Following on the heels of Songs From Suicide Bridge, we are proud to present Misty Flats, another loner folk gem. This time, the music comes to us from Minneapolis singer-songwriter Goldberg and album producer Michael Yonkers. Recorded in ’74 at the tail end of the Vietnam war, while Goldberg’s stint in a would-be successful band was coming to a close, the theme of Misty Flats is transition. In the words of Goldberg himself, the album inhabits ‘”neither the high road, nor the low road, but somewhere in between.” This mood, combined with imagery from the old Hollywood movies that were a constant in Goldberg’s nomadic childhood, creates something very special indeed.
This is an album to listen to in full. Put it on ’round midnight and let it wash over you.
Misty Flatsis now available for preorder in both clear and black wax and will be available for purchase August 14th.
Opening track ‘Hollywood’ sets the tone for the rest of the album:
Because this release is on our imprint label Future Days, unfortunately it is not included in the current vinyl subscription. However, vinyl subscribers can still use their 15% discount to purchase it!
We are now distributing titles from Chicago-based experimental indie label Drag City Records!
The label was founded in 1990 by a couple of Dans of the Koretzky and Osborn variety and since then has helped bring to the public music from such brilliant and unique artists as Joanna Newsom, Jessica Pratt, Will Oldham, Bill Callahan, Six Organs Of Admittance and Pavement.
Parisian poet, painter, actor, and musician, Lizzy Mercier Descloux was an influential character in the New York underground scene during the late seventies and early eighties, blazing around the Lower East Side of NYC with her playful, effortlessly cool and loose punk music. Press Color, her first full-length album, was originally released on ZE Records in 1979. Today we present to you our newly remastered reissue of the cult classic as an expanded double LP pressed on ‘Yves Klein Blue’ wax. The reissue features liner notes by Vivien Goldman and includes an 18×24 poster. Press Color is the first release of our five album series showcasing the impassioned work of Mercier Descloux.
Available: August 14, 2015
Here’s one of our favorite tracks from the album, ‘Jim On The Move’:
Below, watch an incredible video from 1979 French TV of Mercier Descloux performing “Fire,” another top track from Press Color. The clip also includes a special cameo from Serge Gainsbourg!
The track starts softly, tricking you into turning up the volume dial, so that when it kicks in it blows your Adidas bucket hat off. So begins the song that made thousands and thousands of girls swoon in 1989, one of the top Indie anthems of all time, ‘I Wanna Be Adored.’ It’s the first track of Stone Roses’ first album.
It’s incredibly rare for one album to shape the 25 years of music following it. The Stone Roses’ self-titled debut (’89) is one of those albums.
Today we bring you a new deluxe double-vinyl pressing of the album remastered from the original tapes, printed on lemon yellow 180 gram wax, and housed in Stoughton gatefold “tip-on” jackets with the album title in gold foil.
You can tell a lot about a band by the songs they leave off their albums. Some of The Stone Roses most iconic songs were never included on either of their two albums. This missing bits, including ‘Elephant Stone,’ ‘One Love,’ and ‘Fools Gold’ can be found on the 1992 comp, Turns Into Stone.
Here we present it remastered from the original tapes, pressed onto 180 gram stone grey wax, with hand-numbered jackets and the album title in silver foil.
These Deluxe Edition first pressings are limited to 5,000 units for S/T and 4,000 units for Turns Into Stone. Get ‘em while they’re hot!”
Is it vinyl Christmas already?! Boy have we got some treats for ya this year…
The Wu-Tang Clan is obsessed. It’s Kill Bill heroine Beatrix Kiddo’s favorite bedtime story. It’s an “awesome spectacle of sword and sorcery.” It’s Shogun Assassin.
What began as an extensive manga series in the 70s called The Lone Wolf And Cub, shifted shapes into two different Japanese films, before being recut in 1980 and released to the grindhouse film circuit, chock full of brutal action and decapitations.
Our interest, of course, lies with the film’s ominous soundtrack, which blends eastern melodies with futuristic synths, electronic beats, and bouncing disco bass lines. Neither Japanese, nor authentic, this soundtrack is pretty damn badass.
Check out the album’s opening track in the video below:
Willie Nelson’s Teatro
Willie Nelson has over 300 albums, and Teatro might be the most misunderstood of them all. It also might be our favorite. Willie and collaborator Daniel Lanois (who produces, plays guitar and bass, and contributes track ‘The Maker’) set up camp in an abandoned movie theater in Oxnard, CA and recorded live among the red velvet seats with the help of Emmylou Harris and a nine piece backing band that included Willie’s sister, Bobbie Nelson on piano. Maybe it was intentional, maybe it was the faint smell of popcorn haunting the cinema, but somehow this album actually took on a rather cinematic feel. Howling harmonicas and distant mariachi bands evoke spaghetti western scores of the past. Yet this grandness is made to feel intimate and immediate by Willie and Emmylou’s vocals.
Here’s a track from the album:
Legend has it that each year on Record Store Day, the Light In The Attic zine magically appears, as if by alchemy, in fine retailers across the globe. These small, ancient, newsprint catalogs of days gone by unveil highlights from the past year’s releases, teasers of things to come, and other pertinent musical musings.
This year, the zine gets a makeover; we spiced things up a bit to add just a touch more flare. In this issue, you’ll find new features like the first ever LITA-centric crossword puzzle, horoscopes, a fan art contest winner revealed, and new editorial features, both by and about the very employees at LITA who grease the cogs. There are exclusive interviews with Françoise Hardy, Willie Nelson, and Sly Stone; a feature on Native North America band Sugluk (who are feat. on cover clad in denim- if that’s not a tough look for 2015, we don’t know what is!), and secrets revealed about LITA co-owner Josh Wright! Pick one up fo’ free at your local wax purveyor!
At Light In The Attic, often the story behind a release is as interesting as the music itself. This is one of those cases. Earlier this week we announced the release of Songs From Suicide Bridge, a folk album by David Kauffman & Eric Caboor that was originally recorded in 1984. Today, we want to reveal a bit more of how the album came to be by giving you a collection of quotes from the album’s beautiful liner notes, which were written by Los Angeles writer and chronicler of place Sam Sweet, (All Night Menu). These are some of our favorite liner notes ever, as they really read like a short story, a simple yet meaningful one. And the rest of the story is told through the songs themselves.
The Colorado Street Bridge, aka ‘Suicide Bridge,’ the place that inspired the tone of the album, the design of its cover and gatefold, and upon which the album art photos were taken:
Following its dedication, the Los Angeles Times called it ‘a way of loveliness.’ By the 1980s, locals simply called the grand structure ‘Suicide Bridge.’ In the seventy years since it opened, more than 100 people had successfully ended their lives by jumping off the edge. In one well-publicized incident, a distraught mother pinned a note to her daughter’s coat, dropped her off the bridge, and then jumped behind her. The toddler became the only individual to survive the plunge, her fall broken by tree branches, a sandy landing, and the heavy coat in which she was wrapped.
The bridge had given Caboor chills as an eight-year-old, and he was unnerved to find it abandoned when he and Kauffman showed up with a photographer friend. They happened to visit during a brief window when the bridge was closed for repair. While walking along the empty roadway, it was easy to feel that it had been shut down specifically for them.
The Venue Where They First Met: One of the last folk venues in Los Angeles was located in the basement of the Echo Park United Methodist Church, a white Spanish stucco chapel hidden in plain sight among the burrito stands and car washes that crowded the intersection of Sunset and Alvarado. Each Saturday night, the church janitor–an ex-drifter and folk singer named Mark Phillips–organized a makeshift coffeehouse where anyone could play.
More than collaborators, each was the other’s biggest fan and often his sole audience. They were never a duo in the conventional sense. Rather, as Kauffman put it, “We were two loners who happened to join forces.” They started out with dreams of getting a record deal, but after years of playing empty coffeehouses around Los Angeles they conceded defeat.
They commiserated about the unfairness of the music industry and the loneliness of Los Angeles.
On their mutual idol, Danny O’Keefe: Watching him play was just devastating for us. He’s a phenomenal guitarist–we were envious of that. His songwriting’s to die for– we were envious of that. We just thought to ourselves, ‘You know what, maybe we better just hang it up. If this guy can’t make it, no one can.’
Caboor eventually married and had a son who grew up calling Kauffman ‘Uncle Dave.’
At some point, one of them suggested, half joking, that they should put all their darkest and least viable works together on one record, if only to spite the industry that had rejected them. It would be the debut that no one wanted to hear. When they started plotting a song list they realize it was the record they wanted to hear. That was enough.
Everything was recorded onto a four-track portastudio that Caboor had purchased from a music store in Van Nuys. Being limited to four tracks forced them to layer instruments in unusual ways, and the machine only accepted blank cassettes, giving the recordings a ghostly, grainy texture.
They later came to accept that most of the promo copies probably ended up in cutout bins, although they did receive requests for additional copies from deejays in exactly two locations: Halifax, Nova Scotia and Sitka, Alaska. The album was formed by Los Angeles but its songs spoke to a drastically different climate.
They expelled something in the process of making the first album, and though they continued to hone their craft, the soul of their music was never as severe or as uncanny. ‘People would tell us those songs were depressing,’ said Caboor, ‘but it wasn’t depressing to us. In a lot of cases, playing those songs in that little room was one of the only things that made us feel any better.’
For its first time every on vinyl, the album is spread out over four LPs house in a gatefold, tip-on jacket. It was newly re-mastered by Joe Gastwirt, with lacquers cuty by Kevin Gray. These twenty classic songs on eight sides of wax were recorded live at the Capitol Theatre in Port Chester, New York back in 1971, featuring the five piece line-up of Pigpen, Garcia, Weir, Lesh, and Kruetzmann. On the night these tracks were recorded, the Dead debuted seven brand new songs–all of which went on to become Dead “standards” including “Playing in the Band,” “Greatest Story Ever Told,” and two absolute classics: “Bird Song” and “Deal.”
We’ve got several different bundle offers for those who want to purchase multiple items from the trilogy and/or Dead shirts and posters! Check ‘em out on the release page.
It’s an important day at Light In The Attic headquarters. We’re releasing into the world a very special project that we’re particularly proud of. Gorgeously gutting, hauntingly beautiful, and impossible to find previously on vinyl, Songs From Suicide Bridgehas been an office staple on repeat for years and it is an honor to finally be able to bring it to a wider audience.
We love this album for its brilliant songwriting and emotional performances. We love its purity, authenticity, and simple beauty. We love the story of two close friends trying to make it in Los Angeles in the early 80s, but finding their heartfelt folk-rock lost in a sea of new wave pop, unappreciated and overlooked by the industry. To this day, David & Eric are in awe, almost skeptical, that we believe so much in this album. We can’t wait for them to see that (hopefully) you do too.
Here’s one of our favorite tracks from the album, but really, they’re all good. Check it out here and if you like it, get the vinyl if you can because this album is best heard in full, not on a computer. Prepare for tears.
There are 200 deluxe white vinyl copies available, which come with an original ‘Greetings From Suicide Bridge’ postcard, featuring the album’s namesake, historical Colorado Street Bridge in Pasadena, CA.
This is why we love what we do here at Light In The Attic. We get to breathe new life into music like this that never got the love it deserves. We think it will most certainly find that love now.
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!
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: