Free Basin’ Fridays | Michael Chapman – Window (Clear Vinyl) IG Photo Contest!

February 20th, 2015

free baseWindow

Next Tuesday marks the official release of Michael Chapman’s  Window, the final installment of our ongoing series reissuing Chapman’s groundbreaking albums for Harvest Records. This album blends pastoral folk with baroque psychedelia and it is super awesome.

In celebration of the release, we thought it might be fun to see what’s going on outside your window. Post your favorite photo that you’ve taken either of your window or of the view outside your window on your Instagram account for a chance to win a copy of Window on beautiful clear vinyl!

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To enter, follow us on Instagram (@lightintheatticrecords), post your photo and hashtag it with #IWantWindow and @lightintheatticrecords in the caption. The staff here at Light In The Attic will announce a winner on Friday, February 27th and  commenting on the winning photo with instructions on how to get in touch. Original content only please.

We’ll post all the submissions we get in an album on our Facebook page for the world to see and feature select favorites on our blog and other social channels!

Get to snappin’, ye Ansels and Dianes. We can’t wait to see what you come up with!

 

 

Thin Lizzy Liner Notes: Favorite Quotes Part 1 (S/T)

February 20th, 2015

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Below is a selection of our favorite quotes and anecdotes from our good buddy Kevin ‘Sipreano’ Howes’ liner notes for Thin Lizzy’s eponymous first album. Howes is a record collector, archivist and curator who has played a huge role in several LITA projects (Jamaica to Toronto, Native North America, etc.) and was co-producer of this Thin Lizzy reissue.

  • On Lynott when Bell scouted him out: “Tall, black, and skinny as a nail, Lynott had been booted out of the well-known Skid Row because of off key vocals on a promotional television appearance. Undeterred and assisted by minor tonsil surgery, he was working hard at improving his delivery and secretly adding bass to his arsenal…”

  • Soon after forming the band, Lynott and Bell moved into a house in Clontarf, a posh area of Dublin: “Close to the sea, the split-level apartment quickly became a communal sanctuary to a cast of girlfriends, pals, and assorted bohemian acquaintances with monthly bills and rent being the only drag.” Downey was a regular guest.

  • The older, upper class residents of Clontarf eventually got fed up with the Thin Lizzy house and wrote a petition with about thirty signatures to kick them out! It didn’t work. (Until the band relocated to London when they signed to Decca.)

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Tin Lizzie, the female robot character from Irish comic ‘The Dandy,’ after whom Bell named the band.
(Image via The-Slipper.Blogspot.com.)

  • The origin of the name ‘Thin Lizzy’: Bell recalls, “Like every other red blooded Irish kid, I read The Beano and The Dandy and The Topper and The Beezer. There was this female robot in The Dandy comic called Tin Lizzie. I remembered the name for some reason and mentioned it to the guys. They all looked at me like ‘You gotta be kidding, it’s desperate!’ ‘Wait a minute,’ I said. ‘It’s called Tin Lizzie in the comic. T-I-N. If we put an ‘h’ in it, it’s pronounced Thin, but the people in Dublin [who don’t pronounce their h’s] will still say Tin.’ So they had to make an effort to say it, a very profound idea.”

  • Thin Lizzy’s first gigs were throughout the Irish countryside, following traditional showbands. “Farmers were coming into the dance with cow shit on their boots,” Bell recalls.

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The North American album cover of the LP.
(Image via ThreeChordRegression.Blogspot.com.)

  • The UK album cover features “a surreal fish-eye photo of a wheel-less car” whereas, the North American release featured a “distinctive image of a Ford Model T (aka, a Tin Lizzie) puttering up the profile of a lady’s well-curved hip.”

  • Ivor Raymonde, famed UK arranger for Dusty Springfield and  others, played Mellotron on “Honesty.”

  • “Clifton Grange Hotel” is “a play-by-play account of [Phil’s] beloved mother Philomena’s Manchester, England Inn.” Whenever the band were within forty miles of the place Phil would say, “Right, let’s go back to me mom’s!” “It was an oasis. She really looked after us,” recalls Bell.

  • About this reissue Bell says, “It’s incredibly nostalgic, positive, but very melancholy as well. The three of us were extremely close at one point. I’m really chuffed because when it was first released, we couldn’t give it away, and then you think after all this time, it’s still valid.”

LITA x Ace LA Lizzy Jam

February 16th, 2015

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Join us Monday, February 23rd, from 8:30pm-1am on the Ace Hotel rooftop in Downtown Los Angeles where we will be dancin’ in the moonlight and spinnin’ vinyl in celebration of our two new Thin Lizzy reissues! We’re joining forces with guest DJ Chris Ziegler/LA Record! It’s gonna be sweet.

I Love Lizzy Art Contest Results!

February 16th, 2015
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1st Prize Winner by Pedro Silva from Portugal
(www.facebook.com/pedrosilva.artwork) 

Love Philip (1)

2nd Prize Winner by Nick Sharp of England

cw

3rd Prize Winner by c.w./Super Invincible Records of Taiwan
(https://www.facebook.com/superinvincible)

 

In conjunction with our new Lizzy releases and Valentine’s Day, we held an I Love Lizzy art contest/love fest! Fans from all over the world sent us their submissions, we posted them all in an album on our Facebook page, and the good people of the internet voted by ‘liking’ their favorites. The three submissions with the highest number of likes won Thin Lizzy vinyl and posters, with the 1st place winner receiving all three Lizzy albums that we’ve reissued! Our winners this year hailed from Portugal, England, and Taiwan- so cool! We couldn’t be happier with the beautiful pieces we got to see and the interesting people we got to ‘meet’ all over the globe. Stay tuned for the next big one! Thanks so much to all who submitted.

Still Winners In Our Book:

Thin Lizzy cover LP

by Sebastien Ségui
(http://www.kongoartwork.book.fr/galeries/posters/)

pe-eye-heart-lizzy

“Eye Heart Lizzy” by PE
IG: @venery_and_pesos

blue lizzy

by Garrett Brown
IG: @circagarrett

oscar

by Oscar Nordblom

IMG_20120903_205032 (1)

by Owen Ashworth
(www.advancebasemusic.com)

I Love Lizzy finalf

by ABE

Cosmic-Thin-Lizzy

by Jeff Lowe
Portfolio: zilchdesign.com; IG: @lowefidelity

AV-Thin-Lizzy-Valentine

by Amy Vecchione

 

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

February 12th, 2015
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Photo of Palao via barrymcarlos.wordpress.com.

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!

 

Donnie & Joe – ‘Ride The Tide’ Music Video!

February 11th, 2015

Filmmaker, record collector, and the man who picked out a forgotten Donnie & Joe LP in a thrift shop in Spokane before the rest of us got wise, Jack Fleischer, has made a music video for ‘Ride The Tide’ from Still Dreamin’ Wild: The Lost Recordings 1979-81. Finally one of these songs gets the sublime music video treatment it deserves! Big thanks to our friend Jack and to everyone who helped make this awesome video.

Credits:
Directed by Jack D. Fleischer
Cinematography by Chris Adler
Edited by Chris Adler
Produced by Jack D. Fleischer and Light in the Attic
co-produced by Dylan Fergus

Starring:
Kaiso Hill as Donnie
David Gironda Jr. as Joe
Eva Sinotte as Girl on the Beach
Jack Sills as Motorcycle Donnie
Wardrobe by Emily Moran
Wardrobe Assistant – Mieko Romming
Gaffer – Joshua Gleason

Jack Fleischer Would Like To Thank:
Zorthian Ranch
Alan Zorthian
Richard Pluim
Oscar Camacho
Jack Sills
Kye Potter
Lydia Hyslop

Shot on location in Malibu and Altadena, CA.

We released Still Dreamin’ Wild last year. It’s available for purchase here!

THIN LIZZY TUESDAY!

February 10th, 2015

lizzy burglar 3

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!)

 

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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!

Alec Palao’s Grammy Nominated Stone Flower Liner Notes | Favorite Quotes

February 5th, 2015

“…and then the Woodstock film. Sly with his arms out, wearing a white fringe leather jacket, and right behind him a huge spotlight… the spotlight looked like the sun, and the jacket looked like wings of wax. And I said… My god, it is Icarus. He has flown too close to the sun.” – David Kapralik, Sly’s manager

“As far as I could see, there were people agreeing with me. That can make you feel pretty powerful.” – Sly on the Woodstock era

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“Decades before a computer algorithm was concocted to mimic human touch or inflection, Sly Stone was forcing his equipment to reflect the way he felt as a musician in a tangible fashion.”- Alec Palao

 “Sly’s music was, is, and shall forever remain upbeat. Cock an ear to the overriding lyrical thrust throughout this album. Epigrammatic as Sly always was, the tone is positive and observational, with instructive yet empowering use of the personal pronoun: somebody’s watching you, you’re the one (or conversely, I’m the one), and — most significantly – I’m just like you.” – Alex Palao

“By boiling rhythm down to its very nub, Sly pointed the way forward in a way neither he nor anyone else could have ever known at the time, and it was married to the inclusive philosophy that confirmed Sly Stone’s humility and humanity: he knows how we feel, he’s just like us.” - Alec Palao

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“‘Somebody’s Watching You’ was a playful yet cautionary item from the Family Stone repertoire, with a lyric that blended classic Sly Stone aphorism — ‘the nicer the nice, the higher the price’ – with amused references to the goldfish bowl environment in which Sly now found himself (the line ‘shady as a lady with a moustache,’ for instance refers to Kapralik).” – Alex Palao

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Sly  confessed to his bemused  host on the notorious June 1970 episode of The Dick Cavett Show that, “I look in the mirror when I write – the reason that I do that is… I can react spontaneously before I realize that I’m going along with what I’m doing.”

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“Sly speaks in opposites. He sees things that way. A lot of metaphors, which is not unusual for African-American writers, but I love the way he uses them. Sly is one of those folks who got it. When the world went on and decided it didn’t like nonconformity, he was being so real in many ways that he didn’t make that change. We went as a nation, a society, into a period where it was like the groupthink, and some folks like Sly were not gonna make that transition because they are individuals.” -Tiny Mouton of Little Sister

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The ladies of Little Sister

“The people that intimidated me the most were fourteen, fifteen-year-old white kids, that I saw playing music on the computer. I said, I gotta find out how to do this. Know what I mean? For them it’s normal, that’s just the way they are. Anything that can express your heart, it’s an instrument, man. In the future, they won’t even relate to a guitar, there’s gonna be something else that can do that. It’s not the name of it, it’s how you can get the feel over…” – Sly

“Yeah… shit. I’m not deep. I just look at shit the way it is, because we are — you’re the one, I’m the one, whatever you do is what you do. My songs, as far as I know, they ain’t songs yet until they totally say something to me… I an’t just gonna say nothing. I ain’t just gonna say ‘I love you, I love you’ or something. I ain’t gonna do that. I can’t do that.” – Sly

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“See in the studio, I’m a gangster. I mean, not a gangster… [but] I don’t care, I respect music in the studio, and to hell with everything else. In the studio I feel like I can say what I want to say. Because you know what, it’s not as easy as people think it is, see. You gotta stay focused. If there’s something in there, you better hold on to it. Hold on to that feeling.”- Sly

See part two of the Cavett interview below:

We’re Goin’ to the Grammys!

February 3rd, 2015

Grammy

 

We are humbled that two Light In The Attic releases have been nominated for Grammy awards this year. There’s A Dream I’ve Been Saving: Lee Hazlewood Industries 1966 – 1971 CD box set (deluxe version) has been nominated for Best Historical Album and I’m Just Like You: Sly’s Stone Flower 1969-70 has been nominated for Best Album Notes by the 57th Grammy Awards. We’ll be attending the event this Sunday, February 8th and all we really want is a solid ‘Hi, mom!’ moment and some champagne clinks.

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There’s a Dream I’ve Been Saving
our most expansive and lavishly packaged project to date, was seven years in the making. The set commemorates the legacy of Lee Hazlewood Industries and its stable full of brilliant artists. Some of these artists we’ve even put out individually, including Honey Ltd. and Arthur. The deluxe box set includes a hard cover book, a DVD of Cowboy In Sweden, 4 CDs and 3 DVDs worth of tunes, a flexi disc of Lee ‘studio chatter,’ a reproduction of Lee’s original LHI business card, archive photos and more.

The mastermind behind the LHI box is Hunter Lea, who co-produced the set with Matt Sullivan and Patrick McCarthy (LITA project manager). Hunter is a Lee Hazlewood historian and a musician in his own right. There would be no LHI series without him.

One of the most unique and fun features of the deluxe edition is the Hazlewood ‘studio chatter’ flexi disc. “When we started to listen to playback of the tapes, there were so many amazing Lee moments,” Patrick remembers. One such moment included Lee giving the direction, ‘Play it like a cowboy song!’ Studio chatter like this is a rare glimpse of how these people really acted in every day interactions. You hear Lee being charming, riffing with people and teasing. “There were hours and hours of tape to go through and as we listened to transfers, we marked great lines. This stuff was too good not to share,” says Patrick. 

 

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Lee Hazlewood and Suzi Jane Hokom Photo Courtesy of Mark Pickerel

 

All of these components render a portrait of Mr. Hazlewood as a fiercely talented, brutally independent, ornery, and visionary svengali/super-producer/songwriter who set a new standard for creative freedom within the music industry. His is a life that should be studied and that was our aim with this box set.

Hear a little bit of that ol’ Lee chatter and find out more about the release in the following video:

 

 

 

Photo by Stephen Paley.

Photo by Stephen Paley.

Sly Stone ran the influential yet short-lived Stone Flower record label from 1969-1971. The sound Stone formulated while working on Stone Flower’s output would shape the next phase in his own career as a recording artist: it was here he began experimenting with the brand new Maestro Rhythm King drum machine. In conjunction with languid, effected organ and guitar sounds and a distinctly lo-fi soundscape, Sly’s productions for Stone Flower would inform the basis of his masterwork There’s A Riot Goin’ On. The Grammy nominated liner notes for which this album is nominated are by the immensely talented, Alec Palao, who also acted as producer and compiler.

 

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Photo by David Black. Rhythm King courtesy of Steve Frothingham.

 

2015′s off to a superb start for Sly, as he recently won a major court case against his former manager for millions in unpaid royalties. Cha-ching, baby! This is an epic and well-deserved win for Sly and sets a great precedent for all artists. It’s nice to see Sly finally getting what’s rightfully his. Fingers crossed for a Grammy win to add to a banner year for the man!

Sly, circa 2014. Photo by David Black.

Sly, 2014. Photo by David Black.


I Love Lizzy Art Contest!

February 2nd, 2015

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Because it’s almost Valentine’s Day and because this year our valentine is Thin Lizzy, we want to see what cool art y’all have up your sleeves. Please send in any original art that shows your love for Thin Lizzy for a chance to win some awesome Lizzy loot! All submitted art will be added to a facebook album on Monday Feb 9th. The artist with the most ‘likes’ in the FB album by Valentine’s Day wins!

And because we love you, the prizes are as follows:

  • 3rd place: Choice of 1 Lizzy LP + Thin Lizzy poster
  • 2nd Place: Choice of 2 Lizzy LPs + Thin Lizzy poster
  • 1st Place: All 3 Lizzy LPs + Poster

The top three artists & their art pieces will be announced on our blog and posted on our Instagram, Twitter, etc., for all to marvel at.

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ThinLizzyPosterWeb

The Rules:

  • Please email your art to social@lightintheattic.net by Sunday Feb. 8th (8pm PST) with I LOVE LIZZY in the subject. Include your name as you would like to be credited, and your IG or portfolio site if you want us to link it.
  • All entries will be posted to a facebook album on Monday Feb 9th (by 10am PST).
  • Voting will take place the week leading up to Valentine’s Day– Feb 9th to Feb 13th (until 8pm PST).
  • Feb 14th – Winners will be announced!

NOTE: You must LIKE Light In The Attic’s facebook page to qualify. Limit one entry per person.

Yee-haw!