Фирма Light In The Attic

Her 1974 sophomore album They Say I'm Different features a worthy-of-framing futuristic cover challenging David Bowie's science fiction funk with real rocking soul-fire, kicked off with the savagely sexual Shoo-B-Doop and Cop Him (later sampled by Ice Cub Record Label: Light In The A. Style: Funk/Soul

Betty Davis was riding high in the 70s. A new record label, a series of high profile relationships, and intensely sexualized live performances made her a rising star. It seemed like everything was aligned to take the music world by storm. So Betty and ban Style: Soul/Jazz

Betty Davis was a musical maverick with vision. Image, substance, sex, and grit combined with a badass band that could deliver the funk bed backbone to the sultry music between the sheets. After cutting two notorious discs for the Just Sunshine label (Bet Style: Soul/Jazz

Gorgeously remastered from the original master tapes! CD contains 3 previously unreleased tracks PLUS 3 rarities. Both CD and LP feature new liner notes by Byron Coley and unseen rare archive photos, gig flyers and more ++++ Style: Rock/Pop

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 60's/early 70's. For those unfamiliar with Ch Style: Rock

Style: Indie Rock

Style: Pop

In the vast netherworld of soul there are countless characters that reside on the fringe, their significant contributions to American music history long forgotten. Born in Memphis, Tennessee, tenor saxophone player and bandleader Charles Packy Axton is ye Style: Soul/Funk

The definitive Black Power aural document * Release coincides with 200 page coffee table book (on Fantagraphics) of words and photos. First ever CD release of Bob Dylan's 1971 "George Jackson" single, CD debut of many rare & essential late 60's- early 70's African-American protest songs & recordings* Double LP housed in gatefold "tip-on" jacket / CD housed in digipak + 36 page booklet. Over a five year period in Oakland, CA - archivist Pat Thomas befriended key leaders of the seminal Black Power Movement, dug through Huey Newton's archives at Stanford University, spent countless hours and thousands of dollars on eBay, and talked to rank and file Black Panther Party members, uncovering dozens of obscure albums, singles, and stray tapes. Along the way, he began to piece together a time period (1967-1974) when revolutionaries were seen as pop culture icons: Bobby Seale, Eldridge Cleaver, Angela Davis, Stokely Carmichael - and musicians were seen as revolutionaries; Gil Scott-Heron, The Last Poets, Bob Dylan, John Lennon and others. As a result, Thomas wrote a 70,000-word hardcover book entitled Listen, Whitey! The Sounds of Black Power - to be published by Fantagraphics in early 2012 - which also includes some 200 full color images of obscure recordings that encompass rock, soul, jazz, comedy, poetry, and even religious sermons blended with Black Nationalism. Light In The Attic Records presents the companion 'Soundtrack' to the book. For the time first ever, Black and White artists share space on a definitive anthology of the Black Power era. Listen, Whitey! is cross-cultural overview that sees Bob Dylan's out of print 1971 single "George Jackson" reissued for the first time along with several selections from Motown's long forgotten 'Black Forum' label - Motown's early 70's Black Power militant imprint that has never been documented until now with provocative recordings from SNCC spokesman Stokely Carmichael, outspoken African-American poet Amiri Baraka, and Black Panther Party singer/songwriter Elaine Brown. Intensive hours of research led to a 16-track anthology that not only brings together Dylan and Lennon on the same compilation for the first time (via John & Yoko's 1972 song about Angela Davis), but presents the diversity of the Black Power Movement like never before. Despite their common goal of freedom and respect, many of these activists didn't necessarily speak for or to each other. Eldridge Cleaver was living in exile in Algiers in 1970 when LSD guru Timothy Leary showed up seeking asylum. Weeks later, Leary was placed under 'house arrest' by Cleaver and that moment is presented here. The Last Poets quickly splintered into several factions not long after their debut and several recordings capture that tumultuous period. Comedian Dick Gregory was as into mocking the establishment as he was trying to make people laugh and his monologue reflects a time when 'entertainment' needed to be political to be relevant. There were regional private press 7 inch singles from the likes of the Shahid Quintet, and the Black Panther's own band The Lumpen. Gene McDaniels' Outlaw album has long been a cult favorite, and is represented by a 1970 live version of "Silent Majority." No Black Power anthology would be complete without Gil Scott-Heron featured on a rare 1970's solo piano take of "Winter in America." The international significance of the times is reflected with a live 1969 recording of English folk singer Roy Harper's "I Hate The White Man." No less of an expert than New York based journalist Greg Tate recently remarked when glancing at the Listen, Whitey! book from which this compilation is gleaned; "Look out newjacks, post-blacks and radical rookies - this Molotov romancing family album is about to grab your mama.'' Style: Soul/Funk

Limited edition hand-numbered 2xLPs (housed in old-style tip on gatefold jacket) +++ Lovingly remastered from the original multi-track studio tapes +++ Includes liner notes and original artwork from The Cool Aid House +++ At the end of the 1960's, there was a house in Vancouver that was a home solely for Hippies and homeless youth; it was known to locals as "the Cool Aid House." When the Canadian government withdrew funding in 1970, the house was in danger of closing. All of the top bands in the Vancouver area offered to record songs for a benefit album-and since the local music scene produced some of the best bands in Canada, the album that resulted was stunning; it has long been a much sought-after collector's item. What no one knew until recently was that the original "Cool Aid Benefit Album" was intended as a two-record set: contractual problems with Capitol Records forced Cool Aid House founder John Walsch to drop tracks by Mother Tucker's Yellow Duck-tracks that are now restored to this package. Other cuts include the strange proto-electronic burbles of Mock Duck (quite unlike almost everything else they ever recorded) on 'As the Bullet Enters Anton' and 'Pointillistic Scherzo'; the vicious snarl of Black Snake's 'Carousel,' and the strange Spalding Grey-ish acoustic song/poem 'The Planet Man.' Hydro Electric Street Car have left little behind them, but their lovely 'High Memory' sounds like a lost Grateful Dead track from their early, dreamy period. A terrific discovery! The end result of the joint efforts of Light in the Attic and Lion Productions is this deluxe 2xLP package, jam-packed with stand-out music by Vancouver's top bands of the day: Mother Tucker's Yellow Duck, Papa Bear's Medicine Show, Mock Duck, Hydro Electric Streetcar, Route Nine, Blacksnake Blues Band, Nancy, Spring, and Greydon Moore and Leo Jung. Obscure cuts available nowhere else, in a wide variety of styles: weird electronic sounds, heavy garage fuzz guitar freakouts, stoner rock, and acoustic folk Style: Psychedelic Rock

..Love: Motown's Mowest Story (1971-1973) You know the old saying, Go west, young man? Well, it's far from cliché. Over the years, some have hit the road in search of Hollywood's glitz and glamour, others, simply for warmer climes, but in the early 1970's Style: Soul/Funk

Style: Funk

Style: Funk

Style: Garage Rock

Style: Rock

Beautiful Rivers And Mountains: The Psychedelic Rock Sound Of South Korea's Shin Joong Hyun 1958-1974: Shin Joong Hyun's tale is personal, spiritual, and deep, not only reflecting the full spectrum of human emotions, but one that produced reverberating ec Style: Psychedelic Rock

Style: Soul/Funk

Style: Rock

First ever reissue on vinyl. Freshly re-mastered, this LP sounds better than the CD which was mastered two decades ago. Style: Folk

With his handlebar moustache and booming baritone, Lee Hazlewood was one of the defining stars of the late 0s. Though he's perhaps best known for his work with Nancy Sinatra (including writing mega-hit "These Boots Are Made For Walking"), Hazlewood did stunning work away from that particular glamour queen and found latter day champions in Beck, Sonic Youth, and Jarvis Cocker. Now, for Record Store Day 2012, we are kicking off our excavation of the Lee Hazlewood archives with this anthology, Singles, Nudes & Backsides, collecting the best of Lee's solo songs and duets from his LHI (Lee Hazlewood Industries) imprint. As a true legend of the great American songbook and a rebellious pioneer who left behind a lengthy trail of echo laden pop masterpieces, Lee's influence continues to reverberate today. Between 1968-71, Hazlewood not only released his finest solo work, but produced numerous artists on LHI. From acid-folk and country-rock to pop-psych and soul, LHI issued dozens of long forgotten 45s and LPs. This series will include material from LHI (re-mastered for the first time from the original analog tapes), along with Lee's output for other labels, rarities, unreleased gems, and the films of Torbjörn Axelman. See the sleeve: surrounded by nude girls, each wearing a fake moustache, Hazlewood wears a suit, ever-so-slightly awkwardly playing the role of the 0s playboy. Just like the picture, the songs present a man conflicted; he's the tender-hearted romantic, the broken-hearted loser and the rugged cowboy, all in one. It's there in the western swing of "Califia (Stone Rider)", the loneliness of "The Bed" and the bleak beauty of "If It's Monday Morning." Hazlewood's tremulous voice was made for duets (indeed, he wrote "Some Velvet Morning", one of the greatest of all time); here, Suzi Jane Hokom, Ann-Margret and Nina Lizell play counterpart to his manly tones. In the wonderful liner notes, written by British journalist Wyndham Wallace, the writer describes his friend Hazlewood as "a curmudgeonly, unpredictable sort at the best of times, as impatient with his own talent as he is with other people." The Hazlewood Wallace knew was puzzled by the growing interest in him in the last two decades of his life, which was ended by cancer at age 78. That late flurry of interest saw him perform at the Royal Festival Hall in 1999, his first ever solo performance in the UK. A natural wanderer, Lee lived a big life, fighting in the Korean War, working as a radio DJ in Phoenix, Arizona, setting up Viv Records in the §0s, working as a big-shot LA producer in the 0s, signing Phil Spector to his Trey Records label and prematurely announcing retirement in the wake of the mid-0s British invasion. He didn't: Nancy Sinatra came along, the hits started flowing and he continued producing characterful solo albums into the 0s, which saw his move to Sweden. By 2007, Hazlewood was living in Vegas, and begrudgingly enjoying that flurry of latter-day interest in his work. This landmark compilation promises to create many more converts. +++ Debut release in Light In The Attic's Lee Hazlewood reissue series +++ Cuts from essential albums like Cowboy In Sweden +++ Features duets with Suzi Jane Hokom, Ann-Margret and Nina Lizell +++ Audio re-mastered from original tapes +++ Unreleased song "I Just Learned To Run" +++ In-depth liner notes & unseen photographs +++ 50 random LP copies include a limited LHI Records patch! Style: Pop