FRIENDS OF LITA Q&A WITH TIM KERR

October 9th, 2014

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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.

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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.

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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).

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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).

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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!

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                                                                                              (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

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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.

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*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.

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*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

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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

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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

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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 LightInTheAttic.net 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.

FRIENDS OF LITA | Q&A WITH ISAC WALTER AKA MINOR THREAD

September 26th, 2014
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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.

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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.

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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.

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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.

Peter Walker Tour!

September 24th, 2014

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Acid folk guru Peter Walker is set to embark on a brief US tour. Earlier this year, we reissued his 1968 sophomore album for Vanguard Records“Second Poem To Karmela” Or Gypsies Are Important. The album was a groundbreaking blend of folk, raga, psychedelia, and Eastern and Modal sounds that helped pioneer the genre of Acid Folk. Check the dates below for a chance to catch Peter live!

Oct. 2nd – Toledo, OH - Robinwood Concert House
Oct. 3rd – Chicago, IL - Constellation
Oct. 4th – Iowa City, IA - Trumpet Blossom
Oct. 5th – Minneapolis, MN - Icehouse
Oct. 6th -  Dubuque, IA - The Smokestack
Oct. 7th - Kalamazoo, MI - Satalitte Records
Oct. 8th – Detroit, MI - Trinosophes
Oct. 9th – Pittsburgh, PA - Acoustic Music Works
Oct. 11th - State College, PA - Schlow Centre Region Library

For more info and tickets visit frontporchproductions.org/peterwalker

Barbara Lynn – “Here Is Barbara Lynn” | Pre-order!

September 23rd, 2014

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To be a woman singing your own blues and soul songs in 1960s Texas was a rare thing. To do so while brandishing a left-handed Stratocaster and bashing out hard-edged licks was even rarer. Yet that’s just what Barbara Lynn did, inspired by Guitar Slim, Jimmy Reed, Elvis Presley and Brenda Lee. And it was a hit: her 1962 debut single, “You’ll Lose A Good Thing,” recorded with session musicians including Dr. John, gave her an R&B chart Number One and a Billboard chart Top 10 hit.

It was a path that Lynn chose at elementary school in 1940s Beaumont, Texas, when she told her mother she wanted to play guitar. “I decided that playing piano was a little bit too common, you know what I mean?” says Lynn in the new liner notes. “You’d always see a lady or a little girl sitting at a piano. I decided I wanted to play something more unexpected, so that’s when I got interested in learning to play the guitar.” Self-taught, first on the ukulele and then on a guitar, Lynn formed her first group, Barbara Lynn and Her Idols, while still at school and soon took the local scene by storm. Hers was a powerful talent in a petite package, a performer who could stand up against the best–even as a teenager.

Spotted while performing, underage, in Louisiana, she was offered the chance to record her own material, songs that filtered the experience of being a black Texan teen with power, feel, and guts. Ten of the twelve tracks on her debut album were her own compositions. “It took a lot of time,” Lynn remembers of the recording process, “but we got ‘Good Thing,’ we got our hit. I loved it. I loved meeting the new musicians; a lot of the guys who played on that record became friends. And seeing how the engineers worked and how they produced the sounds, all of that was really interesting to me.”

The success of that single took Lynn out on the road with the likes of Stevie Wonder, Gladys Knight, BB King, Supremes, Chuck Berry, Guitar Slim, and The Temptations. BB King even wrote a letter to Lynn’s mother to tell her what a talented daughter she’d raised. She appeared at the Apollo Theater, she was twice on American Bandstand, and one of her songs, “Oh Baby (We’ve Got A Good Thing Goin’)” was covered by The Rolling Stones.

Though she was a precocious performer, her true talent came to full bloom on Here Is Barbara Lynn, her 1968 album produced by Huey P. Meaux and originally released on Atlantic Records. The record was conceived as an introduction of Lynn’s prodigious talents, her deeply felt guitar playing, her gutsy soulful singing skills, and her songwriting prowess. Yet this introduction to her world largely proved to be her swansong. She married in 1970, aged 28, had three children, and largely retired from the music industry for most of the ‘70s and ‘80s. Now touring again, she’s amused to think of her 46 year-old album gaining new fans. “I hear this album, and it seems like… it seems like the old times to me,” she says. “I don’t know, it’s strange to know it’s coming out again. It is going to be a wild, first time thing for me, like going back in time. But I’m excited to see what happens.”

Reissued here for the first time, Here Is Barbara Lynn, has been fully remastered from the original tapes. The LP comes pressed on 180 gram wax and housed in an expanded deluxe Stoughton “tip-on” gatefold jacket, with liner notes by Jessica Hundley interviewing Barbara, plus rare archive photographs. Here Is Barbara Lynn is available October 28th. Pre-order now!

Cassette Store Day 2014 Sale!

September 22nd, 2014

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Mark it on your calendars, Cassette Store Day is this Saturday, September 27th! Thirty years ago cassettes helped revolutionize the music industry by making music more accessible. With the help of the Walkman, people could listen to their music anywhere in the world. Although the new format had lower fidelity than vinyl, they were cheaper, smaller and more durable.  The ability to record and rerecord on cassette opened the doors to the birth of the almighty mixtape, a blank canvas for musical self expression. Lest we forget the feeling of making that special someone the perfect mix. The blood, sweat and tears it took to meticulously dub each handpicked track in real time. Ahhh simpler times those were.

In celebration of that warm and fuzzy analog sound, we’re going to have a sale on Cassette Store Day at our record shop in Ballard. Everything in the shop will be 10% off, including cassettes, CDs, LPs, etc. We’re also going to be offering a buy 2 get one free promotion. And on top of all that, with each purchase you’ll receive a free Donnie and Joe mix tape (while supplies last)!! So celebrate that loveable warm and fuzzy analog sound by picking up some limited edition Cassette Store Day exclusives. For more info and a full list of Cassette Store Day exclusives visit www.cassettestoreday.us

The Light In The Attic record shop is located at 913 NW 50th St. Seattle, Wa 98107.

Michael Chapman US Tour!

September 17th, 2014

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Our favorite UK folk singer songwriter Michael Chapman is hitting the road for a brief East Coast tour of the US. Chapman is an extremely accomplished guitarist and always puts on an amazing live performance. Check out the dates below and definitely be sure to catch him live at a venue near you.

SEPT 19TH – MINNEAPOLIS- Turf Club – Old Familiar Chime Festival
SEPT 22ND – JAMAICA PLAINS, MA – Deep Thoughts Record Store
SEPT 23RD – BROOKLYN, NY – Union Pool
SEPT 24TH - NORTHAMPTON, MA – The King Street Manor (w/ Ben Chasny & Dredd Foole, Joshua Burkett)
SEPT 25TH - HUDSON, NY – Spotty Dog (w/ Alexander Turnquist)
SEPT 27TH – LOUISVILLE – Cropped Out Festival
SEPT 29TH – NASHVILLE, TN – Emma Bistro

For more info and tickets visit songkick.com/michaelchapman