly Stone’s Stone Flower

Tuesday, 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.


Friday, September 26th, 2014

Image by Stephen Zeigler for Alternative Apparel

Isac Walter is the patron saint of band shirts, a merch evangelist, a cotton crusader. It all began back in July of 2011, when the LA-based music lover started a Tumblr to document his attempt at wearing a different band shirt every day for 1,000 days. He thought maybe he’d make it to day 500, but today marks his 1171st post. Three years and counting. More than just a hobby, Isac’s collection is the fruit of an evangelical attitude toward music–an attitude that is helping to keep music alive and well.

LITA enlisted Isac’s help in remaking some Big Boys tees to go along with the reissues of Lullabies Help the Brain Grow and No Matter How Long The Line At The Cafeteria, There’s Always A Seat. We had the opportunity to talk to Isac… you know, just shootin’ the shirt. (Don’t miss the moment where the man of a thousand and one shirts says he hates clutter…)

By the way, the shirts, vinyl and other Big Boys stuff are available on our site.

What shirt best describes your adolescence? What’s the oldest shirt you have?

I’m not entirely sure. It’s really hard to say, cause I have so many. Some shirts I have replaced that were lost so technically I haven’t had them that long. But if you put a gun to my head I might think it was a Big Drill Car shirt.


As someone who recently lost her favorite shirt of all time (a custom black Os Mutantes shirt given to me by my boyfriend), what is the most significant shirt that you have lost and why? Any tips for those of us suffering a loss?

I used to have this Fifteen / Green Day shirt that I bought on Valentine’s Day once. It was a show at Gilman St. in Berkeley. I remember really having a great time at that show. The girl I went with took the shirt and 20 years later she facebooked me to say Hi and one of my first questions was, ‘Do you still have that shirt????’ Many years later I recovered it on ebay from a seller who was also at that show. I emailed her and let her know I was at that show too and she felt my pain and sold it to me cheap.


What shirt (real or not) do you most want to add to your collection?

I don’t know. I mean, I love shirts, but I would think it’s probably a shirt that I don’t even know exists, you know? Like some one-off shirt the Smiths made for a Meat Is Murder one-off show, you know?

What is the most embarrassing shirt you own? Do you get rid of or trade shirts for bands you don’t like any more, or do you keep them as reminders of that confused time in your life, like regrettable tattoos?

Hands down it is a Lily Allen shirt. But in my defense, it was for a show that I put on while working at Myspace. And I only made like 20. So maybe somewhere out there, there is a Lily Allen fan who is jealous of that one. Doubtful, though.

Not only are you a wealth of knowledge regarding vintage band shirts, but you have the artistic ability to recreate such designs for shirt reissues. What’s you favorite shirt that you yourself made? How did you make it? And generally, how do you make custom shirts? You mentioned in a previous interview that redrawing original artwork can take as many as 20-30 hours– what are you doing during that time?

I don’t have a lot of favorites, I mean I do but I’ve only kept like my 500 favorite shirts out of the 3K+ I have made, ya know? I think the ones that are my favorites are the ones I make that friends and people get super excited about, that they always think should have been made but never were. Or the re-makes of shirts that are super rare and cost $500 on ebay and there is no way anyone would ever be able to afford them unless they owned a time machine. Ironically, sometimes I will make a shirt and it will cost me more to make the shirt than it would to buy the original, but at least I can wear it guilt-free and spill pasta sauce on it and not wanna kill myself.

For the most part I will find an original of a shirt, take a picture of it on a copy stand (a camera mounted on a post with lights), then literally blow the image up in PS and redraw the entire image from scratch using a Wacom tablet (here is where I get real nerdy). You can open a picture or a drawing in PS and zoom in to about 700% right before you start to see actual pixels that are square shaped. Then you re-draw that. That is the time consuming part, but it is as accurate as you can possibly be, I think, without having the original artwork file.

When you are redrawing someone’s art, you can start to recreate brush strokes and see how it is that they painted or drew the originals. You figure out if it was pencil, brush, or marker, and try to mimic that look. Then you have to compensate for printing, because when the shirt is printed the lines bleed. You have bad print jobs, offset printing fuck-ups. You also have to make adjustments for the yahoo who printed a shirt in 1980 in their garage and didn’t know what mesh to use. So you have to have some printing knowledge to adjust all this. THEN there are the font issues. In 1985 there was no computer or PS to type out fonts. So you have to try to match fonts that don’t really exist. Back in that era they used a lot of hand drawn fonts or rub-on lettering. I would say the font is by far the most challenging aspect to get accurate. Most people probably don’t even notice it, but it stares back into my face every time I see it. The files are the easy part.

Then I make films and burn screens and try to match inks. I want every shirt to be printed like it might have been in that era–same inks, same thickness. And I will purposefully print on shirts that have the look and feel of an older shirt so they wash and wear out the same way. I like to match the original era as much as possible.

How did you come to be involved in the Big Boys project and what was your process for making the shirts?

Well Pat at LITA asked me, I think he’d read my blog and thought that I would be into the idea. I am a fan of the band and I really love the idea of re-issuing a record with a piece of merch that might have been out at that time. I tried to make something that I thought the band would have made themselves, given the opportunity, to accompany that piece of music.

Looking through your archives, one of the shirts I was most jealous of was your Magnolia Electric Co. shirt. And I loved the entry you wrote to accompany it. I have been a Songs: Ohia/Jason Molina fan for years. I also love that you were not just a fan and a listener, but that you tried to make sure that others knew Songs: Ohia and Molina as well. It seems like you stand up for what you believe to be right within music, fighting for the music you love to get recognition. Did you consciously take on this mission with your Tumblr or did it just happen as your interests deepened?

No, I don’t think I took it on consciously, but I do feel like if you love something, you should tell people about it. They will want to know. That’s how great bands get passed around. If you can tell someone is passionate about something, you will listen. I have discovered many great bands myself that way. Sometimes when I am writing posts I think, why do I do this? No one gives a shit or reads this?!?! But then I think, who cares, and if only one person discovers one great record or band from me doing this then I have done my small part in helping the music that I love. That person will tell people and those people will tell people. I guess it’s the exact definition of organic discovery.


Since the decline of record sales in recent years, bands are relying more and more on the sale of tickets and merch as a source of income. Do you think the current state of the music industry has affected ancillary markets such as merch? Do you see things changing any time soon? Would you want them to?

I used to love buying albums and CDs. I love packaging. But more and more I find myself asking, why did I buy a physical version? I love artwork and packaging, but I hate clutter. I find that if a band puts up a digital version with a shirt I will always buy that. Kill two birds with one stone. Support the band, get a shirt. And then I can go around advertising that band on my body– a win for us all. Sadly no, I don’t think it will change, but who knows… Twenty years ago if you told me I wouldn’t buy CD’s anymore I would have laughed in your face.

What shirt are you wearing at this very moment? What projects are you currently working on that you wouldn’t mind letting us in on?

Today’s shirt is a King Tuff shirt ironically from the Sub Pop pre-order for Black Moon Spell. It’s an album that I have been listening to a lot and I really love this band. The nerd in me hopes they get giant and make tons more albums with many guitar jams on them… As for other projects, you’d be surprised that I plan about 1 day in advance. Most of the time I am listening to a band and I just start to goof off on the computer and next thing you know I have 5 shirt designs. It sounds cheesy but the music dictates what I’m going to do next.

What shirt design would you most like to reissue and why? What other album/shirt reissues would you love to see happen? What does the future of Minor Thread look like? When’s the coffee table book coming out and will it have ‘sleeves’? (Get it?)

I want every New Order shirt remade. That band now has the worst merch and it makes me sad. Back in the day it used to be so good. Now you see it and it’s just boring. So yeah, the first four New Order albums and shirts would be great.

As for a book, I have no idea. It would have to be so giant and so elaborate… I’d just be happy to see a book of merch that isn’t full of obvious stuff like the Rolling Stones and the Clash and what not. I enjoy the more obscure niche stuff.

LITA At MondoCon In Austin, TX!

Monday, September 15th, 2014

Screen Shot 2014-09-15 at 11.08.44 AMNeed some spooky jams to carve your pumpkins to this year?

If you’re going be in Austin, TX on Sept. 20-21, stop by the Light In the Attic + One Way Static Records booth at MondoConWe’ll have all of our soundtracks (Surf Nazis Must Die, Street Trash + many more), as well as horror/soundtrack releases from Goblin, Ennio Morricone, and others. 

MondoCon is a convention that brings together film, music, comics, art, toys, and food.

Tickets available here.

All soundtrack available on our site as well!

Moon Block Party

Thursday, September 4th, 2014

Moon Block Party

Have you ever wondered what it would feel like to slow dance with a ghost during an acid trip in an old Texas mansion in the dead of the night? Seeing The Black Angels live is pretty close.

Turn on, tune in, and drone out at Moon Block Party in Pomona on October 18th. Our very own Black Angels and legendary West African badasses, Tinariwen, will be playing along with loads other awesome bands.

For the first time on vinyl, Tinariwen’s 2001 Radio Tisdas Sessions and 2004 Amassakoul are available for pre-order on our website.

Get tickets to Moon Block Party here.

Debut Album from Sylvie Simmons!

Wednesday, September 3rd, 2014


We’re happy to announce this sweet album by the great Sylvie Simmons: a NEW recording for us here at Light in the Attic, but it was so beautiful we couldn’t resist. Sylvie 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. The 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. Late last year, in a gap between tours, Howe Gelb of Giant Sand 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.

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 BBC documentary, The Rock Chick) and also as an acclaimed author. Her books include the cult fiction Too Weird For Ziggy and biographies Serge Gainsbourg: A Fistful of Gitanes and I’m Your Man: The Life of Leonard Cohen. Following numerous movements across the globe-including three years in a tumbledown French chateau- she now lives in San Francisco.

Pre-order Sylvie, out October 28th, on CD, vinyl, and digital HERE. First 100 pre-orders will receive turquoise colored wax! Stream the single “You Are In My Arms” below.

Big Boys Tees!

Thursday, August 28th, 2014


All your shirts dirty? You could do laundry, or you could just get yourself a brand new shirt instead like our Big Boys tees we did in collaborating with Minor Thread. The shirts feature two different original designs, “Skate for Fun“ and “Lullabies Help the Brain Grow.” Make your mama proud with a clean shirt while also celebrating your favorite funky punks. Or make your mama concerned by wearing it with a tutu, christmas lights, and some sandwiches (like Biscuit). Order your tee today from

- Silk-screened tee featuring original designs.
- Official limited edition reissue

Now Distributing Polysom!

Thursday, August 7th, 2014


We are happy to announce that we are now distributing the Brazilian label Polysom. Hidden in the Rio suburb of Belford Roxo, Polysom not only reissues some amazing classic Brazilian LPs but also runs the only pressing and production plant in all of South America.

Polysom was founded by Nilton Rocha in 1997 with equipment purchased from Brazilian major labels Poly Gram and Continental. When demand for vinyl slowed in the 90s due to the onset of the compact disc era, manufacturers in South America began to slip into extinction. Rocha made it decades before the diminished demand forced him to pulled the plug on Polysom. However, the owners of the Brazilian independent label Deckdisc purchased Polysom in 2009 and reopened it the next year. Since then, Polysom has been full steam ahead, producing top notch vinyl with quality on par with its northern hemispheric counterparts. The future is now bright for Polysom as they plan to begin offering picture discs and colored vinyl.


Michael Chapman & Julie Byrne | Live In Todmorden, England!

Wednesday, July 30th, 2014


*Poster by Jess Rotter

We will be hosting our first ever official event outside of North America in Todmorden, England on Sunday August 24th!

The Unitarian Church in the town centre (2 minute walk from Todmorden Station) will play host to an evening with the local folk maverick MICHAEL CHAPMAN. Also on the bill is JULIE BYRNE who will be in the town on her first trip UK tour. Julie’s recent debut album Rooms With Walls and Windows is a stunning slice of front porch psych folk and live she’s even more enchanting.

Our very own Matt Sullivan will also be spinning records throughout the night. Doors will be at 6pm and the live music will be over by 10pm (plenty of time for last trains to Manchester and Leeds).

For those of you who aren’t in a rush to hope a train, the after party (it’s a bank holiday afterall) will be down the road at the 3 Wise Monkeys. Live Dj set from local favorites White Rabbit, aA and Duende.

For additional information and to purchase a ticket visit

Friends of LITA | Q&A With Bill Bentley

Wednesday, July 2nd, 2014


*Photo courtesy of Houston Chronicle

Bill Bentley, the Texas/LA music journalist, publicist, label executive, and producer, has had an impressive and lengthy career in music. Bill first cut his teeth as the music editor at the Austin Sun and later at the L.A. Weekly. He was also a club promoter, publicist at Slash Records, Senior VP of media relations at Warner Bros., and now A & R director at Vanguard Records. However, Bill is the antithesis of a typical music industry tie. Kind, sensible, and extremely humble, Bill is a beloved figure whose work is a labor of love driven by respect and admiration for the musicians he works with.  We recently caught up with Bill for a short Q&A, in which we discussed his friendship with Lou Reed, The 13th Floor Elevators last show in Houston, telecommunicating with Skip Spence, and lots more. Read the interview in its entirety below.


You’ve had a very expansive career, working with tons of great artists such as Lou Reed, Neil Young, Roky Erickson, Skip Spence, Jimmy Scott, and many more. Who’s your most memorable artist?  Maybe the one that you’ll tell the great grandkids about?  

My most memorable artist was Lou Reed. That could be because since 1967 and hearing the first Velvet Underground album, I fell under his spell. Or it could be because in the ’70s in Austin I became close with Velvet guitarist Sterling Morrison, who had an encyclopedic memory of the entire life of the Velvet Underground and had been waiting for someone to tell it to. I joke that I graduated from VU, just listening to Sterling’s stories for three years. But Lou himself was beyond heroic. He was an artist who always thought of his creations first and then let everything else come second. He wanted to be popular, but more importantly he was driven to follow the sound in his head. He was a genius songwriter as well. We met in 1988 and I worked with him for 20 years. We were talking about a new album the summer before he died (October 2013). He remained on fire forever, and I learned so much about being true to yourself from him. He told me once, “Don’t let anyone change your mind,” among so many other valuable things. I still get shivers with what I learned from Lou. He definitely changed my life.


I hear you have a funny story about the first time you meet Lou Reed. Care to share it with us?

The first time I met Lou was when I went to New York in fall of 1988 to interview him for a promo CD about the debut Sire album New York. We were going to send that recorded interview to the press. I had written Lou a letter a month before saying how excited I was about working with him and also about my years of friendship with Velvet Underground guitarist Sterling Morrison in Austin during the ’70s. So I walked into the studio to meet Lou, who saw me and said, “Come with me.” We went into a small room and he said, very factually, “Sterling remembers everything and I remember nothing. Do we have that straight?” I said, “Absolutely,” then we went back into the studio and started a 25-year friendship. I think Lou wanted to make the point that this wasn’t going to be about the past and whatever Sterling had related about the ’60s. Boy was he right: Sterling remembered EVERYTHING and wasn’t shy about sharing it.


Last year, we reissued Roky Erickson‘s first three solo albums. You’re a longtime Roky and 13th Floor Elevators fan. You produced the 1990 Roky Erickson tribute album Where The Pyramid Meets The Eye: A Tribute to Roky Erickson, which helped raise funds for him and revamped his career. What is it about Roky’s music that resonates with you? 

During the 1960s when Roky Erickson was the lead singer in the 13th Floor Elevators, I became a rabid fan of the band in Houston, where their label was located. They played there all the time, and we would follow them from gig to gig like total true believers. Roky’s voice had the fervor of Little Richard but also a massive dose of mysticism in it. Maybe that was because the Elevators’ lyricist Tommy Hall was a person who believed in expression, the power of spiritualism in music, and the way LSD could help listeners get there. We joined the cult, and never quit.


I also read that you were at the last 13th Floor Elevators show in 1968. Can you tell us about that performance?

I saw the last 13th Floor Elevators show at the Love Street Light Circus and Feel-Good Machine in Houston in 1968. It was a club where you could lay down on the floor with pillows and watch the band. The Elevators were in tatters, and Roky sang with his back to the audience for most of the night. He was also singing a different song than the band was playing, which was accidentally avant-garde, to say the least. Guitarist Stacy Sutherland looked in bad shape, and by the end of the night he wasn’t even onstage. He left. I knew it was over that night.


*Interior of Love Street, circa 1968

One of our favorite records here at Light In The Attic is Skip Spence’s 1969 solo album Oar. You’re also a big fan of Skip, and, much like with Roky, you produced a tribute album: More Oar: A Tribute to the Skip Spence Album, which helped raise money for Skip’s medical bills and garnered greater attention to his music. What was it like working with Skip?

Working on the Skip Spence tribute album More Oar was a complete trip. Skip was living in a trailer in Santa Cruz and wasn’t really conversant on the phone, but his publisher Lynn Quinlan was speaking with Skip to get all the lyrics so other artists could do his songs. It was like a tag-team affair. After everything was done, I heard Skip was in the hospital, so I took the finished tape and went there to play it for him. He was in a coma, so I had to leave the tape with the nurse. I did get to sit in the room with him for an hour and try to telecommunicate a bit. I heard the next week when he regained consciousness, his family played him More Oar, and Skip listened with a smile and when the last song finished, he closed his eyes and died. Right then. I got chills when I found out, but it sure made me ecstatic that Skip got to hear how much all the artists loved his music.


This year for Record Store Day, we reissued Stephen John Kalinich’s 1969 LP A World of Peace Must Come. You’ve been friends with Stevie for a long time. How did you first meet and get turned on to his poetry?

I met Stephen John Kalinich in 1982, shortly after I moved to Los Angeles from Austin. He was friends with an artist named Renee Ciral, who was friends with my then girlfriend and now wife Melissa. So we got to be friends really fast, and he told me about the album Brian Wilson had produced of him in 1969, but the tape had gotten lost for over thirty years. Then one day Stephen found the tape, and then we started our quest to get it released. Luckily, Light in the Attic came to the rescue.


The jazz singer Jimmy Scott recently passed. Jimmy had an unquietly beautiful contralto voice, which was the result of a medical condition he had since birth. You co-executive produced his album All The Way in 1992. How did that project come about? 

I read a story about Jimmy Scott by Jimmy McDonough in the Village Voice in 1988. Almost a year later, I saw he was playing a club in New York so I went and fell in love with his voice right then. I began a crusade to get him signed, but no one would go see him. Then Jimmy Scott sang at Doc Pomus’ funeral, and Seymour Stein from Sire Records was there. Seymour immediately said he’d sign Jimmy, and that first album, All the Way, is the end result. It started a long adventure with Jimmy that was second-to-none for me. He did it all, from world tours, documentaries, collaborations with Lou Reed, David Lynch, David Byrne, Bruce Springsteen, and dozens of others and on and on. It never ended with Jimmy. We spoke a week before he died, and he was as hopeful as ever to keep going. Jimmy Scott never said goodbye. When it was time to sign off, he’d always say, “In a minute.” I loved that about him, among so many things. He was a true hero to me.


Do you have any unique memories of Jimmy you care to share?

One of my great memories with Jimmy was his first night in L.A. after his comeback. It was a small club, but he had so many fans there, from Jack Nitzsche, Ry Cooder, Joe Pesci, and a dozen others. He took me aside, held my hand, and thanked me from the bottom of his heart. He knew a new life was starting for him, and it almost didn’t happen. It touched me to the core. So many things were to come, but that moment I was so grateful to have met a man like that. Then, years later, there was big Hollywood premiere of his documentary If You Only Knew. 800 people were at the Egyptian Theatre to see it, but the projector didn’t work. So before the audience filed out very disappointed, they rolled a piano out onstage and Jimmy sang two songs. Everyone was so overwhelmed they almost forgot the movie projector didn’t work.That was Jimmy’s strength: to inspire and heal his listeners.



We recently reissued two Vanguard titles by Bob Frank and Peter Walker as part of our ongoing Vanguard Vault series. As the A & R director of Vanguard, what album do you think we should reissue next from Vanguard?

If I could pick the next Light in the Attic reissue from the Vanguard vaults, it would be Garland Jeffreys and Grinder’s Switch’s only album for the label. It came out in 1970 and is like an intriguing mix of The Band and Velvet Underground, which makes sense, because Jeffreys went to Syracuse University with Lou Reed and Sterling Morrison from the Velvets in the early ’60s, and then his band backed John Cale on Cale’s first solo album Vintage Violence. On that album, they called themselves Penguin, which got to me right away because I’m a big fan of penguins. Jeffreys went on to establish a great career starting with his Atlantic Records album in 1973 that is still one of my favorite releases ever. He produced it with Michael Cuscuna, and has people like Bernard Purdie, Paul Griffin, Dr. John, Fathead Newman, Richard Davis, and even the Persuasions on it. Also, he was one of the first rockers to record in Jamaica, and the song from those sessions, “Bound to Get Ahead Someday, is a classic. Jeffreys writes songs that mix so many influences, but they always have an extremely personal vision which no one else has quite matched. He’s just as good now as he has always been and carries the rock & roll torch proudly. The last time I looked on Amazon, the one copy available of the CD that was briefly out is listed for $566.41. Seriously. It’s time for action, Light in the Attic!


Before we let you go, can you share with us what you’ve been listening to lately?

Right now I’m obsessed with a singer-songwriter named John Fullbright. He’s from Oklahoma and is right on the edge of greatness. It reminds me of the time I first heard Townes Van Zandt in 1965. You could tell something serious was up, and it was just a matter of time before the world found out. I think Fullbright has that greatness in him, and while not every song gets there, enough do that you can tell he’s on the list of those who really can make a mark.

Also, lately I’ve been listening to this deep singer-songwriter from Scotland named Richard Macintyre. His band is named Siiga, and he’s from the Isle of Skye there. I can’t stop listening to his debut release. He played in Los Angeles a month ago at Hotel Café, and I got to see him live, then found the album. It hit me right where great music always does: the heart. Hopefully we’ll work together someday. No matter what, the world will definitely discover Macintyre. You can just feel it coming. When I hear his music, it makes me wonder what it must have been like at Warner Bros. Records in 1967 when they first heard Van Morrison’s test pressing of the Astral Weeks album. Coming off the huge Top 40 hit “Brown-Eyed Girl,” I would bet the label thought they’d be getting something different, but hopefully they knew they were in the presence of something timeless with songs like “Madame George” and “Cypress Avenue.” Music is something without rules, and my feeling is always to look for surprises, because today’s surprise could well be tomorrow’s legend. When you really think about it, the cosmos is in control anyway.

Free Basin’ Friday | Summer Edition

Friday, June 27th, 2014


Summer is here! Time to bust out the BBQ and fill up the kitty pool.  In celebration of the summer solstice, this week for Free Basin’ Friday we’re giving away a copy of Kindred Spirits reissue of L’Orchestre Sidi Yassa De Kayes - L’Orchestre Sidi Yassa De Kayes!


For a chance to win this week’s prize, tell us what’s your favorite summer record (an album that always gets loving during your 4th of July BBQ) and why. The winner will be notified next Friday via email.