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Artist: ARIEL PINKS HAUNTED GRAFFITI & DAM FUNK / DONNIE & JOE EMERSON
Title: Baby
Format: 7"
Label: Light In The Attic
Country: USA
Price: $7.00

Artist: ARTHUR
Title: Dreams and Images
Format: CD
Label: Light In The Attic
Country: USA
Price: $17.00
"The pantheon of performers known by but one name is full of superstars. Arthur -- the nom de plume of singer-songwriter Arthur Lee Harper -- is not one of them, but this gentle singer-songwriter and his wan, string-drenched, loved-up, psych-folk was probably never likely to be suitable for mass consumption. Released on Lee Hazlewoods LHI label, the haunted Dreams and Images is the first of two albums from the Melbourne, Florida-born singer-songwriter. LHI was a broad church, taking in everything from soul to country, and Arthur found a home, a producer, and a champion in Hazlewood, who described him as A man who will someday be a child again... A reason to cry and be unafraid... A bird with eighth-notes for wings. Though his lonely, intimate music, shy demeanor, and stutter might not have suggested a man of great ambition, Arthur moved to Hollywood chasing the music industry dream. He suffered hardships to do so, living hand-to-mouth in a YMCA hostel with two like-minded individuals: Mark Lindsey Buckingham and Stephen John Kalinich, whose A World of Peace Must Come has been reissued by Light In The Attic. Arthur was a peace person. He was all about peace, love, and harmony, remembers Kalinich in the brand new, extensive liner notes for Dreams and Images. He was a person that believed you could change the world. We thought we would be some of the ones to usher in peace. While Kalinich and Buckingham were signed by The Beach Boys Brother Records, Arthur allied with Hazlewood, having knocked on the door of the labels Sunset Boulevard HQ and auditioned on the spot. Entering the studio with Hazlewood, Donnie Owens, Tom Thacker, and arranger Don Randi, who brought baroque pop grandeur to the songs, Arthur let his music do the talking. He stuttered and had a hard time getting his ideas out, so he would sing me the parts he had in mind, remembers Randi. A mixture of things conspired to make sure few people heard Arthur, including a packed release schedule at LHI, followed by the withdrawal of their major label funding and a lack of foundation on which to market the album. After the 1970 follow-up album, Love Is the Revolution, Arthur bowed out of the business, immersing himself in Christianity, family, and a career working first as a rocket engineer and, latterly, a teacher. Dreams and Images was produced by Lee Hazlewood. This is its first CD release, and it features three previously unreleased tracks, as well as in-depth liner notes by LHI Archive Series co-producer Hunter Lea with unseen archive photos. All tracks newly remastered from the original tapes." - Light In the Attic.

Artist: ARTHUR
Title: Dreams and Images
Format: LP
Label: Light In The Attic
Country: USA
Price: $22.00
"The pantheon of performers known by but one name is full of superstars. Arthur -- the nom de plume of singer-songwriter Arthur Lee Harper -- is not one of them, but this gentle singer-songwriter and his wan, string-drenched, loved-up, psych-folk was probably never likely to be suitable for mass consumption. Released on Lee Hazlewoods LHI label, the haunted Dreams and Images is the first of two albums from the Melbourne, Florida-born singer-songwriter. LHI was a broad church, taking in everything from soul to country, and Arthur found a home, a producer, and a champion in Hazlewood, who described him as A man who will someday be a child again... A reason to cry and be unafraid... A bird with eighth-notes for wings. Though his lonely, intimate music, shy demeanor, and stutter might not have suggested a man of great ambition, Arthur moved to Hollywood chasing the music industry dream. He suffered hardships to do so, living hand-to-mouth in a YMCA hostel with two like-minded individuals: Mark Lindsey Buckingham and Stephen John Kalinich, whose A World of Peace Must Come has been reissued by Light In The Attic. Arthur was a peace person. He was all about peace, love, and harmony, remembers Kalinich in the brand new, extensive liner notes for Dreams and Images. He was a person that believed you could change the world. We thought we would be some of the ones to usher in peace. While Kalinich and Buckingham were signed by The Beach Boys Brother Records, Arthur allied with Hazlewood, having knocked on the door of the labels Sunset Boulevard HQ and auditioned on the spot. Entering the studio with Hazlewood, Donnie Owens, Tom Thacker, and arranger Don Randi, who brought baroque pop grandeur to the songs, Arthur let his music do the talking. He stuttered and had a hard time getting his ideas out, so he would sing me the parts he had in mind, remembers Randi. A mixture of things conspired to make sure few people heard Arthur, including a packed release schedule at LHI, followed by the withdrawal of their major label funding and a lack of foundation on which to market the album. After the 1970 follow-up album, Love Is the Revolution, Arthur bowed out of the business, immersing himself in Christianity, family, and a career working first as a rocket engineer and, latterly, a teacher. Dreams and Images was produced by Lee Hazlewood. This is its first CD release, and it features three previously unreleased tracks, as well as in-depth liner notes by LHI Archive Series co-producer Hunter Lea with unseen archive photos. All tracks newly remastered from the original tapes. LP version, housed in deluxe Stoughton tip-on gatefold jacket." - Light in the Attic.

Artist: CHAPMAN, MICHAEL
Title: Fully Qualified Survivor
Format: LP
Label: Light In The Attic
Country: USA
Price: $19.00
"Although not as well known as his peers (Roy Harper, John Marytn, and Bert Jansch), the name Michael Chapman is an important one in the linage of English folk rock guitarists and singer/songwriters of the late 60s/early 70s. For those unfamiliar with Chapmans work, Roy Harper might be his closest musical cousin (and both artists were signed to EMIs seminal stoner record label Harvest -- also home to Kevin Ayers and Syd Barrett). Like other Harvest artists, Chapmans music contains a slightly drugged out feel, sublime guitar playing and intense lyrics. Chapman recorded 4 albums for Harvest between 1968 and 1972, of which 1970s Fully Qualified Survivor is hands down considered the classic amongst the whole highly coveted bunch. What makes Fully Qualified Survivor such a special album (besides being a vehicle for a young Mick Ronsons mind-blowing guitar heroics) are the layers of beautiful acoustic guitars, deranged vocals, floating conga drums, and the cello of one Paul Buckmaster -- the same man who provided the intense strings on Elton Johns dark masterpiece Mad Man Across The Water. Fully Qualified Survivor is very much an album more than a collection of songs as they seem to link together seamlessly, and in 2011 its hard to find words to do them justice... File this record between Roy Harpers Flat Baroque and Berserk, John Martyns Inside Out, and Bert Janschs Jack Orion and youll be fine. The perfect album for a blissful day and a joint. 180 gram LP housed in a deluxe gatefold sleeve featuring liner notes featuring a new interview with Chapman." - Light In The Attic.
SOLD OUT

Artist: CHAPMAN, MICHAEL
Title: Rainmaker
Format: LP
Label: Light In The Attic
Country: USA
Price: $20.00
"On the heels of 2011s superb reissue by Light In The Attic of Michael Chapmans 1970 classic album Fully Qualified Survivor (LITA 060CD/LP) comes his 1969 debut Rainmaker (originally released on the seminal Harvest label). Like the FQS album, Rainmaker is a psychedelic-guitar-folk delight. The album kicks off with one of Chapmans best known songs It Didnt Work Out -- which features a stellar cast of legendary English musicians of the era; Guitarist Clem Clempson was in the prog-band Bakerloo (soon after playing with Chapman hed join jazz-rockers Colosseum and then Humble Pie) Drummer Aynsley Dunbar (his resume includes John Mayall, Eric Burdon, David Bowie, Frank Zappa and Lou Reed), bassist Alex Dmochowski (long time Dunbar comrade) were both in Dunbars Retaliation. Organ player Norman Haines was in Locomotive (another obscure, but legendary progressive English band of the day)." - Light In the Attic.

Artist: CHAPMAN, MICHAEL
Title: Wrecked Again
Format: CD
Label: Light In The Attic
Country: USA
Price: $17.00
"1971s Wrecked Again, Chapmans final for EMIs seminal stoner imprint Harvest, home to Kevin Ayers and Syd Barrett. Like other artists in the stable, Chapmans music contains a drugged-out feel, sublime guitar playing and intense lyrics, yet Chapmans career was not a pet project. Buried in EMIs release schedule and afforded no promotional budget, Wrecked Again is his lost classic. Recorded at the noted Rockfield Studio, a residential complex-cum-working farm in Wales,Wrecked Again explores orchestration via Paul Buckmaster (Miles Davis, David Bowie) and The London Symphony Orchestra and production courtesy of Gus Dudgeon (Elton John, Bonzo Dog Band), but also explores a new sound influenced by Memphis soul. With a blend of electric and acoustic instruments, Chapman is found where he feels most comfortable: in-between folk and rock, contrasting soft with edgy.Wrecked Again was made at a turbulent time in Chapmans life. Still struggling for money despite being four albums into his career, the sessions were marred by arguments over his pay. Unloved as it was by his label, the album did little to rectify the situation. Afterwards, Chapman and bassist Rick Kemp -- later of Steeleye Span -- set off on their first tour of the USA. Chapman was stoney broke -- initially refused a visa as a result ? and received no money. And that was the least of his troubles. By the third week, manager Andrew King had quit the country, and Kemp had run off with a woman in a green Mustang. Audiences couldnt understand Chapmans thick Yorkshire accent or British phrases, not least when he coughed on stage and told them, these French fags are killing my throat. After being mugged in New York, Chapman gave up -- before even reaching the West Coast. There had been highs, such as being asked to perform at King Curtiss funeral alongside the likes of Ray Charles, but the experience scarred the singer-songwriter. Back in the UK, he told his partner, Andru Chapman, If thats the big time then fuck it -- I dont want it. Chapman did, of course, go on to record more than 30 albums and tour extensively, but Wrecked Again was a pivotal moment in his career; the tipping point between his earlier, folkier material and his later, rockier output on Deram. Here issued on CD, the audio is remastered from the original master tapes, meaning its never sounded so clean. The booklet includes a memoir from Andru Chapman documenting the recording sessions and a slew of rare color photos. Maybe now, some forty odd years later, it can get the recognition for the fine album that it was and still is, says Andru." - Light In The Attic

Artist: CHAPMAN, MICHAEL
Title: Wrecked Again
Format: LP
Label: Light In The Attic
Country: USA
Price: $22.00
"180 gram vinyl in a tip-on gatefold sleeve. Remastered from the original tapes. Includes unseen photos and liner notes by Andru Chapman. "1971s Wrecked Again, Chapmans final for EMIs seminal stoner imprint Harvest, home to Kevin Ayers and Syd Barrett. Like other artists in the stable, Chapmans music contains a drugged-out feel, sublime guitar playing and intense lyrics, yet Chapmans career was not a pet project. Buried in EMIs release schedule and afforded no promotional budget, Wrecked Again is his lost classic. Recorded at the noted Rockfield Studio, a residential complex-cum-working farm in Wales, Wrecked Again explores orchestration via Paul Buckmaster (Miles Davis, David Bowie) and The London Symphony Orchestra and production courtesy of Gus Dudgeon (Elton John, Bonzo Dog Band), but also explores a new sound influenced by Memphis soul. With a blend of electric and acoustic instruments, Chapman is found where he feels most comfortable: in-between folk and rock, contrasting soft with edgy. Wrecked Again was made at a turbulent time in Chapmans life. Still struggling for money despite being four albums into his career, the sessions were marred by arguments over his pay. Unloved as it was by his label, the album did little to rectify the situation. Afterwards, Chapman and bassist Rick Kemp -- later of Steeleye Span -- set off on their first tour of the USA. Chapman was stoney broke -- initially refused a visa as a result ? and received no money. And that was the least of his troubles. By the third week, manager Andrew King had quit the country, and Kemp had run off with a woman in a green Mustang. Audiences couldnt understand Chapmans thick Yorkshire accent or British phrases, not least when he coughed on stage and told them, these French fags are killing my throat. After being mugged in New York, Chapman gave up -- before even reaching the West Coast. There had been highs, such as being asked to perform at King Curtiss funeral alongside the likes of Ray Charles, but the experience scarred the singer-songwriter. Back in the UK, he told his partner, Andru Chapman, If thats the big time then fuck it -- I dont want it. Chapman did, of course, go on to record more than 30 albums and tour extensively, but Wrecked Again was a pivotal moment in his career; the tipping point between his earlier, folkier material and his later, rockier output on Deram." -Light In The Attic.

Artist: EMERSON, DONNIE & JOE
Title: Dreamin Wild
Format: LP
Label: Light In The Attic
Country: USA
Price: $20.00
Deluxe gatefold LP version with detailed liner notes, unseen photos, and a download card. "Pacific Northwest isolation mixed with wide-eyed ambition, a strong sense of family and the gift of music proved to be quite the combination for teenage brothers Donnie and Joe Emerson. Originally released in 1979, Dreamin Wild is the sonic vision of the talented Emerson boys, recorded in a family built home studio in rural Washington State. Situated in the unlikely blink-and-you-missed-it town of Fruitland and far removed from the late 1970s punk movement and the larger disco boom, Donnie and Joe tilled their own musical soil, channeling bedroom pop jams, raw funk, and yacht rock. Spurred on their high schools music program, Donnie and Joe received a further push from their lifelong farmer father, who drew up a contract stating that hed support his sons lofty ambitions with their very own recording studio as long as they focused on original material, sage advice for a man with zero experience in the music business. After taking out a second mortgage to help cover costs, Don Sr. also built his children a 300-capacity concert hall (dubbed Camp Jammin) replete with ticket booth, stage, and fully functioning snack bar. The only problem was that the projected audience never quite materialized, despite a prime time TV profile entitled "The Rock And Roll Farmers" from nearby Spokane, Washington. Even the Emerson brothers school pals were nonplussed at their privately pressed long player; hand distributed to local music stores, but not as far as Seattle, five hours away from their rural home. Somewhat rejected by the muted response, but never surrendering, both Donnie and Joe continued down a musical path and are still active as performers today. This rare slice of bedroom-funk gets the usual Light In The Attic treatment with newly remastered audio, detailed liner notes, and expanded original album art with loads of photos from the Emersons collection." - Light In The Attic.

The Rock-n-Roll Farmers: Donnie & Joe Emerson from Light In The Attic Records on Vimeo.



SOLD OUT

Artist: EMERSON, DONNIE & JOE
Title: Dreamin Wild
Format: CD
Label: Light In The Attic
Country: USA
Price: $15.00
"Pacific Northwest isolation mixed with wide-eyed ambition, a strong sense of family and the gift of music proved to be quite the combination for teenage brothers Donnie and Joe Emerson. Originally released in 1979, Dreamin Wild is the sonic vision of the talented Emerson boys, recorded in a family built home studio in rural Washington State. Situated in the unlikely blink-and-you-missed-it town of Fruitland and far removed from the late 1970s punk movement and the larger disco boom, Donnie and Joe tilled their own musical soil, channeling bedroom pop jams, raw funk, and yacht rock. Spurred on their high schools music program, Donnie and Joe received a further push from their lifelong farmer father, who drew up a contract stating that hed support his sons lofty ambitions with their very own recording studio as long as they focused on original material, sage advice for a man with zero experience in the music business. After taking out a second mortgage to help cover costs, Don Sr. also built his children a 300-capacity concert hall (dubbed Camp Jammin) replete with ticket booth, stage, and fully functioning snack bar. The only problem was that the projected audience never quite materialized, despite a prime time TV profile entitled "The Rock And Roll Farmers" from nearby Spokane, Washington. Even the Emerson brothers school pals were nonplussed at their privately pressed long player; hand distributed to local music stores, but not as far as Seattle, five hours away from their rural home. Somewhat rejected by the muted response, but never surrendering, both Donnie and Joe continued down a musical path and are still active as performers today. This rare slice of bedroom-funk gets the usual Light In The Attic treatment with newly remastered audio, detailed liner notes, and expanded original album art with loads of photos from the Emersons collection." - Light In The Attic.

Artist: EMERSON, DONNIE & JOE
Title: Still Dreamin Wild: The Lost Recordings 1979-81
Format: CD
Label: Light In The Attic
Country: USA
Price: $16.00
"Released for the first time ever. All tracks newly re-mastered from original tapes. Includes liner notes by Jack D. Fleischer interviewing Donnie and Joe, plus a download card. As teenagers in Fruitland, Washington in the late 70s, the farming Emerson brothers dreamed of being heard. The synthesizers were sometimes crude and the 8-track recorder had its limitations, but they aimed at nothing short of perfection in their home studio, on the farm. They titled their 1979 debut Dreamin Wild, and, as multi-instrumentalist Donnie later admitted, Joe and I basically lived the dream of the title of the album. ButDreamin Wild does not tell the full story. In a relatively short span of time -- just two and half years -- the boys put close to 70 songs down on tape, all recorded at that magical home studio on the farm. A dozen of them are included here on Still Dreamin Wild: The Lost Recordings 1979-81 and ready to be enjoyed for the first time ever. With a familiar blend of FM rock, power pop, and new wave, these 12 tracks cover the entirety of that fruitful period, stretching from the second song Donnie ever recorded (Everybody Knows It) -- to tracks documenting his temporary move to L.A. in 1981." - Light In The Attic.

Artist: EMERSON, DONNIE & JOE
Title: Still Dreamin Wild: The Lost Recordings 1979-81
Format: LP
Label: Light In The Attic
Country: USA
Price: $23.00
“Housed in a deluxe Stoughton tip-on gatefold jacket. Includes liner notes by Jack D. Fleischer interviewing Donnie and Joe, plus a download card. All tracks newly re-mastered from original tapes. "Released for the first time ever. All tracks newly re-mastered from original tapes. Includes liner notes by Jack D. Fleischer interviewing Donnie and Joe, plus a download card. As teenagers in Fruitland, Washington in the late 70s, the farming Emerson brothers dreamed of being heard. The synthesizers were sometimes crude and the 8-track recorder had its limitations, but they aimed at nothing short of perfection in their home studio, on the farm. They titled their 1979 debut Dreamin Wild, and, as multi-instrumentalist Donnie later admitted, Joe and I basically lived the dream of the title of the album. But Dreamin Wild does not tell the full story. In a relatively short span of time -- just two and half years -- the boys put close to 70 songs down on tape, all recorded at that magical home studio on the farm. A dozen of them are included here on Still Dreamin Wild: The Lost Recordings 1979-81 and ready to be enjoyed for the first time ever. With a familiar blend of FM rock, power pop, and new wave, these 12 tracks cover the entirety of that fruitful period, stretching from the second song Donnie ever recorded (Everybody Knows It) -- to tracks documenting his temporary move to L.A. in 1981." - Light In The Attic.

Artist: ERICKSON, ROKY
Title: Dont Slander Me
Format: CD
Label: Light In The Attic
Country: USA
Price: $17.00
"Housed in a deluxe gatefold tip-on jacket with 18 page booklet, liner notes by Joe Nick Patoski. Includes rare/unseen archive photos and ephemera. If The Evil One was the album that broke Erickson out of the indie ghetto and brought him to a worldwide audience, the follow-up, 1986s Dont Slander Me was the one that showcased his rock and roll sensibilities like no recording before. Losing the more out-there and exotic elements of earlier and future albums, it presents us with Erickson the rocker, playing punk, rockabilly, blues and -- in Burn the Flames, later found on the Return of the Living Dead soundtrack -- even power ballads. Erickson was just 15 when he wrote Youre Gonna Miss Me, the song that epitomized the garage rock movement and inspired punks, rockers, and noisemakers ever since. In another life, Erickson and Austin-based band could have been as big as any of the 60s legends still making music today. But fate took Erickson down a meandering path via the Houston psychiatric hospital where he was institutionalized for almost a decade following a diagnosis with paranoid schizophrenia in 1968. Ericksons experiences in the hospital proved to be fertile inspiration for his music -- on leaving, he formed the group Roky Erickson and the Aliens and began penning songs about zombies, demons, vampires, and -- to counter the B-movie monsters, the real-life monsters of social injustice." - Light in the Attic.

Artist: ERICKSON, ROKY
Title: Dont Slander Me
Format: Double LP
Label: Light In The Attic
Country: USA
Price: $28.00
"If The Evil One was the album that broke Erickson out of the indie ghetto and brought him to a worldwide audience, the follow-up, 1986s Dont Slander Me was the one that showcased his rock and roll sensibilities like no recording before. Losing the more out-there and exotic elements of earlier and future albums, it presents us with Erickson the rocker, playing punk, rockabilly, blues and -- in Burn the Flames, later found on the Return of the Living Dead soundtrack -- even power ballads. Erickson was just 15 when he wrote Youre Gonna Miss Me, the song that epitomized the garage rock movement and inspired punks, rockers, and noisemakers ever since. In another life, Erickson and Austin-based band could have been as big as any of the 60s legends still making music today. But fate took Erickson down a meandering path via the Houston psychiatric hospital where he was institutionalized for almost a decade following a diagnosis with paranoid schizophrenia in 1968. Ericksons experiences in the hospital proved to be fertile inspiration for his music -- on leaving, he formed the group Roky Erickson and the Aliens and began penning songs about zombies, demons, vampires, and -- to counter the B-movie monsters, the real-life monsters of social injustice. 2LP housed in a deluxe gatefold tip-on jacket with liner notes by Joe Nick Patoski. Includes download card for the full album, an etching on side D by artist Travis Millard, plus rare/unseen archive photos and ephemera." - Light in the Attic.

Artist: ERICKSON, ROKY
Title: Gremlins Have Pictures
Format: LP + 7"
Label: Light In The Attic
Country: USA
Price: $26.00
"By 1986, Roky Ericksons career had endured twists, turns, and a late-period purple patch marked by incredible music and self-destructive behavior. The Evil One (LITA 097) broke him out of the indie underground and Dont Slander Me showed off his rock n roll sensibilities. But Erickson was difficult to manage -- and patience was running out. Id given up after the second album, Ericksons then-manager, Craig Luckin, has said. I had enough. Yet a third album -- arguably his best -- was to be found, if not created. Gremlins Have Pictures is an anthology of Ericksons solo work following his extended incarceration at the Rusk State Hospital for the criminally insane, beginning with his first live performance (opening for a screening of the Texas Chainsaw Massacre in Austin) all the way to Dont Slander Me (LITA 098). Collected here, the odds and ends of Ericksons post-incarceration work tell a story of a man finding his musical feet, ranging from Dylan-like folk strumming to the big, Neil Young-like rock of the unparalleled Anthem (I Promise). The span of time is great -- from The Ritz Theatre tracks, recorded in Austin in 1975, at the debut performance by The Aliens, to those troubled Dont Slander Me off-cuts. Other tracks were cut with the Explosives, the band Roky started working with at Rauls punk club in Austin after hed returned to Austin in 1979, following the departure of the Aliens. Together the various tracks deftly summarize Roky Ericksons recording career. LP housed in a deluxe gatefold tip-on jacket with eight page booklet, liner notes by Joe Nick Patoski, and a bonus 7" containing tracks 13-16 from the CD. Includes download card for the full album plus rare/unseen archive photos and ephemera." - Light In The Attic

Artist: ERICKSON, ROKY
Title: Gremlins Have Pictures
Format: CD
Label: Light In The Attic
Country: USA
Price: $17.00
"Housed in a deluxe gatefold tip-on jacket with 32 page booklet, liner notes by Joe Nick Patoski. Includes rare/unseen archive photos and ephemera. By 1986, Roky Ericksons career had endured twists, turns, and a late-period purple patch marked by incredible music and self-destructive behavior. The Evil One (LITA 097) broke him out of the indie underground and Dont Slander Me showed off his rock n roll sensibilities. But Erickson was difficult to manage -- and patience was running out. Id given up after the second album, Ericksons then-manager, Craig Luckin, has said. I had enough. Yet a third album -- arguably his best -- was to be found, if not created. Gremlins Have Pictures is an anthology of Ericksons solo work following his extended incarceration at the Rusk State Hospital for the criminally insane, beginning with his first live performance (opening for a screening of the Texas Chainsaw Massacre in Austin) all the way to Dont Slander Me (LITA 098). Collected here, the odds and ends of Ericksons post-incarceration work tell a story of a man finding his musical feet, ranging from Dylan-like folk strumming to the big, Neil Young-like rock of the unparalleled Anthem (I Promise). The span of time is great -- from The Ritz Theatre tracks, recorded in Austin in 1975, at the debut performance by The Aliens, to those troubled Dont Slander Me off-cuts. Other tracks were cut with the Explosives, the band Roky started working with at Rauls punk club in Austin after hed returned to Austin in 1979, following the departure of the Aliens. Together the various tracks deftly summarize Roky Ericksons recording career." - Light In The Attic

Artist: ERICKSON, ROKY
Title: The Evil One
Format: Double LP
Label: Light In The Attic
Country: USA
Price: $27.00
"Celebrating a creative purple patch by a singular performer, Light In The Attic is to reissue the three albums issued by ROKY ERICKSON in the 1980s: The Evil One, Dont Slander Me and Gremlins Have Pictures. Together, theyre a chance to pick up a missing jigsaw piece in the history of American rock n roll in deluxe packages. Though it was produced at a time when Roky was struggling to cope with drugs and life on the outside, he hit form on his first post 13TH FLOOR ELEVATORS album-proper, 1981s The Evil One. Produced over a period of two years by STU COOK from CREEDENCE CLEARWATER REVIVAL, its a masterful collection of songs about zombies, demons, vampires and, yes, even the Creature With The Atom Brain. These tracks, inspired by schlock sci-fi and horror movies and colored by Rokys distinctive, high-pitched vocal and squealing guitar, are among the maverick performers best. CD includes a 48-page booklet, Vinyl includes a 20-page booklet, download card and a Side D etching by artist TRAVIS MILLARD." -Light In The Attic.

Artist: HURLEY, MICHAEL
Title: Have Moicy!
Format: LP
Label: Light In The Attic
Country: USA
Price: $20.00
"Tracing the lineage and citing the fore-bearers of the New Weird America, one cant help but mention the music of bizarre folk singer/guitarist/artist Michael Hurley. If you havent been following his career since the 1970s (when he was collaborating with the likes of the Holy Modal Rounders and Jesse Colin Young) then you probably discovered him in the past couple of years via Devendra Banharts & Andy Cabics label Gnomonsong, who have released Hurleys recent recordings. Hurleys debut album, First Songs, was recorded for Folkways Records in 1965 on the same reel-to-reel machine that taped Lead Bellys Last Sessions. He was discovered by blues and jazz historian Frederick Ramsey III, and subsequently championed by boyhood friend Jesse Colin Young, who released Hurleys next two albums on The Youngbloods Warner Brothers imprint, Raccoon. Hows that for cred? In the 1970s, Hurley made three albums for Rounder Records; Have Moicy!, Robert Christgau of The Village Voice called The greatest folk album of the rock era. First ever reissue on vinyl; re-mastered; 180 gram LP housed in Stoughton tip-on old school type jacket including faithfully reproduced original artwork by Michael Hurley." -Light In The Attic

Artist: HURLEY, MICHAEL
Title: Long Journey
Format: LP
Label: Light In The Attic
Country: USA
Price: $20.00
"This 1976 masterwork is remastered and back on vinyl for this first time in decades. Peter Stampfel and Dave Reisch of the Holy Modal Rounders lend a hand to this bizarre and earthy collection from one of Americas finest singer/songwriters. Features the song Hog Of The Forsaken as heard in HBOs Deadwood. 180 gram wax." -Light In The Attic.
SOLD OUT

Artist: HURLEY, MICHAEL
Title: Snockgrass
Format: LP
Label: Light In The Attic
Country: USA
Price: $20.00
"First ever vinyl reissue and remaster for this 1980 album that features Peter Stampfel and other members of the Holy Modal Rounders. As Hurleys surreal cover painting suggests, this is woozy and charming musical folk art. 180 gram wax." -Light In The Attic.
SOLD OUT

Artist: HYUN, SHIN JOONG
Title: Beautiful Rivers and Mountains: The Psychedelic Rock Sound Of South Koreas Shin Joong Hyun 1958-74
Format: Double LP
Label: Light In The Attic
Country: USA
Price: $28.00
"Shin Joong Hyuns tale is personal, spiritual, and deep, not only reflecting the full spectrum of human emotions, but one that produced reverberating echoes of sound, some beautiful and life-giving, others restless and ungovernable. For the first time outside of Korea, Shins music will be readily available to music lovers the world over. Light In The Attic are thrilled to release Beautiful Rivers And Mountains: The Psychedelic Rock Sound Of South Koreas Shin Joong Hyun 1958-1974, a career spanning compilation of the diminutive guitarist, songwriter, producer, arranger, and talent developer. Inspired by jazz, soul, and traditional Korean music, Shin started his career in the mid-1950s, performing for US troops stationed locally after the Korean War armistice of 1953. While his English language skills were limited, the young player had no trouble communicating through his trusty electric guitar, but Shin was no mere 6-string slinger for hire, he was able to communicate something far beyond your average professional musician. Production work and extensive songwriting followed, not to mention a steady stream of electrifying performances. Gaining momentum by the moment, Shin developed popular success across South Korea molding proteges like singing duo the Pearl Sisters and folk-psych songbird Kim Jung Mi into top pop stars. From there it was hit after hit. The late 1960s rock explosion and an influx of imported music from The Beatles, Jimmy Smith, and The Jefferson Airplane all informed and inspired Mr. Shin to elevate his own craft. Even experimental trips via a crew of local hippies also took the music man to new heights despite Korean law forbidding such rebellion. Drug use was illegal and punishable as a serious offence. Park Chung-hee, then President of South Korea began to closely monitor Shins subversive activities. After refusing to write a song in praise of the political leader, the musician was labeled unpatriotic and his career was instantly snuffed-out through a series of surveillance, torture, and institutional confinement. While this was not the end of Shins musical story, for an all-too-brief moment in Korean cultural history, Shin Joong Hyun and his talented accomplices laid down a trove of recordings that have slowly reverberated far from their native land. Beautiful Rivers And Mountains: The Psychedelic Rock Sound Of South Koreas Shin Joong Hyun 1958-1974 features Korean/English lyric translations, unseen pictures, beautiful graphic design, and extensive liner notes with Shin Joong Hyun." -Light In The Attic

Artist: HYUN, SHIN JOONG
Title: Beautiful Rivers and Mountains: The Psychedelic Rock Sound Of South Koreas Shin Joong Hyun 1958-74
Format: Double LP
Label: Light In The Attic
Country: USA
Price: $28.00
2014 repress. "Shin Joong Hyuns tale is personal, spiritual, and deep, not only reflecting the full spectrum of human emotions, but one that produced reverberating echoes of sound, some beautiful and life-giving, others restless and ungovernable. For the first time outside of Korea, Shins music will be readily available to music lovers the world over. Light In The Attic are thrilled to release Beautiful Rivers And Mountains: The Psychedelic Rock Sound Of South Koreas Shin Joong Hyun 1958-1974, a career spanning compilation of the diminutive guitarist, songwriter, producer, arranger, and talent developer. Inspired by jazz, soul, and traditional Korean music, Shin started his career in the mid-1950s, performing for US troops stationed locally after the Korean War armistice of 1953. While his English language skills were limited, the young player had no trouble communicating through his trusty electric guitar, but Shin was no mere 6-string slinger for hire, he was able to communicate something far beyond your average professional musician. Production work and extensive songwriting followed, not to mention a steady stream of electrifying performances. Gaining momentum by the moment, Shin developed popular success across South Korea molding proteges like singing duo the Pearl Sisters and folk-psych songbird Kim Jung Mi into top pop stars. From there it was hit after hit. The late 1960s rock explosion and an influx of imported music from The Beatles, Jimmy Smith, and The Jefferson Airplane all informed and inspired Mr. Shin to elevate his own craft. Even experimental trips via a crew of local hippies also took the music man to new heights despite Korean law forbidding such rebellion. Drug use was illegal and punishable as a serious offence. Park Chung-hee, then President of South Korea began to closely monitor Shins subversive activities. After refusing to write a song in praise of the political leader, the musician was labeled unpatriotic and his career was instantly snuffed-out through a series of surveillance, torture, and institutional confinement. While this was not the end of Shins musical story, for an all-too-brief moment in Korean cultural history, Shin Joong Hyun and his talented accomplices laid down a trove of recordings that have slowly reverberated far from their native land. Beautiful Rivers And Mountains: The Psychedelic Rock Sound Of South Koreas Shin Joong Hyun 1958-1974 features Korean/English lyric translations, unseen pictures, beautiful graphic design, and extensive liner notes with Shin Joong Hyun." - Light in the Attic.

Artist: LEWIS
Title: Romantic Times
Format: CD
Label: Light In The Attic
Country: USA
Price: $17.00
"Earlier this year (2014), we released the mysterious, bewitching LAmour, a 1983 private press record thought to be the only release by one of musics true lost talents: Lewis. So lost, in fact, was Lewis, he eluded every effort to track him down. Scant details were known: just a series of possibly apocryphal stories about a sports car-driving Canadian with a model on his arm and a habit of skipping town when there were bills to be paid. Deciding that Lewis spider web-delicate songs demanded to be heard, we put the album out anyway, offering to present the due royalties to anyone who could prove they were Lewis. One sure thing was this: Lewis was a man of many names: Randall A. Wulff among them. Now we have either found another alias -- or perhaps even his real name -- on the sleeve of a completely unknown album. Sourced soon after the re-release of LAmour, Romantic Times is the 1985 follow-up to LAmour -- and its released as Lewis Baloue. The name may be slightly different, but this is absolutely our man: a familiar blond posing on the sleeve, a familiar, tortured voice pouring his heart out over languid synths and synthetic waltz beats. Remastered from a sealed, vinyl copy of the ultra-rare album, the album was discovered in the vaults of DJ and collector Kevin Sipreano Howes in Vancouver, BC. Its so rare that what is, at present, the only other known copy -- found in the same Calgary store where Aaron Levin discovered a batch of sealed copies of LAmour -- is presently soaring into quadruple digits on eBay. Even engineer Dan Lowe, credited for working on the album at Calgarys Thunder Road Studios, remembered little about the session other than that Lewis seemed to be under the influence. Yet the music is utterly captivating. The album further fleshes out the Lewis myth -- we see him pictured in that white suit with his famous white Mercedes and a private jet too; we hear him focussing more intently on matters of the heart, and appearing to unravel in the process. I felt like I was witnessing a full-blown exorcism of a phantom clad in the finest linen, writes filmmaker and historian Jack D. Fleischer in his brand new liner notes. This record went further [than LAmour]. It was a personal plea, of sorts. Something had gone wrong. Nerves were clearly exposed. It paints Lewis, then, as being more like a David Lynch character than even his debut did, exposing the darkness beneath the sheen." - Light in the Attic.

Artist: LEWIS
Title: Romantic Times
Format: LP
Label: Light In The Attic
Country: USA
Price: $23.00
"Earlier this year (2014), we released the mysterious, bewitching LAmour, a 1983 private press record thought to be the only release by one of musics true lost talents: Lewis. So lost, in fact, was Lewis, he eluded every effort to track him down. Scant details were known: just a series of possibly apocryphal stories about a sports car-driving Canadian with a model on his arm and a habit of skipping town when there were bills to be paid. Deciding that Lewis spider web-delicate songs demanded to be heard, we put the album out anyway, offering to present the due royalties to anyone who could prove they were Lewis. One sure thing was this: Lewis was a man of many names: Randall A. Wulff among them. Now we have either found another alias -- or perhaps even his real name -- on the sleeve of a completely unknown album. Sourced soon after the re-release of LAmour, Romantic Times is the 1985 follow-up to LAmour -- and its released as Lewis Baloue. The name may be slightly different, but this is absolutely our man: a familiar blond posing on the sleeve, a familiar, tortured voice pouring his heart out over languid synths and synthetic waltz beats. Remastered from a sealed, vinyl copy of the ultra-rare album, the album was discovered in the vaults of DJ and collector Kevin Sipreano Howes in Vancouver, BC. Its so rare that what is, at present, the only other known copy -- found in the same Calgary store where Aaron Levin discovered a batch of sealed copies of LAmour -- is presently soaring into quadruple digits on eBay. Even engineer Dan Lowe, credited for working on the album at Calgarys Thunder Road Studios, remembered little about the session other than that Lewis seemed to be under the influence. Yet the music is utterly captivating. The album further fleshes out the Lewis myth -- we see him pictured in that white suit with his famous white Mercedes and a private jet too; we hear him focussing more intently on matters of the heart, and appearing to unravel in the process. I felt like I was witnessing a full-blown exorcism of a phantom clad in the finest linen, writes filmmaker and historian Jack D. Fleischer in his brand new liner notes. This record went further [than LAmour]. It was a personal plea, of sorts. Something had gone wrong. Nerves were clearly exposed. It paints Lewis, then, as being more like a David Lynch character than even his debut did, exposing the darkness beneath the sheen. LP version, housed in deluxe Stoughton tip-on gatefold jacket. Includes download card." - Light in the Attic.

Artist: LIFETONES
Title: For A Reason
Format: LP
Label: Light In The Attic
Country: USA
Price: $26.00
LP version in Stoughton tip-on gatefold sleeve. "Political post-punk trio This Heat dissolved at a turbulent time in the UK. Margaret The Iron Lady Thatcher was in power, and her budget-cutting, ultra-conservative influence was felt strongly in -- among many other places -- the cultural melting pot of Brixton, South London, where This Heat had their origins. Dusting himself off after the collapse of the band in 1982, guitarist/vocalist Charles Bullen united with Julius Samuel to form Lifetones and embraced the sounds of the local West Indian community to fuse reggae flavor to the kind of propulsive, rhythmic, and experimental music made by This Heat. Deceit, This Heats 1981 album, had seen them work with David Cunningham, who had already helped mesh dub reggae with new wave pop on The Flying Lizards 1979 single, Money (Thats What I Want Want). Even so, For A Reason was a great leap, one that created a strange, unsettling mood as Bullens multi-tracked, chant-like vocals met dub beats and Krautrock-informed repetition. Where Deceit dealt with the nuclear threat, For A Reason was less reactionary, even quoting Bob Marley in its lyrics: you love the life you live, you live the life you love. Just six tracks and half an hour long, the album was recorded at Cold Storage studio and released on Bullens own Tone Of Life Records. It has become a sought-after collectors item that changes hands for hundreds of dollars a time. As a solo artist, Bullen was not prolific -- it was 15 years until, in 1998, he released Internal Clock under the name Circadian Rhythms -- but like the rest of his band, he has enjoyed a long, enriching career in unending pursuit of new sounds. Even though This Heat had no commercial success to follow up on, For A Reason was an album created with no intention of hitting the charts. Reissued on Light In The Attic, Lifetones single album retains a timeless quality and perhaps -- on tracks such as Good Side -- a futuristic sound that nobody else ever caught up to." - Light In the Attic.

Artist: NATIONAL WAKE
Title: Walk In Africa 1979-81
Format: Double LP
Label: Light In The Attic
Country: USA
Price: $29.00
"The South Africa of the late 1970s was neither the right place nor time to launch a mixed-race punk band. Yet, following the student-inspired Soweto Uprising of 1976, it was also exactly the right conditions to foster a band like NATIONAL WAKE, one formed in an underground commune, and one whose very name exists in protest at the divisive, racist apartheid regime. Never before collected together, Light In The Attic releases National Wakes full body of work as Walk In Africa 1979-81. Featured heavily in the Punk In Africa documentary, National Wake played punk, reggae and tropical funk, equally at home in the citys rock underground and the township nightclub circuit. IVAN KADEY started the band with two brothers, GARY and PUNKA KHOZA. The three were from different worlds-while Ivan was an outsider, a Jewish orphan born in the traditional Johannesburg immigrant neighborhood, Gary, Punka and their family were forcibly moved to the troubled township of Soweto under the apartheid regime. Later joined by guitarist STEVE MONI, the whole band grew up against a backdrop of township unrest, social upheaval and suburban tedium that characterized apartheid-era South Africa. National Wake released just one album, in 1981. It sold approximately 700 copies before being withdrawn under government pressure. The band subsequently disintegrated, but their influence could be traced in the racially mixed post-punk underground centered around Rockey Street in Johannesburg throughout the 1980s, their legacy transmitted through fanzines and underground cassette trading. Sadly, Gary and Punka Khoza both passed away in their 40s. Kadey now works as an architect in Los Angeles, and in 2011, re-released the bands self-titled album, but spoke about having more than 20 tracks that had never seen the light of day-until now. Vinyl housed in a deluxe gatefold tip-on jacket with 20-page book, and download card full full anthology." -Light In The Attic.

Artist: SHAGGS, THE
Title: Philosophy Of The World
Format: CD
Label: Light In The Attic
Country: USA
Price: $17.00
"In 1968, three sisters from Fremont, New Hampshire strapped on their instruments and declared themselves The Shaggs. At that moment begun a peculiar tale that would last far beyond the groups five-year run. Dot, Betty and Helen (and occasionally Rachel, the fourth sister) played in the group on the insistence of their father, Austin Wiggin Jr., who was convinced they were going to be big. Years earlier, Austins mother gave him a palm reading, predicting that her son would marry a strawberry blonde woman, that he would have two sons after his mother died, and that his daughters would form a popular music outfit. The first two became reality, so Austin was certain the third would follow suit. With pure confidence and his mothers bold prediction, Austin decided that his daughters would forgo attending the local high school in favor of home schooling interspersed with a strict regiment of instrumental and vocal practice, along with jumping jacks and sit-ups. Soon after The Shaggs would enter Fleetwood Recording studios in Revere, Massachusetts to record their sole album, Philosophy Of The World, a collection of garage rock tunes that balanced charm and discordance in equal measure. Austin would spend most of his savings not only on the session but also on the manufacturing costs to press up 1,000 copies of the album (900 of which mysteriously vanished upon completion). Throughout Philosophy Of The World simple truths are revealed through the pen of sister Dot, the songwriter of the band. The rich people want what the poor people got, just as the poor people want what the rich people got. Your parents love you. There is happiness in nearness and sadness in the farness. The album failed to fulfill Austins expectations of rock stardom, though the group remained together until their fathers death, performing frequently at the Fremont town hall and a local nursing home, no further albums were released. That might have been the end of it, until rock band NRBQ discovered a copy at a Massachusetts radio station and re-released it in 1980. Rolling Stones reviewer at the time described it as the most stunningly awful wonderful record Ive heard in ages. Nearly 50 years later, the album ranks among the most polarizing LPs of all time. Some said it was the worst thing ever made. Others felt it was one of the great long players of the 20th century. Frank Zappa famously dubbed the band better than The Beatles, while Kurt Cobain placed the album at #5 on his list of Top 50 favorite albums. Original copies of the album fetch for $10,000. Decades later and one could argue that maybe Austin was right all along. Were all here, still enthralled by the purity of The Shaggs. Liner notes by legendary musician, writer and compiler, Lenny Kaye (Patti Smith, Nuggets). Book features unseen photos and ephemera. Newly remastered." - Light in the Attic.

Artist: SHAGGS, THE
Title: Philosophy Of The World
Format: LP
Label: Light In The Attic
Country: USA
Price: $26.00
"In 1968, three sisters from Fremont, New Hampshire strapped on their instruments and declared themselves The Shaggs. At that moment begun a peculiar tale that would last far beyond the groups five-year run. Dot, Betty and Helen (and occasionally Rachel, the fourth sister) played in the group on the insistence of their father, Austin Wiggin Jr., who was convinced they were going to be big. Years earlier, Austins mother gave him a palm reading, predicting that her son would marry a strawberry blonde woman, that he would have two sons after his mother died, and that his daughters would form a popular music outfit. The first two became reality, so Austin was certain the third would follow suit. With pure confidence and his mothers bold prediction, Austin decided that his daughters would forgo attending the local high school in favor of home schooling interspersed with a strict regiment of instrumental and vocal practice, along with jumping jacks and sit-ups. Soon after The Shaggs would enter Fleetwood Recording studios in Revere, Massachusetts to record their sole album, Philosophy Of The World, a collection of garage rock tunes that balanced charm and discordance in equal measure. Austin would spend most of his savings not only on the session but also on the manufacturing costs to press up 1,000 copies of the album (900 of which mysteriously vanished upon completion). Throughout Philosophy Of The World simple truths are revealed through the pen of sister Dot, the songwriter of the band. The rich people want what the poor people got, just as the poor people want what the rich people got. Your parents love you. There is happiness in nearness and sadness in the farness. The album failed to fulfill Austins expectations of rock stardom, though the group remained together until their fathers death, performing frequently at the Fremont town hall and a local nursing home, no further albums were released. That might have been the end of it, until rock band NRBQ discovered a copy at a Massachusetts radio station and re-released it in 1980. Rolling Stones reviewer at the time described it as the most stunningly awful wonderful record Ive heard in ages. Nearly 50 years later, the album ranks among the most polarizing LPs of all time. Some said it was the worst thing ever made. Others felt it was one of the great long players of the 20th century. Frank Zappa famously dubbed the band better than The Beatles, while Kurt Cobain placed the album at #5 on his list of Top 50 favorite albums. Original copies of the album fetch for $10,000. Decades later and one could argue that maybe Austin was right all along. Were all here, still enthralled by the purity of The Shaggs. Liner notes by legendary musician, writer and compiler, Lenny Kaye (Patti Smith, Nuggets). Book features unseen photos and ephemera. Artwork restored and expanded to a gatefold jacket. Newly remastered." - Light in the Attic.

Artist: V/A
Title: (The Microcosm): Visionary Music of Continental Europe, 1970-1986
Format: Triple LP Box Set
Label: Light In The Attic
Country: USA
Price: $54.00
Deluxe Stoughton "tip-on" jackets and slipcase. "The follow-up to Light In The Attics game-changing I Am The Center box set is finally here. Three years in the making, The Microcosm: Visionary Music Of Continental Europe, 1970-1986 is the first major overview of key works from cosmically-taped in artists needing little introduction -- Vangelis, Ash Ra Tempel, and Popol Vuh -- and unknown masterpieces by criminally overlooked heroes like Bernard Xolotl, Robert Julian Horky and Enno Velthuys. Whereas I Am The Center called for a reconsideration of an entire maligned genre, The Microcosm requests nothing more than an open mind to consider this ambient, new age, neuzeit, prog, krautrock, cosmic, holistic stuff, whatever one calls it -- as a pulsating movement unto itself, a mirror refracting the American new age scene in unexpected, electrifying ways, proving beyond a shadow of a doubt the universality of the timeless quest to express the Ineffable through music. Drawing from major label budgets and homemade cassette distributed circumstances alike, The Microcosm demonstrates a depth of peace profound to behold, and clearly expands the boundaries. Lovingly conceived and lavishly presented by producer Douglas Mcgowan (Yoga Records) and liner notes contributor Jason Patrick Woodbury (Pitchfork, Aquarium Drunkard), The Microcosm features stunning cover paintings by astronomer/entomologist Étienne Trouvelot, and labels by Finnish savant Aleksanda Ionowa. Remastered audio, including a previously unreleased track and several others previously cassette only." - Light In the Attic.

Artist: V/A
Title: I Am the Center: Private Issue New Age in America, 1950-1990
Format: Triple LP Box Set
Label: Light In The Attic
Country: USA
Price: $45.00
"Triple LP version housed in slip case with three tip-on jackets, 20-page book, and download card. Notes by Douglas McGowan featuring interviews with artists and includes rare archive photos. Vinyl cut by John Golden. Pressed at RTI. Remastered from original sources at 24 bit/96 kHz. Forget everything you know, or think you know, about new age, a genre that has become one of the defining musical-archaeological explorations of the past decade. I Am the Center: Private Issue New Age In America, 1950-1990 is the first major anthology to survey the golden age of new age and reveal the unbelievable truth about the genre. For new age, at its best, is a reverberation of psychedelic music, and great by any standard. This is analog, handmade music communicating soul and spirit, often done on limited means and without commercial potential, self-published and self-distributed. Before it became big business and devolved into the spaced out elevator music we know and loathe today, this was the real thing. From mathematical musical algorithms to airport murder mysteries to Henry Mancini and Bugs Bunny, the connections to mainstream culture run in curious directions. (Did you know, for instance, that a track from the first modern private press new age album is featured on the Blade Runner soundtrack? Its called Pompeii, 76 A.D. and weve got it here.) I Am the Center is a knowing, but never cynical overview that invites listeners at last to the mainspring of a misunderstood genres greatest lights. Many of the biggest names are present -- Iasos, inter-dimentional channeler of paradise music; Laraaji, discovered by Brian Eno playing for spare change in Washington Square Park; and the recently famous JD Emmanuel, icon to a new generation of drone, ambient, noise musicians. Call it what you will -- before it was anything else, it was new age. Lovingly conceived and lavishly presented, I Am the Center features stunning paintings by the legendary visual artist Gilbert Williams, and liner notes by producer Douglas McGowan, who weaves the words and images of the wizards and sorceresses of new age into a prismatic portrait of music that can finally be recognized for what it is: great American folk art." -Light In The Attic.

Artist: V/A
Title: Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985
Format: Double CD
Label: Light In The Attic
Country: USA
Price: $22.00
"Largely unheard, criminally undocumented, but at their core, utterly revolutionary, the recordings of the diverse North American Aboriginal community will finally take their rightful place in our collective history in the form of Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985. An anthology of music that was once near-extinct and off-the-grid is now available for all to hear, in what is, without a doubt, Light In The Attics most ambitious and historically significant project in the labels 12-year journey. Native North America (Vol. 1) features music from the Indigenous peoples of Canada and the northern United States, recorded in the turbulent decades between 1966 to 1985. It represents the fusion of shifting global popular culture and a reawakening of Aboriginal spirituality and expression. The majority of this material has been widely unavailable for decades, hindered by lack of distribution or industry support and by limited mass media coverage, until now. Youll hear Arctic garage rock from the Nunavik region of northern Quebec, melancholy Yupik folk from Alaska, and hushed country blues from the Wagmatcook First Nation reserve in Nova Scotia. Youll hear echoes of Neil Young, Velvet Underground, Leonard Cohen, Creedence Clearwater Revival, Johnny Cash, and more among the songs, but injected with Native consciousness, storytelling, poetry, history, and ceremony. The stories behind the music presented onNative North America (Vol. 1) range from standard rock-and-roll dreams to transcendental epiphanies. They have been collected with love and respect by Vancouver-based record archaeologist and curator Kevin Sipreano Howes in a 15-year quest to unearth the history that falls between the notes of this unique music. Tirelessly, Howes scoured obscure, remote areas for the original vinyl recordings and the artists who made them, going so far as to send messages in Inuktitut over community radio airwaves in hopes that these lost cultural heroes would resurface. Considering the financially motivated destruction of our environment, the conservative political landscape, and corporate bottom-line dominance, its bittersweet to report that the revolutionary songs featured on Native North America hold as much meaning today as when they were originally recorded. 34 tracks newly re-mastered. Deluxe 2xCD set features a hard-cover 120 page book with comprehensive liner notes, artist interviews, unseen archival photos, and lyrics (with translations)." - Light In The Attic.

Artist: V/A
Title: Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985
Format: Triple LP Box Set
Label: Light In The Attic
Country: USA
Price: $48.00
"Includes 60 page book with comprehensive liner notes, artist interviews, unseen archival photos, and lyrics (with translations), housed in a Tip-On slip case with three Tip-On jackets. Largely unheard, criminally undocumented, but at their core, utterly revolutionary, the recordings of the diverse North American Aboriginal community will finally take their rightful place in our collective history in the form of Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985. An anthology of music that was once near-extinct and off-the-grid is now available for all to hear, in what is, without a doubt, Light In The Attics most ambitious and historically significant project in the labels 12-year journey. Native North America (Vol. 1) features music from the Indigenous peoples of Canada and the northern United States, recorded in the turbulent decades between 1966 to 1985. It represents the fusion of shifting global popular culture and a reawakening of Aboriginal spirituality and expression. The majority of this material has been widely unavailable for decades, hindered by lack of distribution or industry support and by limited mass media coverage, until now. Youll hear Arctic garage rock from the Nunavik region of northern Quebec, melancholy Yupik folk from Alaska, and hushed country blues from the Wagmatcook First Nation reserve in Nova Scotia. Youll hear echoes of Neil Young, Velvet Underground, Leonard Cohen, Creedence Clearwater Revival, Johnny Cash, and more among the songs, but injected with Native consciousness, storytelling, poetry, history, and ceremony. The stories behind the music presented on Native North America (Vol. 1) range from standard rock-and-roll dreams to transcendental epiphanies. They have been collected with love and respect by Vancouver-based record archaeologist and curator Kevin Sipreano Howes in a 15-year quest to unearth the history that falls between the notes of this unique music. Tirelessly, Howes scoured obscure, remote areas for the original vinyl recordings and the artists who made them, going so far as to send messages in Inuktitut over community radio airwaves in hopes that these lost cultural heroes would resurface. Considering the financially motivated destruction of our environment, the conservative political landscape, and corporate bottom-line dominance, its bittersweet to report that the revolutionary songs featured on Native North America hold as much meaning today as when they were originally recorded." - Light In The Attic.
SOLD OUT

Artist: WALKER, PETER
Title: Second Poem to Karmela or Gypsies Are Important
Format: LP
Label: Light In The Attic
Country: USA
Price: $22.00
"Originally released in 1968 on Vanguard Records, Peter Walkers album Second Poem to Karmela or Gypsies Are Important was a ground breaking blend of folk, raga, psychedelia, and Eastern and modal sounds that has remained unsung for decades. While his debut album for Vanguard, Rainy Day Raga, has been reissued several times on LP and CD, this album (his sophomore effort), remains an obscure and hard to find vinyl relic. Until now. Carefully re-mastered from the original tapes, guitar scholar Glenn Jones recently interviewed Peter Walker for hours and has written a book-deep essay for the CD and LP liner notes that detail Walkers association with an incredible cross-section of 1960s counter-culture icons including LSD guru Timothy Leary (Walker personally provided the soundtrack to many a trip), he studied raga music with Ali Akbar Khan, and like his close friend Sandy Bull, Walker worked on a fusion of Western and Eastern sounds. Jim Pepper plays flute on Second Poem (he also recorded with The Fugs and Don Cherry), other accompaniment to Walkers guitar, sarod and sitar playing includes violin, organ, tablas, and tamboura. This is true acid folk as interesting, progressive, and memorable as fellow 1960s world travelers Robbie Basho, Davy Graham, and the Incredible String Band. Remastered from the original stereo ¼" tapes. Housed in a gatefold tip-on jacket with liner notes." - Light In The Attic.

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