Some of you maybe saw this on our Facebook page, but for those of you who don’t follow us there (why, I’m not sure…) then here are some cool photos of the Vagrants – I Can’t Make A Friend 1965 – 1968 (LITA 059) LP being pressed at United Record Pressing in Nashville, TN. All Light In The Attic releases (specifically vinyl) make their way over to United Record Pressing to be birthed into the world. It’s a crazy process that involves a lot of weird and magical machines that somehow, through the talents of their gifted staff, imprint little musical slices of heaven onto circular shaped wax. Ain’t life a mystery???
It’s finally here! Litterally, it’s been 10 years since Light In The Attic’s man-with-the-plan Matt Sullivan was working at Al Milman’s old record shop, Bedazzled Discs, in Seattle when Al spoke of the need for a Vagrants comp. VagrantsI Can’t Make A Friend 1965 – 1968 collects the band’s singles for various labels like Southern Sound, Vanguard, and ATCO, all on CD, LP (180-gram wax and gatefold “tip-on” sleeve), Digital and fully re-mastered. Rounding out this essential release is a collection of rare/unseen photos, liner notes by Mike Stax (Ugly Things), and an archive interview with Johnny Ramone speaking about the Vagrants’ influence on The Ramones.
Also, tune in tomorrow for an exclusive interview on the LITA blog with Al Milman (Alan Milman Sect) on the Vagrants and the NYC/LI sound in the late 60′s.
Vagrants: I Can’t Make A Friend 1965 – 1968
CD | LP | Digital
Now Available HERE!
Hey hey lookey what we just got in the mail! Back in print, Betty Davis’ landmark 1973 debut, Betty Davis, and 1974′s They Say I’m Different! Both LPs feature 180-gram wax, deluxe Stoughton old-school “tip-on” sleeves (They Say I’m Different is gatefold) and 4-page insert with rare photos and liner notes by Oliver Wang (Soul Sides). Get on it!
For more info and to order Betty Davis Betty Davis (LITA 026) click HERE!
For more info and to order Betty Davis They Say I’m Different (LITA 027) click HERE!
Hello there. Allow us to introduce you to your new favorite record: Jim Ford Harlan County! Recorded in 1969 in Los Angeles, CA, Harlan County is a true gem of the swamp/country-funk tradition. Tony Joe White, Bobby Charles, Charlie Rich…Jim Ford could hang with them all.
Dig the gatefold spread! Stick 'em up!
“Jimmy Ford is the baddest white man on the planet,” said Sly Stone of Jim Ford, and listening to Harlan County today who’s to argue? Needless to say, we’re honored to re-release these ten country-funk gems on CD and 180-gram wax (for the first time) with Ford’s original cover artwork, beautifully re-mastered audio (from the original tapes), extensive liner notes by Kurt Wolff (The Rough Guide to Country Music), and rare photos. These jams are fierce and fuzzed out, ready for the club or just a cruise in your powder blue Ford pickup. See ya out there.
Check all the goodies!
For more info, audio samples and to order Jim Ford Harlan County (LITA 068 – CD | LP) hop on over HERE!
In the vast netherworld of soul there are countless characters that reside on the fringe, their significant contributions to American music history long forgotten. Born in Memphis, Tennessee, tenor saxophone player and bandleader Charles ‘Packy’ Axton is yet another of the uncelebrated, despite a deep pedigree and funky catalogue of notable grooves. Part of the mighty Stax family through birth—Packy’s mother Estelle Axton and uncle Jim Stewart founded the southern R&B dynasty in the early 1960’s—Packy picked up the sax at a young age, and after linking with future Booker T. & the M.G.’s Steve Cropper and Donald ‘Duck’ Dunn, formed the The Mar-Keys. Almost reaching the top of the R&B and pop charts in 1961 with the classic “Last Night,” friction caused by Packy’s party going ways caused a split. It wasn’t until 1965 that the wild child had another national instrumental hit on his hands, “Hole In The Wall” by the Packers, chronicled by Light In The Attic Records in the first ever anthology of Axton’s work: Late Late Party 1965-67.
Charles 'Packy' Axton "Late Late Party 1965-67" stacked up!
Despite the loving support of his musically minded mother, Packy was ostracized from Stax proper through a rift with Stewart because of his casual approach and oft-eccentric ways. Packy preferred hanging out and playing music with local black musicians, something that in the racially tense south, was viewed negatively by some. Still, throughout the mid-1960’s, Packy recorded a series of hard, short, and down home R&B stompers at Royal and Ardent Recording Studios by heavyweight producer John Fry (Big Star, Isaac Hayes, Ry Cooder), accompanied by legendary Stax and Hi Records dynamos Steve Cropper, Booker T., and Teenie Hodges (Al Green, Ann Peebles, Syl Johnson). Featuring songs released on labels such as Bar Records, Hollywood, Pure Soul Music, and U.S.A. Records (not to mention several unreleased gems) Late Late Party 1965-67 includes seventeen powerful instrumental and vocal tracks for your listening pleasure. Supplemented by Memphis-writer Andria Lisle’s extensive liner notes, unpublished photographs, and featuring lovingly remastered audio, Late Late Party is shines a light on an overlooked part of the Stax story. Essential listening.
Charles 'Packy' Axton "Late Late Party 1965-67" CD and LP
For more info, audio samples and to pre-order Charles ‘Packy’ Axton Late Late Party 1965-67 (LITA 067 -CD|LP+Download Card for Unreleased Track|DIGITAL), click HERE!
“Deserter’s Songs is at once a lullaby, a trip, and a triumph.”
-9.3/10 – Pitchfork (Top 100 Albums of the 1990’s)
“A modern classic.” – NME
In 1998 Mercury Rev delivered the unexpected, a hit album. Deserter’s Songs, the fourth studio long player from the New York-based band not only delivered three UK Top 40 singles, but also struck cultural pay dirt across the globe that still resonates today. The story goes something like this: the band felt that they’d run their course and went into the studio to record their swan song. Diving in with full abandon, the album took on grandiose proportions, merging jazz, folk, sweeping orchestrations, and a dose of 60’s rock, and ended up fully cementing Mercury Rev’s rebirth as purveyors of a cosmic brand of the popular American songbook.
As the first release on our new imprint, Modern Classics Recordings, this marks the first vinyl reissue ever of Deserter’s Songs and in typical Light In The Attic fashion, we’ve gone all out. Gorgeously housed in an expanded Stoughton gatefold “tip-on” jacket with a 4-page insert and pressed on heavy 180-gram wax, while co-producer David Fridmann (The Flaming Lips, Low, Sparklehorse) has lovingly remastered the album, this is a package dressed to the nines. And it doesn’t stop there, as you can see in the “What’s Inside?” video below, the package also includes a free download card for two live tracks (circa ’98) plus an exclusive Audio Commentary/Interview recorded with LITA’s Matt Sullivan and Mercury Rev’s Jonathan Donahue and Grasshopper.
Alas, for an album that blew our young minds, how could we stop there? 100 random copies of the LP include an autographed photo of Jonathan Donahue and Grasshopper. If you’re not one to gamble on those odds, we’re also giving away an autographed photo to the first 100 pre-orders at LightInTheAttic.net. If you already pre-ordered the LP you will get one but we’re running low on them so get those orders in now!
“I’m the one, you don’t have to look any further. I’m the one. I’m here, right here for you,” oozes jazz, rock, and electronic music pioneer Annette Peacock on the leadoff title track of her solo debut LP. The album’s wide range of vocal emotions and diverse sonic palette (featuring Robert Moog’s early modular synthesizers, which the singer actually transmitted her voice through to wild effect) places it firmly at the forefront of the pop avant-garde. Originally released by RCA Victor in 1972 to widespread critical acclaim, I’m The One found itself amongst good company. Both Lou Reed and David Bowie had recently signed to the label—Bowie in particular was enamored with Annette—and artists ranging from ex-husband and jazz great Paul Bley, along with notable Brazilian percussionists Airto Moreira and Dom Um Romao, guested on the album itself. Writing and arranging I’m The One’s nine passionate tracks—bar a unique cover of Elvis Presley’s “Love Me Tender”—the disc grooves easily from free jazz freak-outs and rough and rugged blues-funk to gently pulsing synthesized bliss.
An extension of Annette’s late 1960s work with her Bley-Peacock Synthesizer Show combo, I’m The One is filled with strength and power, as well as a tender, sensual, and seductive side, born of a life surrounded with music and culture. Composing by age four, Peacock’s mother was a professional violinist. By the early 1960s, Annette had also collaborated with first husband, jazz bassist Gary Peacock and toured with legendary saxophone player Albert Ayler. Studying under Zen macrobiotics educator Michio Kushi and a confidant to Timothy Leary at the Millbrook psychedelic center, Peacock later worked, post-I’m The One, with rock stalwarts like guitarists Mick Ronson and Chris Spedding, Yes/King Crimson drummer Bill Bruford, as well as surrealist artist Salvador Dali.
The second release on our Future Days Recordings imprint, I’m The One will be available on CD and LP, re-mastered from the original tapes with a booklet containing beautiful unseen photos from the vaults of Sony Music and extensive liner notes from NYC-based writer and musician, Mikey ‘IQ’ Jones. The LP is limited to 1,000 hand-numbered copies and sports a deluxe Stoughton “Tip-On” jacket with a unique spot UV gloss and includes the same booklet as the CD plus a folded 18″ x 24″ poster of a never-before-seen photo of Annette. Indeed, she’s the one! Available for pre-order now!
“‘Baby’ has been a staple on just about every playlist/mixtape I’ve assembled in the past 3 years. It is nothing short of sublime.” – Ariel Pink
Pacific Northwest isolation mixed with wide-eyed ambition, a strong sense of family and the gift of music proved to be quite the combination for teenage brothers Donnie and Joe Emerson. Originally released in 1979, Dreamin’ Wild is the sonic vision of the talented Emerson boys, recorded in a family-built home studio in rural Washington State. Situated in the unlikely blink-and-you-missed-it town of Fruitland and far removed from the late 1970s punk movement and the larger disco boom, Donnie and Joe tilled their own musical soil, channeling bedroom pop jams, raw funk, and yacht rock.
Spurred on their high school’s music program, Donnie and Joe received a further push from their lifelong farmer father, who drew up a contract stating that he’d support his sons lofty ambitions with their very own recording studio as long as they focused on original material, sage advice for a man with zero experience in the music business. After taking out a second mortgage to help cover costs, Don Sr. also built his children a 300-capacity concert hall (dubbed Camp Jammin’) replete with ticket booth, stage, and fully functioning snack bar. The only problem was that the projected audience never quite materialized, despite a prime time TV profile entitled “The Rock And Roll Farmers” from nearby Spokane, Washington. Even the Emerson brother’s school pals were nonplussed at their privately pressed long player; hand distributed to local music stores, but not as far as Seattle, five hours away from their rural home. Somewhat rejected by the muted response, but never surrendering, both Donnie and Joe continued down a musical path and are still active as performers today.
This rare slice of bedroom-funk gets the usual Light In The Attic treatment with newly remastered audio, detailed liner notes interviewing the Emersons, and expanded original album art with loads of photos from the Emerson’s collection. Be sure to also check out the short documentary Rock and Roll Farmers (directed by Matt Sullivan and Michelle M. Witten), premiering below. Stay tuned for more Donnie and Joe goodies in the coming weeks!
Pre-order Donnie & Joe Emerson Dreamin’ Wild (LITA 082 – CD/LP/Digital) here now. Available at fine record stores world wide June 26, 2012.
* First ever CD & LP reissue
* SOLD OUT – Limited edition (100 copies) on “Baby” Blue (wink-wink) 180-gram wax, only available to the first 100 pre-orders on LightInTheAttic.netSOLD OUT
* CD and LP include detailed liner notes by Dave Segal, interviewing the Emersons plus unseen photos
* 180-gram LP housed in gatefold “tip-on” jacket and includes download card for full album plus audio interview between Ariel Pink and Donnie Emerson!
* 25 random copies of LP include an original copy of Donnie & Joe’s 1977 debut 45 single
For this week’s Free Basin’ Fridays, we’re very pleased to share with you Annette Peacock‘s I’m The One(FDR 601). Reissued here for the first time on vinyl and the first CD reissue outside of Annette’s own limited pressing from a few years back, I’m The One is a landmark record from this pop avant-garde icon. Out now on CD and LP, the vinyl pressing is a limited edition and sports 180-gram wax, liner notes insert with never-before-seen photos (also included in the CD version), and an oversized 18″ x 24″ folded poster. This thing is slammin’…just check out the “What’s Inside?” video for the CD below.
For your chance to win, tell us why YOU are THE ONE. Let us know in a comment below (don’t forget to include your name and email address). Winner will be selected at random next Friday, June 15th at 12PM pst.
* First official vinyl reissue
* 24 bit / 96 kHz remaster from the original tapes
* Deluxe gatefold “Tip-On” jacket featuring both the original Decca and London album covers
* 180-gram vinyl
* Book-deep liner notes by Kevin “Sipreano” Howes interviewing Eric Bell and featuring rare archive photos
* Includes bonus over-sized 18″x24″ poster
When scrolling down a list of debut LPs by rock’s heaviest hitters, Thin Lizzy is as unheralded as they come. Long before the group’s trademark “twin-guitar” sound was born and anthems like “The Boys Are Back In Town” became instant hall-of-fame material, the street tough Irish group was a dynamic power trio consisting of guitarist Eric Bell, singing bass player Philip Lynott, and sticksman Brian Downey. Forming only a year before their monumental signing to world-famous Decca Records, Thin Lizzy fused folk, hard rock, lyrical poetry, and a dose of Celtic lore in a heady brew that despite its potency, sold poorly at the time of release. Often ignored apart from hardcore Lizzy devotees around the globe, Light In The Attic is incredibly proud to produce a much-needed vinyl-only re-release of Thin Lizzy.
Rich in vibe and vibrations, Thin Lizzy is the type of record one hangs onto. Including certified underground classics like “Honesty Is No Excuse,” “Look What The Wind Blew In,” and “Return Of The Farmer’s Son” one can see why original Decca copies are prized possessions. Now is your chance to enjoy this crucial music at a reasonable price. To sweeten the pot, the lowdown is as follows: Original master tape transferring by Sterling Sound and re-mastering by Dave Cooley (Elysian Masters), 180-gram virgin black vinyl, original album art reproduction (both UK, outside of gatefold, and US versions, inside of gatefold; see image below), extensive liner notes by reissue producer Kevin “Sipreano” Howes (Jamaica-Toronto series, Rodriguez Cold Fact and Coming From Reality, Monks, Mowest anthology) featuring a recent in-depth interview with Eric Bell, and unseen archival imagery. Out next week (sorry, only available to customers in North America), you can pre-order a copy Thin Lizzy (LITA 086) here now!
