We are very excited to announce our two limited edition vinyl offerings for this year’s Black Friday Record Store Day (11/27)! Per Record Store Day tradition, these releases are not available for online pre-sale, and will only be available for in-store purchase at your nearest record shop beginning 11/27.
In celebration of their half-century as a recording act, we proudly present our limited edition vinyl box set of legendary garage-rock pioneers The Sonics! The set includes the band’s complete and essential Etiquette Records catalog.
Includes exact replicas of “Here Are The Sonics” and “Boom!” albums with “Volume 3”, a ten-track collection of Sonics rarities.
Deluxe all ‘tip-on’ box set with 3 LPs, book, folded 18”x24” poster, and download card
We’re also very excited to be co-releasing, Lee Robinson Machine’s Family Album, with our friends at Munster Records. This is the first ever vinyl reissue of this strange, one-of-a-kind album recorded in Madrid in 1997 by Englishman Lee Robinson. In his only solo LP, we hear an eclectic mix of blues, electronic, reggae, psych, pop, and post-punk influences.
This limited edition reissue, finally available on vinyl as Lee originally intended, is a long overdue tribute to an incredibly special artist and album, and comes as the highest personal recommendation of both Munster and LITA.
Today we present to you a full album by one of the artists featured on our Native North Americacompilation:Spirit Child by Canadian Inuit singer-songwriter, Willie Thrasher.
In the late sixties, Thrasher formed one of the first Inuit rock bands, The Cordells. They played mostly contemporary music and cover songs. By the mid-seventies however, Thrasher changed his musical style when he turned to his Aboriginal roots and political issues for inspiration.
In 1981, Thrasher recorded his psych-folk debut LP, Spirit Child, where we hear echoes of Neil Young and Creedence Clearwater Revival injected with Native consciousness, storytelling, poetry, history, and ceremony. While three tracks from this record were featured on our acclaimed 2015 Polaris Prize-nominated compilation, Native North America (Vol.1), we are very excited to present the rest of this beautiful and important album.
She felt the earth move under her feet, she wanted you to love her tomorrow – you know her as your mama’s Carole King. But before she sat barefoot on the cover of Tapestry, she was part of a brief rock and roll moment with a band called The City.
Rewind several years before “You’ve Got a Friend” and you’ll find a hard-working resident in the great hit-making compound known as New York’s Brill Building. Here, Carole plunged into the world of music, writing for quick cash and getting noticed by The Monkees, The Shirelles and even The Beatles. Carole King describes the atmosphere at the Brill Building publishing houses of the period:
Every day we squeezed into our respective cubby holes with just enough room for a piano, a bench, and maybe a chair for the lyricist if you were lucky. You’d sit there and write and you could hear someone in the next cubby hole composing a song exactly like yours. The pressure in the Brill Building was really terrific—because Donny (Kirshner) would play one songwriter against another. He’d say: “We need a new smash hit”—and we’d all go back and write a song and the next day we’d each audition for Bobby Vee’s producer.*
In 1967, after paying her dues, King ditched the grind and left for sunny California. She set up in Laurel Canyon, which would become home to the California country sound, molded by the likes of Joni Mitchell, James Taylor, Crosby Stills Nash & Young, The Flying Burrito Brothers, and The Mamas & Papas. She began collaborating with Danny Kortchmar, guitarist for the iconic New York City beatnik/ satire band, The Fugs, featuring poets Ed Sanders and Tuli Kupferberg.
Joni Mitchell & Carole King, 1971
Kortchmar had moved to Los Angeles with the bassist of The Myddle Class, Charles Larkey. Fun fact: The Velvet Underground played their first ever show as the opening act for The Myddle Class at a suburban New Jersey high school in December 1965. Also in The Myddle Class was vocalist David Palmer – who co-wrote some of the songs on The City’s only ever album Now That Everything’s Been Said - before becoming the lead singer of Steely Dan’s 1972 hit “Dirty Work.”
With Danny Korchmar on guitar and vocals, Charles Larkey on bass, Carole on piano and vocals, and Jim Gordon on drums, The City was born. Gordon would eventually reach fame and fortune playing on and co-writing the classic rock tune “Layla” with Derek & the Dominoes. He also was the drummer for the Beach Boys’ Pet Sounds as well as George Harrison’s All Things Must Pass. Sadly, Gordon would eventually fall victim to mental illness and become infamous for the murder of his mother in 1983.
Heavily influenced by their peers in Laurel Canyon, members of The City created the one-off album, Now That Everything’s Been Said, which stands as a beautiful experiment in the mellow, psych-influenced canyon rock of the day. On this album we find King holding the microphone, singing her own songs for the very first time. And yet, she isn’t timidly emerging or finding her voice. She approaches the microphone with the comfort and ease of a veteran because, by this time, she’s already been all over the radio. Her voice emerges warm and confident and is backed by an ensemble who knows how to support it, letting her shine while lending their own creative direction.
While the album itself is seen as a “missing link” of sorts – an overlooked and forgotten blip on the radar of King’s prolific career – it produced two notable covers. Blood, Sweat & Tears had great success covering The City’s “Hi-Di-Ho” and The Byrds recorded “Wasn’t Born to Follow” which was featured in the film Easy Rider, making it a counter-culture anthem.
Carole with album producer, Lou Adler
This album was produced by Monterey Pop Festival coordinator Lou Adler, who also produced The Mamas & Papas, Sam Cooke and every Mary Clayton album. Adler released Now That Everything’s Been Said on his label, Ode, which also put out the Brothers And Sisters’ Dylan’s Gospel release (which we also reissued). Unfortunately, for all her talent and songwriting experience, King had terrible stage fright and was unwilling to tour with the album. As a result, sales were disappointing and the band quickly faded into history. But now, with its re-release on Light in the Attic, we can revisit The City and this brief but special moment in the life of an extraordinarily talented songwriter.
The Byrds – “Wasn’t Born To Follow” (from Easy Rider):
*Quoted in The Sociology of Rock by Simon Frith
“Survival is the ability to swim in strange water.”
- Frank Herbert, Dune
The score we present to you today has a hallowed provenance. It was composed to accompany a documentary about a film that was never made. The film, an adaptation of Frank Herbert’s classic sci-fi novel Dune, was to be directed by renowned cult filmmaker Alejandro Jodorowsky. It was set to star Salvador Dali, Mick Jagger, and Orson Welles, with designs by H. R. Giger, and a score by Pink Floyd. In other words, it was going to be the coolest movie ever made.
Some say the film was never made because people were frightened of wild Jodorowsky’s imagination. Whatever the reason, the fact remains that we will never be able to watch this film to end all films. Little can make up for that fact, but Kurt Stenzel’s original score to the documentary, Jodorowsky’s Dune, allows us to at least begin to swim in the strange waters of what could have been.
In Jodo’s words, “Could be fantastic, no?”
Jodorowsky (left), a costume design for the Sardaukar army, artist/cartoonist Jean Moebius Giraud.
For the documentary, composer Kurt Stenzel brings to life his own retro-futuristic world, as fantastic as Jodorowsky’s vision. With a cosmic arsenal of analog synthesizers Stenzel creates an otherworldly, Tangerine Dream-like sound. In somewhat of an emotional impossibility, this score feels both nostalgic and futuristic.
Check out one of our favorite tracks from the album, “Parallel World,” in the video below:
What was the first music that you ever loved as a little kid? Can you picture the cassette? Record? CD?
We here at LITA get all misty-eyed when we think of our earliest jams. They sparked the love of music that propels us in our creative endeavors to this day, including our most recent endeavor: creating a very special introduction to music just for kids.
We present to you today our children’s compilation called “This Record Belongs To _____“ (the record’s owner gets to write his/her name in the blank!) accompanied by Third Man Records’ new portable children’s turntable!
A little backstory…
It all started with a mix made by the great Zach Cowie (mastermind behind our Country Funkcomps). Zach gave this mix to LITA founder Matt Sullivan, who in turn played it for his newborn daughter. Featuring kid-friendly songs by various beloved, non-Wiggles artists such as Harry Nilsson, Woody Guthrie, Nina Simone, and Donovan, Zach’s mix became the soundtrack to the Sullivan household and is still on rotation today (three years later)! One day Matt realized it was time to share.
We enlisted our favorite artist Jess Rotter to bring to life a whimsical storybook (the record’s insert) with a cast of critter characters to help introduce our littlest customers to the big world of music and vinyl. We were then lucky enough to join forces with Jack White & the lovely folks at his record label Third Man, who were preparing to release a turntable for children.
This record/turntable bundle was made for all the moms and dads who want to keep music alive by teaching their kids the wonder of holding an album in their hands, putting needle to groove, and immersing themselves in the pages of a record’s sleeve as the music plays.
Both “This Record Belongs To ___“ (vinyl/CD/mp3) and the Third Man turntable are now available for preorder (either separately or bundled together for a discount) right here on our site and will be available for immediate purchase on November 6th, just in time for the holidays. We have 200 copies on “Gender Equality” split color pink/blue wax, and the rest are black.
“Little did I know, we would record for hours and hours. By the last song, my brain was burning up. I literally felt myself on fire. I was depleted. Yet, we could have gone on and on.” – Alan Vega
We at Light In The Attic are excited to announce a very special co-release with our friends at Munster Records of a remarkable album from 1996. Cubist Bluesis the physical record of the jam session of three brilliant musicians: Alex Chilton (Big Star), Alan Vega (Suicide) and Ben Vaughn (singer-songwriter). These three artists came together one night in New York City with just one song’s worth of lyrics. After two nights of improvisation and dada-esque free association, the result was a groundbreaking experimental album. Think Elvis-meets-Ian Curtis vocals, rockabilly guitar, growling synths, and metronomic drums. The supergroup then played two live shows: one at Trans Musicales in Rennes, France and one in NYC at the Mercury Lounge.
And that was it! Cubist Blues came and went in a flash. Praise be to the music gods that someone hit record.
This is one of those cases in which the story behind the release is as awesome as the music itself, so please click the links below for more details on:
We all know and love the cool, glamorous French yé-yé girls of the ’60s, but one of them stands out from the pack: Françoise Hardy. With her brunette hair and alluring bangs, she was one of the few girls at the time who wrote her own songs, and she did so from a place of depth and subtlety. Though she was a muse to the likes of Bob Dylan, Mick Jagger and husband Jacques Dutronc, Hardy was wary of fame, preferring privacy and modesty. She was a pop singer with the heart of a chanteuse, a singer-songwriter in an age before such a thing was known, and a style icon incredulous of others’ admiration of her.
We are so proud to present our Françoise Hardy reissue series of the five French-language albums she released yearly between 1962-1966. We’ve remastered each release from the original tapes, in their original French format, to sound better than ever!
The liner notes for these releases include an exclusive new interview with the illusive songstress. As Hardy has rarely been involved with prior reissues, this is quite a coup!
All five albums are available for preorder on both CD & deluxe LP now.
CDs will be out October 16th.
Deluxe LPs will be out January 29th, 2016.
There is also an option to collect all five in one format at a discounted price! This option is available on each album release page.
The complete CD set is $50.
The complete LP set is $90.
For an overview of Hardy and links to all five albums, please click here.
To reach the individual page of an album, please click the images or links below:
We all know and love the Carole King who wrote some of the biggest hits of the ‘60s, from “Will You Love Me Tomorrow” to “(You Make Me Feel Like) A Natural Woman.” We also know her as the comforting and unique voice of Tapestry. But in between–and not nearly as well known–is King’s psych-folk band, The City, and their album, Now That Everything’s Been Said.
In 1967, King headed west to Laurel Canyon and joined forces with bassist Charles Larkey (of The Myddle Class), guitarist and singer Danny Kortchmar (of The Fugs), and drummer Jim Gordon (of Derek & The Dominos). The City was born.
Now That Everything’s Been Said, which was produced by the amazing Lou Adler, is deep and soulful, imperfect but teeming with life. And the songs, with King writing or co-writing all but one, are as exceptional as you’d expect.
Reissued here on deluxe vinyl for the first time, this is, at long last, a chance for this remarkable lost album to be heard.
You may not know his name, but you know his music. Spooner Oldham is a linchpin of southern soul and R&B. A legendary ivory-tickler whose name is synonymous with the Muscle Shoals sound of Alabama, Oldham has backed and/or written songs for the likes of Etta James, Bob Dylan, Neil Young, Wilson Pickett, Percy Sledge, Aretha Franklin, Janis Joplin and so many more (check out a more complete list here, if you want your mind blown).
In this sparkling career as a session musician and songwriter, Oldham only ever made one album that features his own voice and stylings front and center. Pot Luck was originally released in 1972 and faded into obscurity soon thereafter, but giving the album a second listen today we cannot imagine why. This album is a joyful affirmation of what fans already know: Spooner’s got soul.
We can’t wait for y’all to get to know him better.
Pot Luck is now available for preorder as a single LP in a deluxe gate-fold jacket. LITA vinyl subscribers will receive the album on ‘Lucky Green’ wax. The first 200 online preorders of the LP will receive ‘Galaxy Blue’ wax. Pot Luck will be available on black wax, CD, and digital September 18th.
The Kitchen Cinq | When The Rainbow Disappears: An Anthology 1965-68
They had that cool garage punk sound mixed with a beat-pop likability. They had killer harmonies and a keen sense of the absurd. They had Lee Hazlewood’s stamp of approval. The Kitchen Cinqboys seemed to have it all, but they were missing just one little ol’ thing… success.
Originally hailing from Texas, The Kitchen Cinq really started doin’ their thing in Los Angeles back in ’66, when they released their album, Everything But, on Lee Hazlewood Industries, but by ’68 band life had burned them out and the Texas boys went their separate ways. But what remains is a smashing collection of 60s garage pop that will surely get you jivin’.
A double vinyl anthology,When The Rainbow Disappears is now available for preorder on either blue (200 copies) or black wax. LITA vinyl subscribers will receive marbled rainbow LPs. It is also available as a CD. The anthology will be available for immediate purchase August 28.