Archive for the ‘news’ Category

Three New Titles From Shadoks Music

Monday, March 2nd, 2015

We’ve got three awesome new European underground reissues from Shadoks Music available for preorder this week!


This is Shadoks Music’s third release from the great Finnish psych band, Charlies. Recorded in ’69-’70 in the drunk tank of the local jail (one of the member’s fathers was a police officer, so they were granted access), this album finally achieves the heavy underground quality that the band felt their previous releases lacked.




Catching up with the love and peace sentiments of the rest of the Western world, Austrian band Nostradamus formed in Vienna in the late 60s. With influences such as The Jimi Hendrix Experience,  Cream, and King Crimson and the addition of a violinist, this album is one of the best and most unique Austrian releases of the time.




Also influenced by powerful trios like Cream and The Jimi Hendrix Experience, Young Flowers formed in Copenhagen in 1967. Progressive and with a uniquely Scandinavian sound, Young Flowers released a second album in 1960, ‘No. 2′, which has since become one of the most important and sought after Danish albums. Full of fuzz guitar, great vocals and an underground vibe, Shadok’s reissue comes as the original did with a silver cover. Plus this version comes with a bonus poster. Oh and by the way, the band has two upcoming shows in Denmark!

New Distro Label: Futurismo!

Tuesday, February 24th, 2015


We’re delighted to present a fresh, bright label from London for whom we’ve just begun distributing. Futurismo‘s manifesto states:

We believe that neither pop nor art should be mutually exclusive, that the past and the future can synchronize in the moment, just as creativity, danger and fun can co-exist on the same plane. Life should be about fun after all. Serious fun.

Since it’s start in November of 2014, the label has put out several releases revolving around the genres of new wave, post-punk, no wave, avant garde pop, and synth punk. And with an eye to not only music, but art and fashion as well, Futurismo is a tastemaker to watch.

Delaney Jae Williams, the label’s director says:

My aim is to generally release objects by artists that need reappraisal or reinstating in the consciousness, using high-end production and forward thinking, innovative design. My intention is to give more attention to lesser known records than major labels give to revered recordings. My main interests are unreleased recordings and redux versions of existing records that include new artwork and extras.

We’ve got three great new releases from Futurismo available for preorder, each with multiple color variants:

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2015 Light In The Attic Subscription – Part I

Tuesday, November 25th, 2014


To avoid heavy international postage costs for LP Subscribers, orders outside North America will be sent in 2 parts: the first 4 LPs will be sent together and then the second batch of 4 LPs will be sent together.

As 2014 draws to a close and with the new year nigh, we are happy to announce the latest and greatest Light In The Attic Subscription Package! Just like our previous subscription installments, the first edition for 2015 comes chock-full of exclusive perks for all you loyal Light In The Attic devotees. Expect special colored wax on many of these releases along with bonus ephemera only available to subscribers. Last year, members received elite bonus swag including a Country Funk II-themed, limited edition bandana and a previously unreleased 7″ of original radio jingles by the one and only Donnie Emerson (half of the brotherly duo who brought you Donnie & Joe’s Dreamin’ Wild). Now, we mustn’t reveal all the juicy details just yet… but we can give you a sweet taste of what’s in store for the first half of 2015!


LITA134_Press Color_Album Art

Lizzy Mercier Descloux – Press Color
Light In The Attic
(LITA 134 | CD | 2xLP)

Originally released on legendary French label ZE Records, this is the debut album by Lizzy Mercier Descloux. The Parisian poet, painter, actor, and prolific self-taught musician was an influential character in the late 70s New York underground. Along with partner Michel Esteban, Mercier Descloux established the magazine Rock News and ran in the same circles as Patti Smith and Richard Hell. She became a genre-defying artist, pioneer of worldbeat and avant-garde rock, and supreme minimalist of the no wave genre in her own right. Press Color is Lizzy’s debut long player and owes more to disco, funk, and film scores than punk rock, all recorded within a two week span. Although largely forgotten, the album has received critical acclaim, being called “the real thing” by Uncut magazine. This Record Store Day exclusive, presented in an expanded gatefold edition with bonus tracks, will sell out, but your subscriber loyalty guarantees you a copy.

Here is a cool clip of Lizzy dancing her heart out on French TV to the Press Color classic “Fire”–with an introduction by the one and only Serge Gainsbourg:





The Supreme Jubilees – It’ll All Be Over
Light In The Attic
(LITA 120 | CD | LP)

If God had a disco, the DJ would be playing California gospel-soul group The Supreme Jubilees. A band of brothers and cousins, the group released their first–and, prophetically, only–album, It’ll All Be Over in 1980 on their own S&K label. It’ll All Be Over pinpoints a fatalistic mood exemplified by the title. Its lyrics draw from the Old Testament, its sound from the church by way of the disco. It is, as Jessica Hundley observes in the brand new liner notes, “both apocalyptic and seductive.” After the LP was pressed, the group took their music on tour, first in California, where they played with acts including the Gospel Keynotes, The Jackson Southernaires, and the Mighty Clouds of Joy, and then on an ill-fated trip to Texas. A follow-up album was planned for 1981, but it never materialized; having slept sometimes a dozen to a room in Texas, the men in the band were reluctant to leave jobs, wives, and kids for the hardship of the road. The group simply fizzled out, even if the friendships and family ties never did. A copy of the album sold to a fan on that Texan tour made its way to a San Antonio record store where it was discovered nearly three decades later by collector David Haffner (Friends of Sound). He managed to track down the family at a Fourth Of July barbeque in Fresno in 2004, and he eventually introduced the group to us here at Light In The Attic. This marks the first LP reissue, fully restored and remastered, and the first time ever on CD. LITA subscribers will receive a copy of this lost gem on exclusive “sunset orange” wax.

Click below to witness the unique sounds of The Supreme Jubilees:



As a subscriber, you will receive:

+ The first 8 LPs released from Light In The Attic during the first half of 2015, excluding box sets.

+ Select LP releases will include special Subscriber-Only colored wax (when colored vinyl is pressed), not available for non-subscribers or anywhere else in the known universe.

+ 15% off ALL online orders for first half of 2015, excluding subscriptions and gift certificates (discount code to be sent post-purchase). NB: Discounts may not be used towards the subscription purchase.

+ Includes various rarities and exclusives throughout the remainder of year

+ Free shipping for Subscription titles

+ Due to licensing restrictions, not every LP release will include a digital download coupon



Manufacturing Delays

Tuesday, 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.

Lewis Found!

Friday, August 8th, 2014


*In respect to Randall’s request for privacy, we have blurred the above photo to obscure his location.

Randall Wulff is alive. Living and breathing and content, simply playing his music in the comfort of his own home, with a girlfriend and some kittens by his side.

For two and a half years, we searched and searched, and all signs led to Lewis as being a man no longer with us. Then last week, out of the blue, an old friend from Randall’s past got in touch, mentioning that he saw Randy in Canada last year. Hours later, Jack Fleischer and I booked two plane tickets and headed to Canada on the hunt.

Feeling deflated after 48 hours of tirelessly searching, we suddenly spotted him in plain sight. We found him looking calm, cool and collected, sitting outside a little neighborhood coffee shop drinking a large hot coffee. He looked great just sitting there basking in the summer sun with his classic blond hair, white shorts, white, billowy dress shirt (confidently unbuttoned to the navel), shiny white tennis shoes, and a wooden cane, which he cited was from a recent accident, but he seemed to walk fine. He had that undeniable charm of some golden-era Hollywood actor.

Randy had no idea about the recent interest in his old records and didn’t seem to care in the slightest. We had a check for him but he wasn’t interested. We brought him CDs and LPs of L’Amour. He took a look, impressed (“nice”), and smiled, recalling a number of positive stories from back in the day. Then handed back the CD, saying it was for us and kindly declined keeping it. Randy simply wanted to look forward with both his life and music and had no interest in any celebrity or financial gain having to do with the albums. He told us over and over again, “That was a long time ago” and that we should “have a ball” with the reissues. When we mentioned that we’d been looking for him for years, he was surprised, responding that he’s been right there all along and shops for groceries at his neighborhood store.

After a half hour chatting about his musical past, he signed a couple copies of L’Amour (as “Lewis”) and said, “I wish you guys all the best. I’m not looking back. I’m doing stuff now that’s taken me forty, fifty years to write. I’m not looking into coin. I’m not looking into anything. I’m just strumming my guitar. I just wish you guys all the best in the world.”

In respect to Randall, we’ve decided that once our CD/LP stock runs out, we won’t be repressing L’Amour or Romantic Times–until he tells us differently. It doesn’t feel right collecting money from his art and him not sharing in it regardless of how incredibly positive he was about the entire thing. The royalties will continue to be set aside into an escrow in case he ever wants them.

In 2014, with the instant gratification of information at our fingertips and every mystery solved within seconds, this is a rare and beautiful thing. The man seems to be at peace, so respecting his privacy is most important. And in closing, we are aware of the small percentage of people that believe this whole thing to be a hoax. Looking at the twelve-year history of our label, anyone would see that we would never do such a thing to betray people’s trust. We, like many of you, find so many parts of this story to be beyond belief, but after this meeting with Randall, we can say that sometimes truth truly is stranger than fiction.

Friends of LITA | Q&A With Saul Conrad

Thursday, May 22nd, 2014


All of us here at the Light In The Attic clubhouse are excited to be distributing the latest album from Boston’s Saul Conrad. A Tyrant And Lamb, out now on Cavity Search Records, is his third studio album and is on heavy rotation here in the office. We recently caught up with Saul for a short Q&A. You can read our interview with him below and stream his new album A Tyrant And Lamb from!


1. What was your process like while recording this new album? Can you tell us a little about the approach you take when you’re in the studio?

We (Jason Bitner, who produced this album, and I) started working with an idea in mind that had very little to do with where we arrived. I’m normally too anxious after finishing one record to sit around waiting for the release to pan out. So often a flood of new bits and pieces of songs starts a couple months after finishing something and I get pretty involved in it. In this case I started with a whole idea about a drum feel that was on the line between straight four rock and country shuffle. And some honky tonk progressions and melodies.

We had much of the album we imagined we were going to make close to completion, with 6 or 7 tracks recorded — and then it was time to go on tour for the previous album. So we dropped everything and worried about shows, traveling with a parrot (my parrot at that stage wasn’t well and was refusing to eat on his own–he’d only accept food from me via a syringe, so we had to bring him and feed him 4x/day in the van), and motel rooms that often smelled of fresh crack. We were terrified the fumes would do Chico in–many nights we had his little travel perch (his “bird motel”) set right above the TV in order to keep a close eye on him. We’d watch with a silhouette of a parrot missing from the center of the screen. There were some great shows at alternative venues–for example in a house on a block where 5-10 abandoned houses were being squatted by a whole community of friends. There were awful nights in about equal measure—one particularly, in Dallas, where we played for a few businessmen in black suits with black ties and shiny black shoes (looking like demented preachers doused in oil) who were casually whispering over mixed drinks and fake candle light to their dates.

When we got back to Boston we trashed much of what we already had recorded. It sounded put on–forced into this style I was obsessed with at the time, but not emotionally true, or that relevant to how I was feeling anymore. If its relevance had faded that quickly and it wasn’t holding together I knew we had to get rid of it and chalk it up to a first stage that would hopefully lead us somewhere more meaningful. I actually ended up taking pieces of those original songs and building new songs around them. Seeing that one could trash large amounts of work, and that in some cases it freed me to find more rewarding solutions to finishing the songs was kind of a revelation for me.


2. Do you have a favorite track from the album?

I think I might like Galga the best–I’m usually excited to perform it. It returns me to a place, or a kind of terror I felt a lot in the past, but allows me to sort of share it, aggressively, on my own terms, and escape, or reverse the feelings of real life, for a couple of minutes.

3. Your new album is titled A Tyrant And Lamb. Can you explain the meaning behind the title?

It comes from the characters that can crawl into your head if you get into one of William Blake’s prophecies. I guess the lambs and the tyrannical forces are even in play in some of his earliest works too. This album intends to take a very careful look at the voice of the protagonist (myself, I guess), without making any approximations or averages. To see some truth I have to be able to watch and chart myself turning from a lamb into a tyrant (in a long-term sort of way, chronologically through my life), and back and forth all the time. It also studies a couple of the relationships that are and have been extremely important to me, and how those relationships often seem rooted in the opposing force between the tyrant and the lamb. But the roles can switch–which is why, though the cover may implicate one person at first look, both people have a bit of satanic blush on their cheeks, and the eye is slightly discouraged from associating anyone permanently with either role.

4. You mentioned that while you worked on this album you read a lot by Søren Kierkegaard and William Blake. Do you feel that the themes of what you were reading manifested themselves in your lyrics?

The lyrics were meant to reflect things I found within myself, but the method of search and excavation is largely indebted to what I learned from Kierkegaard’s The Sickness Unto Death and Blake’s The Four Zoas. The whole ebb and flow of the album–the slow revelation of various horrors, broken and lost parts of human potential, weakened relationships, with turn-arounds, potential ways to find the good path & strength mixed in, and leading up to the final accusation at the end of “Bulls”–is deeply informed by the Zoas, which is a massive and torturous journey to the threshold of hope.

Particularly in the song “Hollow”, the idea of a personally disastrous paradox, of the need to destroy your origin to become someone real, the climax of that song if you love someone kill their family in their mind / and set them free / climb into a balloon is something I learned from The Sickness.

5. What other artists or musicians have influenced your music and songwriting?

Blaze Foley Wanted More Dead Than Alive (I especially tried to sing in a way akin to Blaze in the middle section of the 7th track “Bumbling Fool”), Gram Parsons, Townes Van Zandt (High, Low and in Between, Flyin’ Shoes, Delta Momma Blues) Syd Barrett (The Madcap Laughs), Harry Nilsson (the vocals, specifically on his album of standards A Little Touch of Schmilsson in the Night, Nilsson Sings Newman, and Son of Schmilsson), Elliott Smith’s From a Basement on the Hill (his vocal sound, and the way he mixed distorted dissonant, aggressive electric guitars with sweeter, picked acoustic)

I guess it’s hard to know for sure because a lot of stuff (especially from when I was younger playing classical music) may be floating around in my head somewhere that perhaps I’m not even aware of, but that is leading me places and informing what I’m trying to do with songs and melodies.

6. You hail from a long lineage of musicians. I read that your great uncle escaped Nazi Germany during WWII and went on to become an acclaimed pianist. Have you ever collaborated with him or asked his advice when writing music?

I actually have performed with him–Mozart’s double piano concerto. When I went to NYC to practice with him, for hours on multiple days I couldn’t get through the first few measures without a meltdown from him. My approach, my attitude, speed, technique, musicality, rhythm…everything was a disaster. But we got through that stage (and I got through the headaches and nerves that accompanied these rehearsals) and he came to show me a level of rigor, technically, but also in terms of interpreting a piece of music, and having a detailed, studied, thoroughly conceived plan for musicality and dynamics. It was an honor and once in a lifetime experience to play with him.

I’ve never talked to him about writing music, and he’s quite old now (and wasn’t really as present in my life for the period when I started writing). He never composed (as far as I know), but at birthday parties he would play Happy Birthday in the styles of 10 or more different composers. He was so intimately aware of their work and their voices–it was like they’d walked into the room in a casual mood and started making up variations to the melody themselves. His creative energy was completely tied up with his interpretations and understanding of others’ compositions. For most of his life he could play any Beethoven sonata by heart.

7. What are you listening to these days?

Josh from Light In The Attic gave me Bob Frank’s first record, which is stunning. Each song is a story. And some of them are riddles, or something like that–there’s room to draw a lot from the sparse outlines, and try to interpret. Maybe it’s sort of Biblical: The ellipsis, and the beauty. I’ve been listening Big Star’s Third/Sister Lovers. No one seems to share my opinion on this, but I really don’t much care for Big Star’s first two records. This one though has blown me away. The sounds–the strings mixed with all kinds of electric sounds–Jim Dickinson’s production, the writing, the singing…It’s got maniacally upbeat ecstasy in some songs, true tender veins elsewhere, and the sad calm when all those feelings burn out too.

I got a new record that collects a lot of Luke McDaniel’s songs…I am particularly moved by “Drive On”, “Homeward Mule”, and “You’re Still on my Mind”.

I’ve been returning over and over to Mozart: Don Giovanni (Vienna Philharmonic conducted by Josef Krips with Cesare Siepi) and the Requiem Mass (the Harnoncourt version). And then, to try to undo the hypnotizing beauty, the terror, the turning feelings, to relax, or move to a completely different, simpler mood, I’ve been counter-balancing that listening with the Dead: Workingman’s Dead, Europe ’72 (mainly for the set of “China Cat Sunflower” “I Know You Rider” and “Brown-eyed Woman”) and Live at The Fillmore East (for “Bertha”!).

Denny at Cavity Search Records sent me Jerry Joseph’s self-titled, which I think is a subtle record with stunning guitar work, and lyrics that are bold in scope and tackle –it seems to me– mangled, complex and deep-mind emotions. (My favorite tracks are “Pony” and “Bouncing Very Well”–the romantic songs)

I played with Joey Molinaro in Pittsburgh this winter and got his record The Inalienable Dreamless. He performs virtuosic, high energy sets on violin with a foot-pad to add percussion and a bit of vocal additions too from time to time. It’s like war music to me in a sense–fascinating, aggressive, demanding and different.

8. What’s on the horizon for you? Any plans for an upcoming tour?

I’m going to be on tour for a lot of the summer…in June a loop from Boston up through upstate New York and west to Chicago, down to Baton Rouge, and then back up the east coast. In August a trip that starts in Montana, heads west and then down the coast from Seattle to southern CA. (all the dates are HERE)

I’m also getting pretty far into work on a new album–musically a completely different sort of thing–a kind of Mass. Anyway, A Tyrant and Lamb is out this Tuesday. The guys at Musicol pressing remastered the whole record for vinyl, and it really sound its best like that. (And it’s not coming out on CD right now). It’s a limited edition of 300 copies.

Check out the music video for Saul Conrad’s “Carousel” below.

Weekly Distro Roundup with Jon Treneff!

Thursday, May 15th, 2014


I don’t know what it’s like in your thrift store corner of the world, but out here in the wet ‘n wild west, it’s been something like a HEAT-WAAAAVE.  You know what else is hot?!  SLUMBER PARTIES, HIPPIES, and TOURING!!!  So get all up in this sweat lodge and have yourself some visions – of  the hot jams you’ve been missin’!



Just when you’re expecting another ’80′s synth banger, Death Waltz sucker-punches you with this!  Don’t get us wrong, we got nuthin’ against the ’80′s synth bangers, but THIS – this is a CLASSIC horror soundtrack.  And when we say classic, we mean Phantom of The Opera / Dracula / Haunted Funhouse of Horrors kind of a vibe.  And when we say Funhouse, we mean a real ORGAN GRINDER.  If you still don’t follow, this is what would be playing while you were quietly crapping your pants at the carnival or the haunted corn maze, or whatever they did for fun in Oklahoma.  Scary in the way that clowns, scarecrows, and mimes are still scarier than 100 Freddy Kruegers surrounding you like the maypole.


The Black Hippies – The Black Hippies
(Academy LPs)

Here at LITA HQ NW, we’re beyond pumped to have the estimable Academy LPs joining the distro stable!  If you’re not already familiar, this new reissue from The Black Hippies is a perfect place to start, showcasing everything this label has become known for in the last few years.  Like it’s predecessors, this jam is another deep cut from the ’70′s Afro-Fuzz scene – and one of the more high-stepping rump-shakers from a scene that has it’s share.  A uniquely African interpretation of the hard rock, funk, and disco that was making it’s way into the Nigerian nightclubs from Europe and overseas, and will the knock yer socks off if you dug the Ofege record.  Get Hip(py)!


Merchandise / Milk Music / Destruction Unit – USA ’13 Split
(540 or Fight)


The best kind of 3-car pile-up from some of the more engaging bands working in the American psych/punk underground today.  Serving as something of a postcard from the tour these bands did together last year, this split highlights the stylistically divergent approaches each of them are taking in their attempts to stretch the boundaries of what a “psychedelic” band can be.  Merchandise delves further into the atmospheric, ethereal soundscapes their new label home, 4AD has built it’s house on, while Milk Music keeps driving further from their scrappy SST punk beginnings, winding down somewhere out in the Crazy Horse desert sunset.  Destruction Unit – well, they do what they do – to great effect, laying down minimal, encrusted garage riffs and slowly building them to frenzied, peyote nightmares.  The best split release since the Boys Life / Christie Front Drive 10″- and in retrospect, those bands kinda sucked.  Features all previously unreleased material.

All titles mentioned above are available through our online shop or at our Seattle record shop (913 NW 50th St., Ballard). The shop is open Friday 12-8pm and Saturday 12-4pm.

Weekly Distro Roundup with Jon Treneff!

Thursday, May 1st, 2014


Time flies, they say – and they were saying the truth. With Record Store Day behind us, and Holy Thursday but a fleeting whisper in our memory, the days and months just keep on truckin’ along here. Who said it could be May already? In fact, we’re already planning our review of the deluxe 25th anniversary reissue of Breaking Bad, cause like our Senior Discount at Best Western, it’s right around the corner. Like the man said – such a short time to be here, and something something something to be gone.


Dave Porter – Breaking Bad OST
(Spacelab 9)

The soundtracks continue to flow like Niagara over here – and when they’re this good, we shan’t be complainin’! Look, I don’t know Hank from Henry, but if you think that’s gonna stop me from sinking my wooden teeth into this babyshit double pack, you better get back on the pumpkin truck. Dave Porter’s skeletal, pulsing soundtrack manages to engage at every turn – with or without a bald a-hole shoving a barrel in your back. Limited and going fast!


Posse – Soft Opening
(Beating A Dead Horse)

Posse have been kicking around the Seattle DIY scene for a few years, and it’s been a pleasure watching their evolution from a frantic Breeders-esque trio (a good thing) to what we have here (a great thing). Soft Opening marks a major step forward, dialing down to a more stately tempo and letting things unwind more – a la Go-Betweens and Built To Spill. If those sound like token touchstones – well, they are. But let’s be honest – this is a mode very few have managed to appropriate well, much less improve upon. Posse do both, birthing a fully-formed paean to the beautiful, mundane struggle of day-to-day modern life. Like Neil said, “I know my problems are meaningless, but that don’t make ‘em go away.” Limited to 250. Don’t say I didn’t warn you.


Neighbors – Will You Please Be Quiet, Please?
(Beating A Dead Horse)

Neighbors are the sophomore (and final?) release from Posse’s BADH label. Leader, Jose Diaz has been one of the key forces behind Seattle’s recent DIY revival, running an underground venue and recording some of the better exponents of this scene (Chastity Belt, Posse, Dude York). Neighbors pick up in the young tradition – mining the rich vein of C-86 / Rough Trade / Postcard bands that, with good reason, continue to inspire new generations. Aces high.


(AMS restock direct from Italy!)

Our ship finally came in (again). We just received a massive restock on all of the highly coveted Goblin titles (Zombi, Suspiria, Tenebre, Profondo Rosso, etc) plus a few new selections of rich vintage to wet your whistle, including Goblin’s Amo Non Amo soundtrack from ’79, starring Terence Stamp and Jacqueline Bisset! Also disembarking are killer psych-prog jams from il Balletto di Bronzo, Biglietto Per L’Inferno, and a restock of Battiato’s essential mind-bender Foetus. Get some olde country lovin’ in your life while you can – these are bound to be gone with the morning wind.

All titles mentioned above are available through our online shop or at our Seattle record shop (913 NW 50th St., Ballard). The shop is open Friday 12-8pm and Saturday 12-4pm.

Wheedle’s Groove – Seattle Funk, Modern Soul & Boogie: Volume II 1972-1987 | Pre-order!

Wednesday, April 23rd, 2014

Wheedle2_Album Cover

Wheedle’s Groove - Seattle Funk, Modern Soul & Boogie: Volume II 1972-1987
LITA 108 (2xLP | CD | Digital)
Digital – May 20
CD & 2xLP – June 3
Pre-order Now!

We are very excited to announce our upcoming release of Wheedle’s Groove Vol. II, the second installment in the Wheedle’s Groove series documenting Seattle’s soul and funk scene from 1972 to 1987. 

In 2004, the first volume of Wheedle’s Groove shone a light on the formerly unheralded soul scene in 1960s and ‘70s Seattle, followed by a new album in 2008, and then an award winning feature-length documentary film. The on-going Wheedle’s Groove 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. No – in the world of Wheedle’s Groove, platform shoes and pimp hats were the order of the day.

But unlike Volume I, Seattle’s soul scene did not stop in 1975. A new volume, Wheedle’s Groove Vol. II, documents the period from 1972 to 1987, when funk was superseded by disco and modern soul. Heading into the ‘80s, artists in the Emerald City caught wind of the hip-hop and electro scenes that were growing in bigger cities across America, and gave the music their own distinct spin.

As the years unfurl in the tracks of Wheedle’s Groove Volume II, so does the recent history of American music, the songs tracing technological changes and social change, and music’s move from the club to disco as live bands moved aside for DJs. Witness Septimus, on the cusp of both, blending a live drummer with a Roland drum machine and cutting ‘Here I Go Again’ on a disco-friendly 12” single.

Separated from the major centers of soul music, Seattle was a scene that developed out of the gaze of the mainstream music industry, but one that moved just as fast. As John Studamire of the band Priceless remembers, “A lot of the groups around town would have to incorporate that disco sound or you’d sound totally dated.”

Seattle’s size and location had a great effect on its sound. Artists on the scene were accustomed to playing small, discreetly segregated club shows and pressing short runs of 45s for local radio stations. Touring happened mostly on a regional scale and artists popped up in a variety of different bands. Fans of Volume I will recognize some familiar names here: Robbie Hill’s Family Affair turn in the soul-jazz gem ‘Don’t Give Up’ and Cold, Bold & Together present the undeniable vocal beauty of ’Let’s Backtrack.’

Compiled and sequenced by Seattle’s DJ Supreme La Rock, this 18-track compilation will also introduce you to the long-forgotten blue-eyed soul boy Don Brown (‘Don’t Lose Your Love’) and frustrated talents Push, overlooked for record deals on account of singer “Big Joe” Erickson’s larger-than-life heft (‘You Turn Me On’). There’s Frederick Robinson III and his gospel-funk protest tune ‘Love One Another’, Tony Benton of Teleclere being Seattle’s answer to Prince (‘Steal Your Love’) and Seattle Mariners baseball star Lenny Randle bringing his teammates in to record ‘Kingdome’ in honor of their stadium.

* Compiled by DJ Supreme La Rock
* All tracks re-mastered
* CD & 2xLP housed in deluxe Stoughton “Tip-On” gatefold jackets
* New liner notes by Jonathan Zwickel with band interviews and rare archive photos
* Color vinyl editions:
+ LITA Vinyl Subscriber Exclusive – 200 on 180-gram “Seattle Supersonics” colored wax (LP 1 Green, LP 2 Yellow)
+ Pre-order Exclusive – 200 on “Red Light Red” wax –> limit 2 per customer
+ LITA Shop Exclusive – 250 hand numbered jackets with 180-gram wax (LP 1 “Seattle Supersonics” tribute picture disc, LP 2 “Sonics” yellow/green split wax) –> *limit 2 per customer*

Stream Don Brown’s “Don’t Lose Your Love” from Wheedle’s Groove Vol. II below….

Donnie & Joe Emerson – Still Dreamin’ Wild: The Lost Recordings 1979-81 | Pre-order

Wednesday, April 2nd, 2014


Donnie & Joe Emerson - Still Dreamin’ Wild: The Lost Recordings 1979-81
LITA 115 (LP | CD | Digital)
Available: June 17, 2014
Pre-order Now!

Some people have to wait for fame; some people wait even longer than most. Donnie and Joe Emerson are in a league of their own.

As 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 Dreamin’ Wild, 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.

As for Dreamin’ Wild, 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: Pitchfork described it as a “a godlike symphony to teen hood.” The New York Times flew out to the family farm, while Jimmy Fallon took to Twitter to proclaim his love for the duo.

But Dreamin’ Wild does not tell the full story. In a relatively short span of time – just two and half years – the boys put close to 70 songs down on tape, all recorded at that magical home studio on the farm. A dozen of them are included here on Still Dreamin’ Wild: The Lost Recordings 1979-81 and ready to be enjoyed for the first time ever. With a familiar blend of FM rock, power pop, and new wave, these 12 tracks 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 Dreamin’ Wild captures the teenage experience, Still Dreamin’ Wild 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.

The long-belated success of Dreamin’ Wild 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. Still Dreamin’ Wild 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.

* Photo by David Black

  • First ever release
  • All tracks newly re-mastered from original tapes
  • LP housed in a deluxe Stoughton “Tip-On” gatefold jacket
  • Liner notes by Jack D. Fleischer, interviewing Donnie & Joe
  • LP includes download card
  • Color vinyl editions (comes with a “Jingle Demo Reel” 7″ featuring 4 unreleased jingles Donnie wrote for local Washington businesses back in the day)
    - 200 on “Snow White” wax + 7″ ( LITA Vinyl subscriber exclusive
    - 500 on “Baby Blue” wax + 7″ ( pre-orders exclusive – limit 2 per customer)
    - 100 on “Red/Black Shag” wax + 7″ (LITA Shop exclusive – limit 2 per customer)

Stream the track “Ride The tide” from Still Dreamin’ Wild: The Lost Recordings 1979-81 below…