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Pacific Breeze: Japanese City Pop vol 1
Pacific Breeze: Japanese City Pop vol 2
Pacific Breeze: Japanese City Pop vol 3
(All artwork by Hiroshi Nagai)
#i love that they're making vinyl copies and cds#they're all so pretty#pacific breeze#city pop#aesthetic#vaporwave#vinyl#music#hiroshi nagai#light in the attic#amethyst archives
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Karen Dalton’s In My Own Time
#karen dalton#in my own time#light in the attic#music#folk#country#blues#pop#rock#country soul#country rock#acoustic#bandcamp
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How Could You Let Me Go — Vashti Bunyan & Devendra Banhart
#light in the attic#light in the attic records#light in the attic and friends#vashti bunyan#devendra banhart#how could you let me go#Youtube
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Good podcast about the amazing Lou Reed: Words and Music archival album that came out last year, from the label that put it out.
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Kankyō Ongaku 環境音楽 (1980-1990)
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Lou Reed - Hudson River Wind Meditations - 49 years later, the opposite of Metal Machine Music
“I first composed this music for myself as an adjunct to meditation, Tai Chi, and bodywork, and as music to play in the background of life, to replace the everyday cacophony with new and ordered sounds of an unpredictable nature. New sounds freed from preconception. …over time, friends who heard the music asked if I could make them copies. I then wrote two more pieces with the same intent: to relax the body, mind, and spirit and facilitate meditation.” - Lou Reed
Lou Reed’s final solo album, Hudson River Wind Meditations, is one of his most personal musical works, combining Reed's love of creating drone music with his passion for Tai Chi, yoga and meditation. The album's ambient soundscapes have been described as a counterpoint to his intense Metal Machine Music album—but they are similar outliers in Reed's 40+ year exploration of drone music and feedback harmonics. It's for a certain time and place of mind.
The album has been remastered by the GRAMMY®-nominated engineer John Baldwin with vinyl pressed at Record Technology Inc. (RTI). The Double LP and CD releases are designed by GRAMMY®-winning artist, Masaki Koike and feature new liner notes by renowned Yoga instructor and author, Eddie Stern, who guided Reed’s practice for years. Also included in the physical editions is a fascinating conversation between author/journalist Jonathan Cott (Rolling Stone, The New Yorker) and Reed’s wife, artist Laurie Anderson, who discusses the album, as well as her husband’s devotion to Tai Chi – one of the album’s primary inspirations.
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Pacific Breeze 3 / Various Artists
Tropical Love / Teresa Noda
#pacific breeze#light in the attic#naomi akimoto#miharu koshi#chu kosaka#makoto matsushita#susan#parachute#hiroyuki namba#pizzicato five#teresa noda
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227: Jim Sullivan // U.F.O.
U.F.O.
Jim Sullivan
1969, Monnie
Jim Sullivan’s U.F.O. has become one of the best-known private press records of the late 1960s, thanks largely to the tireless efforts of Light in the Attic’s Matt Sullivan (no relation), who by his own admission became obsessed with Jim’s music and the mystery of his 1975 disappearance in the New Mexico desert. Backed by members of the Wrecking Crew, the session aces who served as Phil Spector’s house band, U.F.O. is a fine folk rock record that at times leaps up into something more (“Highways,” “Jerome,” “Sandman”). Since Jim’s finally received the flowers that eluded him in life, I wanted to use this space to highlight six lesser-known private press folkies you might also want to explore.
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Tarp Clancy
The reclusive Clancy recorded a series of 10” EPs in the early 1960s at his rudimentary cabin studio in Muhlenberg County, the heart of Kentucky coal country. An elderly former miner who had lost most of his picking hand when a vial of nitroglycerine he was transporting ignited in his glove, Clancy homebrewed a mechanical strumming prosthesis. He would loop a cord around his neck that allowed him to cleverly control the tempo of his metal claw by moving his head and shoulder, though over time he began to suffer from nerve damage and light-headedness from the way it constricted blood flow to his brain. The EPs, recorded solo on acoustic guitar and dulcimer, have a poignant jerkiness to them that matches his lyrical obsessions with isolation, tribulation, and grisly industrial accidents. They were distributed in extremely limited quantities through ads in the local Baptist church’s circular and were forgotten until one of the discs was discovered by Brooklyn DJ Anathius Taylor at a goodwill while visiting his family home (Beechland Plantation). Clancy himself disappeared (nearly) without a trace sometime around 1970, though in 1985 a claw of his design was discovered buried under the Jefferson Davis memorial in Fairview, Kentucky during routine maintenance on the obelisk.
Key song: “Cold Fingers”
Remy “Mad Crawdad” Beauregard
Beauregard grew up in a vibrant 1920s Louisiana Cajun community and learned to play guitar from his father. His parents raised him to venerate Governor (and later Senator) Huey Long, and the day Long was assassinated was the day Remy Beauregard would say he lost his innocence. “It was like being told they killed Santa Claus,” he later wrote in his journals, “I felt all the magic and hope in the world drain from me in a matter of seconds.” Hopelessness drove the young man to street crime, joining the infamous Les Gamins gang, and he soon ran afoul of the law. A boy called Remy Beauregard went into juvie, and a violent criminal called “The Mad Crawdad” came out, albeit one with a remarkable gift for the accordion.
Remy had a few close calls with greatness: after visiting 439 Baronne a few times, and even getting to jam with the legendary George Girard, Orin Blackstone made moves to begin recording the young man. Only two recordings survive, “Where, Mother?”/ “Dandelions” and “I've Got Nine” / “Life Will Screw You,” the latter an extremely rare shellac 10" thought lost for decades. Unfortunately, another run-in with the law hampered his burgeoning musical career, as Remy bludgeoned a man to death in a drunken bar fight, spending the next six weeks in prison. While in the slammer, Remy found Jesus, and upon his release the newly sober musician recorded the Forgiveness LP. It is a desperate and cynical record, the product of a self-loathing man seeking a salvation he knows he will never achieve. His sobriety would be short-lived, and he drank himself to death in 1957 having lived a life in near-complete obscurity. His final single, released posthumously, was titled “Why Did You Leave Us, Mr. Long?”
A career-spanning compilation is set to be released by Light in the Attic records in late 2024, titled Crawdad Sings! with liner notes by Dan Auerbach of The Black Keys. — D.J.C.
Key Song: “Life Will Screw You”
Jeramie Laramy
The Vietnam War inspired some of the most powerful protest songs of the 20th century, from “Eve of Destruction” to “Napalm Sticks to Kids.” But Jeramie Laramy stood virtually alone in 1975 when he sang the words “first my mother left me / with a man called Dan / then my country abandoned the brave people / of South Vietnam.” Laramy was a Canadian who renounced his citizenship and moved to San Francisco, California in 1967 in hopes of being drafted, but due to his complicated residency situation he was deemed ineligible. Referred to in Jerry Garcia’s memoirs as “a vicious simpleton,” he nevertheless took up the guitar and began busking, with primitive yowlers like “Mr. Saigon” and “Hippy Dachau” anticipating punk rock by nearly a decade. Laramy's music won him few admirers in the burgeoning counter-culture, but he was embraced by Hells Angels-affiliate Andre “Baby” Jane, who bought him studio time he used to record 1972's Jungle Mower LP, a commercial failure. After an intense, inadvertent psychedelic experience at the Berdoo Angels' clubbouse, Laramy's music became more abstract, culminating in the geographically-confused psych-folk double A-side “Seoul Stealers” / “I Wished Upon a Machine Gun.” He disappeared in 1976.
Key song: “I Wished Upon a Machine Gun”
Liesl Eddy
Alan Lomax called Liesl Eddy “the only woman prison singer who mattered.” Mississippi Fred McDowell called her “that miserable mute bitch.” Eddy was no one’s idea of a sweetheart, but even a cursory scan of her biography makes plain why she had to be tough. Raised Liesl Edzurbriggen by stern Swiss-German Calvinist tenant farmers in dustbowl-era Kansas, her parents forbade her from speaking in the belief that the family was being spied upon by papists. As she aged into young adulthood, Eddy’s muteness brought her into frequent, violent conflict with townsfolk in the nearby community of Arkansas, and she was eventually sentenced to eight years in prison after braining a local furrier with a cast-iron skillet.
Despite suffering from Marfan syndrome, Eddy was tremendously strong, and there was concern that she was too dangerous for women’s prison. Thus, in 1934 she became the only female inmate at Georgia’s notorious Lillyfold Penitentiary, where she worked breaking rocks on a chain gang. It was in prison however that Eddy’s unusual vocal talents were discovered. Despite her continued refusal to speak, she possessed a deep, southern-accented singing voice, and it was said that she alone could drown out a 20-man gang. Certainly it’s her lungs that stand out on the Lomax-recorded album of chain gang songs and spirituals Let Us Be Released (From Her) (1937), on which the tension between Eddy and her fellow prisoners is palpable.
Following a violent brawl that saw six men injured, Eddy was moved to solitary confinement, where Lomax was able to convince prison authorities to allow her use of a cigar box guitar. Eddy’s surprisingly vulgar, raunchy country blues tunes like “Hogmeat Driver Rag” and “No’ Mo’ Cone Pone” led the blushing musicologist to suppress her recordings for decades, though due to a clerical error “Liesl’s Idyll” was included on some early pressings of Lead Belly’s Negro Sinful Songs in 1939 before the mistake was noted. Eddy’s trail goes cold after her release in 1942, but following Lomax’s death her work was rediscovered. Her catalogue was issued for the first time in 2015 as Sugah On Mah Tongue: The Silenced Sessions on Lena Dunham’s Muff Trade Records.
Key song: “Liesl’s Idyll”
Cleodora Thanks
Raised by roving bead peddlers in Michigan’s Upper Peninsula, Cleodora Thanks relocated to Greenwich Village in the late 1950s and founded a rooming house where a number of the brightest names in folk music spent time, including Bob Dylan, Dave Van Ronk, and Horace Plenty. Although her cooking was so noxious Laura Nyro was reportedly briefly hospitalized by a casserole, Thanks was regarded as a mother figure by many of her tenants. Dylan made her the subject of his unreleased song “Big Momma I Don’t Know Blues,” while Joan Baez has claimed Thanks made uncredited contributions to a number of early Joni Mitchell songs. Thanks’ own culinary-obsessed music, which joins the earthy blues of a Bessie Smith with the subtlety of Bette Midler amid hints of gypsy jazz and klezmer, was largely unknown in her time, and she vanished in 1983 on her way to a state fair near Syracuse. New York-based archivist Karl Nard of Swede Nothing Records discovered a cache of unsold LPs in the basement of Thanks’ former rooming house after his uncle purchased the property. Thanks' soon to be reissued work represents a crucial missing lunch in the story of mid-century American folk music.
Key song: “Peanut Brittle Elegie”
Jimmy Whaley the Folk-Song-Singing Crocodile
Jimmy Whaley was a crocodile that sang folk songs. Believed to be an urban legend for years until his existence was confirmed by Desmond Morris, the man who discovered an elephant who could paint and made a BBC documentary about how women don't know what bicycles look like and desire horses. As Jimmy was only able to speak English while singing, most of what we know of his life is what has been parsed from those songs that have been tentatively identified as autobiographical. He was probably born in the Nile River, before stowing away in a cargo ship in the Suez Canal and making his way to Boston, and then the Appalachians, where he lived and sang for locals with a banjo he plucked with a back claw. His life was cut short when he was tragically shot after being speciesally profiled as an alligator by a poacher in East Texas. His remains are displayed at the Stephen Foster Folk Music Center in Chattanooga, Tennessee, in the form of a handbag. An anthology of Jimmy's early work comprising several selections from the Great American Songbook, AmeriCroc, is forthcoming from Smithsonian Croakways Records. — D.J.C.
Key song: “America (My Country 'Tis of Thee)”
Prepared with the assistance of D. John Christie, Osgoode Hall Law Special Collections
#jim sullivan#'60s music#private press#'60s folk#folk#tarp clancy#cleodora thanks#liesl eddy#remy beauregard#jimmy whaley#light in the attic#jeramie laramy#vinyl record#music review#this is so stupid#the wrecking crew
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Levitation Home.
2023-04-29.
URBS
Compost Records
Maston
The Pattern Forms
Roman Angelos
Happy Robots Records
…
#architectonica#PabellónSintético#folcloreimpressionista#Broken Lamps#Beak>#paltunes#Albin#CavernOfAntiMatter#DamagedBug#E. Lundquist#theleaflabel#DomeniqueDumont#sonormusiceditions#GiulianoSorgini#thesweetenoughs#handspan#MasahiroSugaya#ata récords#vic mars#Arawak#MaxPaparella#BillyBogus#Castles In Space#Russian Library#Pizzico Records#Light In The Attic#Cyclical Dreams#Wondercore Island#King Underground#Duophonic Disks
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Hiroshi Yoshimura – Music For Nine Post Cards (1982)
https://lightintheattic.net /
#hiroshi yoshimura#japan#music for nine post cards#1982#1980s#ambient#minimal#electronic#michinori yamazaki#satoshi ashikawa#light in the attic#sound process#audio
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Old Nancy Sinatra and Lee Hazlewood video: Some Velvet Morning
Old Nancy Sinatra and Lee Hazlewood video: Some Velvet Morning
Video: Nancy Sinatra & Lee Hazlewood – “Some Velvet Morning”
From Nancy & Lee, reissue out May 20 on Light in the Attic.
This is great. Light in the Attic is reissuing Nancy & Lee on vinyl, cassette, eight-track, and compact disc with remastered audio from the original analog tapes, unseen photos from Nancy Sinatra’s personal archive, and two bonus tracks from the album sessions. They’ve also…
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Talked to Aquarium Drunkard about writing the liner notes to the Light In The Attic Records Morphine reissues, out now. Still a few tickets left for the "French Fries with Pepper"-level of Sunday's celebration of the band and Mark's birthday in Cambridge. https://bit.ly/3LcV3kG
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Betty Davis - “Crashin’ From Passion”
Pre-Order the previously unreleased album, Crashin’ From Passion by the visionary singer/songwriter Betty Davis : Out August 25th on Light In the Attic.
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”This year marks the 50th anniversary of Betty Davis’ self-titled debut — an electrifying artistic statement that launched one of modern music’s most revolutionary figures. To celebrate the visionary singer, songwriter, producer, and fashion icon’s broadly influential career, acclaimed reissue label Light in the Attic is revisiting four essential titles from The Queen of Funk’s catalog: Betty Davis (1973), They Say I’m Different (1974), Is It Love Or Desire? (recorded in 1976, released in 2009), as well as the first-ever vinyl release of Crashin’ From Passion, which captures Davis’ final 1979 sessions. All four tiles were produced in close collaboration with Davis, who sadly passed away in 2022.
Each album will be available on CD, black wax, and in a variety of exclusive color variants. All titles will be released on August 25th.
Far ahead of her time, Queen of Funk Betty Davis (1944 – 2022) defied the limits of gender, race, and genre during her all-too-short career. She innovated with her space-age blend of funk, R&B, and blues and enraptured audiences with her raw and powerful vocals – then shocked (and awed) them with her provocative, sexually liberated lyrics. Unapologetic and independent, Davis smashed glass ceilings with gusto. To count a few, she was among the first Black models to grace the covers of Seventeen and Glamour, while later, she became the first Black woman to write, produce, and arrange her own albums.
From a modern lens, the path that Davis forged can be traced clearly throughout the decades, traversed by those who pushed the needle farther and fought for equality in the industry. Many of music’s brightest stars have counted Davis as an influence, including Prince, Erykah Badu, and Janelle Monae, while rappers like Ice Cube, Method Man, and Talib Kweli have all sampled her work. In recent years, Davis has captured a new generation of fans, thanks to the use of her songs in such series as Mixed-ish, Girlboss, Pistol, and Orange Is the New Black. In 2017, she was the subject of the acclaimed documentary, Betty: They Say I’m Different. “
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L.A. virginity lost
I was fortunate enough to take my first trip to Los Angeles last month to take part in a panel discussion at 2220 Arts & Archives. The amazing folks at dublab not only helped put it together, along with the awesome Steve Lowenthal of the Black Editions Group, but archived the discussion. And the amazing dj sets from Brian Foote, Hoseh & Laura Shumate. Click on the link above and soak it all in.
My sincere thanks to Mark “Frosty” McNeill of dublab for moderating, and panelists Anna Paz Lopez of Temporary Residence,
Ryan Wilson from Light in the Attic, and my bestest pal Brian Foote of kranky and Peak Oil for sharing their insights.
#music#independent labels#chicago#kranky#music writing#dublab#los angeles#light in the attic#temporary residence#peak oil
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