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.
“If my dad’s spirit is still out there dancing in the high blue,
I know he is–as he used to say–’digging it the most.’”
- Amy-Jo Albany on the Low Down soundtrack (Image via Discogs)
First came the man himself, Joe Albany, a supremely talented and underrated jazz pianist who lived an extraordinary life full of highs and lows. Then came Low Down, a brilliantly written memoir by Albany’s beloved daughter, Amy-Jo. The memoir sparked the acclaimed biopic of the same name, starring John Hawkes, Elle Fanning and Flea. And now, we step in to present the film’s original soundtrack.
With this release we aim to pay tribute to Joe Albany’s avant-garde, quick-tempo, bebop jazz and to take a moment to give jazz itself our full attention. With Albany’s own compositions as well as tracks by jazz greats such as Coleman Hawkins, Max Roach and Thelonious Monk, this is a compilation that both jazz lovers and jazz neophytes will dig the most.
Now available for preorder on either olive green or black wax. Available for purchaseAugust 7th.
“This is the sound that gives me the energy to go out into the world and try to shine a light. As a child, this is the music I listened to that blew my mind; it let me know that all things were possible.If human beings were capable of doing this, then anything could happen.” – Flea, co-star and executive producer of Low Down
Check out what is perhaps the most intimate track from the album, Albany playing ‘Everybody Knew But Me’:
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.