Archive for the ‘Uncategorized’ Category

Low Down with Flea & Amy-Jo At Amoeba

Monday, August 10th, 2015


A little something for our Angeleno jazz fans… On August 26th at 5pm, Flea (co-producer and co-star of the film version of Low Downand one of the soundtracks most vocal supporters) and Amy-Jo Albany, Joe Albany’s daughter and author of the brilliant novel that sparked it all, will DJ a set together and sign copies of the soundtrack and the film at Amoeba Hollywood! This is going to be a super fun and unique event. We can’t wait!


Low Down OST on vinyl, Amy-Jo’s memoir, Low Down: Junk, Jazz, and Other Fairy Tales from Childhood and Low Down the film DVD/Blu-ray (from Oscilloscope Laboratories) will all be available for purchase in store. 

The signing is limited to the first 100 purchasers of the LP, DVD and/or book at Amoeba Hollywood on 8/26 only.

More details on Amoeba’s event page.


In honor of the event, Amoeba is offering 25% off all Light In The Attic CDs & LPs at all three of their locations! (Hollywood, Berkeley, San Francisco). This sale runs for about a month from this Monday, August 24th to September 20th. Only applies to in-store sales.

See you there!

LITA Seattle Summer Spectacular | Barbara Lynn & DJ Sipreano Live!

Wednesday, July 29th, 2015

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Light In The Attic & City Arts are thrilled to announce our second annual Summer Spectacular! Hosted, once again, at our Seattle record store/warehouse in Ballard. This year’s festivities will be headlined by Texas soul legend Barbara Lynn (of “You’ll Lose a Good Thing” fame). And DJ Kevin ‘Sipreano’ Howes, the mastermind behind Native North America Vol. 1, will be spinning records between sets. Willie Thrasher is unable to make the event due to health concerns. Send healing vibes his way!


Food Trucks (Analog Coffee, The Seattle Cookie Counter, The Gulf, and The Biscuit Box)


Record Fair (new & used vinyl & merch)

The festivities kickoff at 3pm on Saturday, August 15th. This event is FREE, ALL-AGES, and open to the public.

Address: 913 NW 50th Street, Seattle

Event poster by Tim Kerr of Big Boys!

Please RSVP on the Facebook event page so we know how much beer to have!



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. Enter Barbara Lynn. Her 1962 debut single, “You’ll Lose A Good Thing,” recorded with session musicians including Dr. John, gave her a number one hit, and success that took Lynn out on the road with the likes of Stevie Wonder, Gladys Knight, BB King, Supremes, Chuck Berry, and The Temptations. Her’s is a talent that comes into full bloom on Light In The Attic’s recent reissue of Here Is Barbara Lynn, an album packed with passion and fire that showcases Lynn’s prodigious talents, her deeply felt guitar playing, her gutsy soulful singing skills, and her songwriting prowess.

All Things Considered feature:
More Info:



Friday, May 22nd, 2015

39 Clocks – Subnarcotic (Preorder)

Just because I’m putting this record out does that mean I can’t talk about it? False modesty killed the dinosaurs, and now all we have is fake bones in the Smithsonian and footage from documentaries like Jurassic World. There isn’t a 39 Clocks doc yet, but just like the dinosaurs, the Clocks had rats and broken glass thrown at them in their time. But the book ain’t closed. Don’t miss your chance to be part of revisionist history again.



Dokken – Dream Warriors (Theme from Nightmare on Elm Street 3) (Preorder)

I went head to head on deep hair metal the other day with LITA Len - and I gotta say I was feelin’ pretty good coming to the plate with Dangerous Toys, Tora Tora Tora, and Kix. But guess what? He came right back with Scatterbrain, Pretty Boy Floyd, and Saigon Kick! Sat me down real quick. Now, I would never imply that a solid B-level hair act like Dokken could ever be drug down to these murky depths. That wouldn’t be right.



Lion and the Lamb – S/T (In stock now!)


What happens when all the African, Psych, Post-punk, outsider Folk records and Horror soundtracks have been reissued? Laugh now, but don’t say a summer breeze don’t make-you-feel fiiii-yiiiiine, and don’t say I didn’t warn you when we announce pre-orders for the Toto reissue campaign of 2019. Let it begin.

New Release! | Karin Krog – “Don’t Just Sing”

Tuesday, April 21st, 2015


Karin Krog is as axiomatically Norwegian as ludefisk– but much easier for outsiders to love. For over 5 decades, Ms. Krog has masterfully blended electronic manipulation, avant garde rock, and experimental pop jazz to make music that is supremely unique. It’s an honor to be presenting Don’t Just Sing: An Anthology 1963-1999, a concise, career-spanning anthology, curated with Ms. Krog’s own input. We just can’t get enough of her Bobby Gentry cover! Check it out below:



Says Pat Thomas, who masterminded this project,

Karin Krog is such a household name in Norway – that when I first met her in Oslo and made a deal to do this LITA compilation, the Norwegian Government did their own “news story” about our meeting.”


In the article, Thomas is quoted as saying,  that Karin Krog is “a diverse artist like Miles Davis was, constantly changing and reshaping her sound.”


If you happen to speak Norwegian, check out this detailed TV documentary about Krog for free on Euro-TV. The discussion is in Norwegian, but the vintage film clips, live performances
and photos are in the international language of music! (Plus, we’re working on getting an English sub-titled version– stay tuned!)


CD & LP of “Don’t Just Sing” available June 30th, digital June 16th, and preorder open now!



Distro: Flying Nun x Captured Tracks Partnership

Tuesday, March 17th, 2015

Image via Pitchfork.

Brooklyn-based label and record shop Captured Tracks teamed with legendary New Zealand label Flying Nun Records back in January 2013. We are now distributing these awesome releases!

Since 2009, Captured Tracks has been putting out great new indie rock/pop and post-punk (such as Mac DeMarco, DIIV, Beach Fossils, and Blouse) and reissues (Medicine, For Against). Meanwhile, Flying Nun has been helming the postpunk scene from Chrischurch, New Zealand since ’81, putting out the likes of The Clean, Chris Knox and The Dead C.

Captured Tracks’ founder/operater Mike Sniper is quoted as saying: 

We at Captured Tracks are beyond ecstatic to work with Flying Nun Records for this series of reissues. As a young record collector, I always saw the label as a recommendation of¬†quality and a constant source of inspiration. I would comb the shelves of every record store imaginable to secure anything and everything I could find. When I first heard the news that they’d bought back the rights, this partnership was something that was lingering in the back of my mind. I’m more than pleased that we can have any sort of involvement in revitalizing this amazing back catalog and returning it to record shelves the world over.

The partnership’s first reissue, Toy Love was released in February 2013. 

And now we’ve got Sneaky FeelingsThe Stones, and many more!

Check out all of our new releases from Captured Tracks/Flying Nun here.

And vids below!



Spotify Playlist: The Supreme Jubilees’ Influences by Leonard Sanders

Friday, March 6th, 2015


We’ve got a treat for y’all to take with you into the weekend! We asked Leonard Sanders from The Supreme Jubilees to make us a Spotify playlist, and the man made us two! One of secular influences and one of gospel influences. Fab stuff.

The Supreme Jubilees Gospel Influences

The Supreme Jubilees’ Secular Influences



Thin Lizzy Liners Pt. 3 | Vagabonds Of The Western World

Wednesday, February 25th, 2015


Our favorite bits from Kevin ‘Sipreano’ Howes’ liners for Thin Lizzy’s third album Vagabonds Of The Western World:

  • “Perhaps it was the weed, perhaps it was the Guinness, but Thin Lizzy had somewhat unrealistic expectations after their recent commercial success.” The label was expecting “Whiskey In The Jar Pt. 2,” but the band wanted to reinforce that they were a serious band. They released “Randolph’s Tango,” expecting a huge hit.

“When we were on the road,” Eric Bell recalls, “we would stop at service stations, and Phillip would buy all of the music papers. The first page he’d turn to was the chart. ‘Where is it?’ he’d say. ‘It’s fucking nowhere.’ And this went on week after week. I think we got one mention.” – Bell

  • Philip was … heavily into being Irish, even though he was a black man. He loved Ireland and he loved the Celtic mythology and the drawings and the Book of Kells type of artwork. Philip was steeped in that. He read quite a bit about that, and it was one of his best subjects in school. He was genuinely into that mythology of Ireland, so he started using it in his own work, you know.” – Bell


  • The album cover was designed by Phil’s friend, Dublin-based artist Jim Fitzpatrick, who was also known internationally for his iconic and often reproduced two-tone 1968 portrait of Argentine revolutionary Che Guevara. He also specialized in Celtic art and science fiction illustrations. He’s still making art in Ireland, and the above is a piece of his.

  • On the Vagabonds cover you can find: Phil, Bell and Downey, a futuristic aircraft, Celtic engraved stone tablets, a floating city, and there’s even a little red mouse running across the bottom left corner.

Batman #232 - Page 10

(Image via BareBonesEZ.Blogspot)

  • “As kids, we all used to read Batman and The Green Lantern, but Philip had retained that. Touring England, we’d be driving down the motorway and would occasionally stop at a service station to get a cup of coffee or use the toilet. Philip would often come out with about six Marvel or DC Comics under his arm, [The Incredible] Hulk, whatever was out in those days. I remember him pointing to these little squares, and inside the square, about the size of a postage stamp, would be a drawing of Silver Surfer standing on top of a hill or Batman standing at the top of  a building. All of their poses would be very dramatic, and Philip used to point these out to me and say, ‘Hey Eric, look at the way he’s standing there.’ He took that on. He started trying out these dramatic poses that these heroes would have. Very strong, static, balanced sort of poses.” – Bell

  • Radio Luxembourg DJ David ‘Kid’ Jensen was a huge Lizzy supporter since day one, yet band had never met him. Finally, Phil’s mother Philomena said to the boys, ‘Well, what you’re going to do now is, I’m going to get you a big magnum of champagne, the best that you can get, and you’re going to fly over and meet this man and thank him very much.’ And so they did. Kid interviewed them live on air. Bell and Downey got smashed on the champagne and spent the whole interview giggling in the corner while Phil tried to keep it together.

  • David ‘Kid’ Jensen is the voice that opens ‘The Hero and the Madman.’

Friends of LITA | Q&A with Grammy-Nominated Writer & Producer Alec Palao

Thursday, February 12th, 2015

Photo of Palao via

Alec Palao knows a lot about music. Alec Palao also knows a lot of nice words. It was this killer combination that led to a Grammy nomination for the liner notes he wrote for our Stone Flower comp (which he also produced!). This music archivist, consultant, journalist, and ‘unofficial custodian’ of Sly Stone‘s musical legacy was kind enough to pause the tunes for a moment and answer a few questions for us.

What is your relationship with Sly Stone? 

Just that of a fan, aficionado and, along with a few other knowledgeable folks like Neal Austinson, Ed Lanier and Edwin and Arno Konings, an unofficial custodian of his musical legacy. I first met up with Sly back in 2009 when I licensed some material from him on behalf of Ace Records for the compilation Listen To The Voices, spending several days with him in the process. We reconnected in 2013 when LITA needed to license the Stoneflower material for the I’m Just Like You set.

What was your process for writing these album notes?

I had a lot of information from my original chats with Sly back in 2009, and we conducted a specific interview at the beginning of last year about Stoneflower. I was also fortunate to have a lot of additional strong material provided by the Konings twins, from the research they have been doing for their definitive, in-depth Sly biography (with which I am also involved); that included quotes from the members of Little Sister and 6ix, as well as manager David Kapralik and recording engineer Richard Tilles (I also met with Richard and talked to him at length). The twins and I have shared a lot of Sly information between ourselves over the years, so really it was just a matter of pulling it together in a relatively linear fashion – and hopefully making it entertaining as well as educational!

What struck you as most interesting while researching these liner notes?

I’m probably a little different to most music writers in that invariably I have also compiled the set I am annotating, and have often transferred/edited/remixed the audio. The process of doing the latter, in particular, really provides an authoritative perspective on the body of work you are commenting upon. In the case of Stoneflower, going through the session tapes was particularly enlightening as I discovered just how Sly constructed this music, and its stark difference to the highly-orchestrated sound that he was known for with the Family Stone. Standing back a bit, this simply confirmed something I already knew: that the turning point in the way he made his own music – i.e. the use of a drum machine as a template – was in actual fact a turning point in popular music that still has relevance today. Not enough credit is given to Sly Stone for the creation of what is now known as “beats”. No matter how simple his stuff may sound to modern ears, it can all be traced back to “Family Affair,” There’s A Riot Going On and even before that, the Stoneflower label productions showcased on the LITA set.

Do you have a favorite Sly memory?

Well, he’s still around, so I hope to have further favourite memories of Sly! There’s quite a few already, but the time I spent with him in 2009 is something I won’t ever forget. Watching him make music on his laptop, playing old or unreleased tracks and getting his reaction, and just having the opportunity to have meaningful, one-on-one conversations about his music and his view on life in general. Forget the negative publicity out there about the man – Sly is still one of the funniest, smartest, most incisive people you could ever hope to meet.

How do you feel about the dying art of liner notes? Why are they important and can we keep the tradition alive? 

I don’t think the art of liner notes is dying per se, I just think that for the most part the level of research and hard work that one would hope to find in many reissues is all too sorely absent. Using Wikipedia is just so much easier, and the frequent howlers spotted in many liners is testament to today’s over-reliance on the internet. With all due respect to anyone who writes about older music for a living, if there is a fixed amount of copy and a deadline, many tend to go into “hack” mode and trot out the cliches or the glib prose, unless they have knowledge and passion for the subject matter. There is also the “argument” – just why is this music important? Most liner notes nowadays are rather unconvincing in that department. But you can always tell when a writer does have the all important passion.

What’s the best music journalism or nonfiction you’ve read recently?

The first part of Mark Lewisohn’s massive Beatles trilogy, Turn On (the expanded version, of course). Truly astounding and revelatory research from one of the very few qualified to talk about the Fabs.

Palao’s liner notes will not only educate you about Sly, they will learn you up some big ticket vocab words too! (Like ‘terpsichorean,’ which means ‘relating to dance,’ and ‘sobriquet,’ which is another word for ‘nickname.’) 

What’s the secret to your massive vocabulary… the British school system’s superiority?  

Maybe a good thesaurus? I tend to show my writing to my wife Cindy first, and she frequently chastises me over the use of “fifty cent words”! Seriously, I’m not trying to be pretentious, but I hate repetition in writing, and there are times I wish to say the same thing in different places in different ways. Plus I love the English language and like many others, am appalled at how dumbed-down so much writing about popular culture has become.

Anything exciting you’re working on at the moment?

Always . . . for LITA, next up is more work on the LHI catalog. Plus some others that I won’t spill the beans on yet!



Read our favorite quotes from Palao’s Grammy-nominated Sly-ner notes here!



Tuesday, February 10th, 2015

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Today marks the official release of our two new Thin Lizzy reissues Shades of a Blue Orphanage and Vagabonds of the Western World. We’re celebrating these releases with two events in New York City and a very special doodcast from DJ Fitz!

DJ Fitz’s Thin Lizzy Special

DJ FITZ DOODcast Thin Lizzy Special by Fitz5000 on Mixcloud

“Thin Lizzy are hands down the greatest Rock Band of the 1970s. They had Amazing Jams, Deep Basslines, and seriously Funky Drums, ask Afrika Bambaata, he will tell you. They stood out from the pack, mainly due to the Amazing Romantic, Mythical Songs written by Phil Lynott — tales of Heroes, Madmen, dangerous men and above all, the Banshee. They hold a special place in my Heart. Peace.” - DJ Fitz!!!

(His twitter @dj_fitzdoodcast if you want to tell him how he got your heart a-flutterin’!)



New York, We’re Comin’ For Ya (And We’re Bringin’ Lizzy!)



In New Yawk, on Thursday, 2/26:

  • Listening Party at Captured Tracks in Greenpoint from 4pm-6pm (195 Calyer St. in between Manhattan Ave & Leonard Ave)

Super cool record shop Captured Tracks is doing a super cool thing: dedicated listening booths for individual labels. And we get to be one of the first!

  • LITA DJ Night at Daddy’s in Williamsburg, 9pm-1am (437 Graham Ave)

If you’re in NYC come warm us up by boogying down! We hail from delicate climes… Also, Thin Lizzy’s already started shipping out, so if you haven’t yet, get yours!

Meet Your Maker: A Trip to Stoughton Printing Co.

Thursday, January 29th, 2015

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Photo courtesy of Stoughton Printing Co.

Light In The Attic products are handmade. Each LITA LP that you hold in your hands has been touched by at least three other sets of hands. At the Stoughton Printing Co. open house last week, we got to shake a few of those hands, from the founders and project managers to the employees who operate the press and glue art to cardboard. Stoughton makes almost all of the tip-on jackets for our LPs, CDs, and cassettes and we think they do a damn fine job.IMG_8957

The Stoughton office feels like a mini Rock & Roll Hall of Fame, only instead of Patti Smith and Buddy Guy, the LP jackets themselves are the main attraction. When you walk in, there’s a wall of  LP covers printed at Stoughton (can you spot the LITA titles?). And all around the office are displays organized by artist– a display of every Led Zeppelin or Neil Young product printed at Stoughton, for example.


We also got to meet the good people of Spicers Paper, who provide the high-quality paper that Stoughton prints on. Spicers had two whole tables set up with samples of every kind of paper you could imagine, including ‘the Rolls Royce’ of paper– McCoy. Who knew? “This ain’t Dunder Mifflin,” I joked to the affable Spicers rep, who laughed uncomfortbaly and replied, “Well, we don’t usually go there… but yeah. Although we do also sell copy paper, if that’s what you’re looking for. ” Did I just commit a paper faux pas?



Rob, one of the head project managers at Stoughton, has a collection of records in his office that would make even the most jaded collector green with envy. A true vinyl head, Rob recalled a recent climb he did on Mt. Whitney, during which he listened to Lee Hazlewood for a solid eight hours. Can you imagine hearing ‘Trouble is a Lonesome Town‘ with a view of the snow-capped Sierra Nevadas at 14,000ft?


One of Stoughton’s room-sized printing presses.

When we’re browsing through the stacks at a record store and we see the gnarly cover of some unholy metal album, we rarely think of the printing press employee who had to see that ghastly image a thousand times in a day. It’s someone’s job to place the album art by hand onto the glued cardboard with perfect precision. And apparently some of these employees at Stoughton have been “bothered” by past album art. “They talk about it…” said our tour guide. Think of that man or woman the next time you purchase some blood-soaked horror soundtrack. *Cough* One Way Static *cough.* These people are the real MVPs!