Light In The Attic RSD Releases


Roky Erickson Mine Mine Mind b/w Bloody Hammer 7″

* Official Record Store Day 2013 Exclusive

* Limited edition, one time, hand-numbered pressing of 4,000

* Psychedelic swirl vinyl

* Remastered from original tapes

* Fully authorized by Roky

* Exact reproduction of original sleeve with OBI card announcing upcoming reissues of the solo albums

Record Store Day is big news at LITA HQ, and not least because this year it marks the start of another brilliant, major reissue campaign. To celebrate the forthcoming release of the first three solo albums by 13th Floor Elevators man Roky Erickson, there’s a faithful reissue of the snarling Mine Mine Mind 7″, remastered from the original tapes.

Presented in an exclusive, hand-numbered edition, the single comes in an exact reproduction of the original picture sleeve and is pressed on psychedelic swirl vinyl, exactly as it should be.

Erickson was just 15 when he wrote “You’re Gonna Miss Me”, the song that epitomized the garage rock movement and inspired punks, rockers and noisemakers ever since. In another life, Erickson and his Austin-based band could have been as big as any of the ‘60s legends still making music today. But life took Erickson down a meandering path.

Indeed, he wound up writing “Mine Mine Mind” on his release from the Houston psychiatric hospital where he was institutionalized for almost a decade following a diagnosis with paranoid schizophrenia in 1968.

Erickson’s experiences in the hospital proved to be fertile inspiration for his music – on leaving, he formed the group Roky Erickson and The Aliens and channelled his experiences into the 1980 album The Evil One, from which “Mine Mine Mind”, with its disturbed lyrics about “goblins, demons and gremlins”, and B-side “Bloody Hammer”, is taken.

In the coming year, Light In The Attic will release a number of Erickson’s early solo masterworks, all expanded and lavishly packaged on CD, LP & Digital. Beginning with The Evil One, holding a lens to this unique artist beloved of Sonic Youth, Spacemen 3, Jack White and many more.

Public Image Ltd. Public Image b/w The Cowboy Song

* Official Record Store Day 2013 Exclusive

* Limited edition of 4,000, hand-numbered copies

* Exact reproduction of original fold-out newsprint sleeve

* First time available in U.S.


“I’m not the same as when I began/I will not be treated as property.”

For Record Store Day 2013, Light In The Attic is set to issue one of the 20th century’s pivotal singles: the debut UK 7” by Public Image Ltd., never before available in the U.S.

In 1976, Johnny Rotten set the agenda for punk music’s year zero with ‘Anarchy In The UK’, a song that summed up the band’s spirit, sound and attitude in one shocking package. Two years later, The Sex Pistols were in tatters, but Rotten was as unsentimental as you’d hope. He reclaimed his real name – John Lydon – and set about forming a band whose very identity kicked against the media manipulating and manipulated Pistols – his new group were Public Image Ltd.

PiL were a very distinct prospect from the Pistols, founded with a greater thought for rhythm, and with a sound that turned the page from snarling punk to a new racket informed by reggae and world music.

But that’s not to say Lydon’s new outfit lacked vitriol. ‘Public Image’ hits out against the exploitative nature of former manager Malcolm McLaren, against the notorious British tabloid press, who never gave Lydon an easy ride, and against his own Sex Pistols bandmates.

“[The Sex Pistols] never bothered to listen to what I was fucking singing, they don’t even know the words to my songs,” Lydon has said. “They never bothered to listen, it was like, ’Here’s a tune, write some words to it.’ So I did. They never questioned it. I found that offensive, it meant I was literally wasting my time, ‘cause if you ain’t working with people that are on the same level then you ain’t doing anything.”

It’s a debut single that operated as a theme song and a manifesto: “…my entrance/My own creation/My grand finale/My goodbye,” as the lyrics had it.

For this one time pressing, we are re-releasing this landmark single in an exact reproduction of its original ‘newspaper’ sleeve mocking the infamous ‘red top’ tabloids (its ‘stories’ included “The Girl Who Drove Me To Tea, by Donut’s wife Carol,” Donut being drummer Jim Walker). The B-side, “The Cowboy Song”, included here, revels in Lydon’s newfound sense of freedom that he found with bassist Jah Wobble, drummer Walker and guitarist Keith Levine. It is, essentially, the sound of four people letting loose in a studio – and to hell with the listener. They played it – twice – at their debut gig.

LITA’s exploration of Public Image’s catalog, expressly for the U.S. market, will continue later this year, with the re-release of the group’s debut album First Issue, from which ‘Public Image’ was taken, in an expanded, 2xCD and Single LP edition with various bonus material including an almost hour-long audio interview circa 1978.


Various Artists Theppabutr Productions: The Man Behind The Molam Sound 1972-75

* Official Record Store Day 2013 Exclusive

* Limited one time pressing of 2,000 copies


* 2xLP housed in an old-school gatefold tip-on jacket

* Includes 18 × 24″ foldout poster

* Includes download card with full album and two bonus tracks not available on the previous CD release

Ever travelled in time and space wearing headphones? The latest album from Light In The Attic’s on-going collaboration with Bangkok’s ZudRangMa label promises to help you do just that.

Following the celebrated Thai Funk: ZudRangMa compilations exploring Molam music from the ‘60s, ‘70s and ‘80s, it’s time for an in-depth look at one of the architects of the sound. Theppabutr Productions: The Man Behind The Molam Sound 1972-75 issues, for the first time outside of Thailand, the work of pioneering producer Theppabutr Satirodchompu, the man credited as the creator of the modern Molam sound.

Those uninitiated in Molam (or «Mor Lam”, as it’s sometimes known) should probably get acquainted with Thai Funk Volumes 1 and 2, like, right now. But as time is short, let us say it was the exciting, electric music born of the age-old folk music traditions of northeast Thailand in the latter half of the 20th century. It’s the sound of a corner of a far eastern nation carving its way through the musical shifts sweeping the west while keeping one eye on the past – and the resulting groove-laden vinyl gems sound just as fresh and dynamic today as they did decades ago.

Theppabutr’s contribution to Molam is almost immeasurable – he signed hundreds of Molam artists and recorded even more. Here, acts from his stable including Roied Petchsiam, Chanpen Sirithep and Theppabutr’s singing wife, Baneyn Rakkaen, showcase his heavy, deep and raw sound, colored by native instruments including the haunting, church organ-like khaen and the driving riffs of the phin.

Like the Thai Funk compilations, Theppabutr Productions: The Man Behind The Molam Sound 1972-75 is the result of some serious crate-digging by the ZudRangMa label’s own Maft Sai, who scours used record bins and street markets in Bangkok and beyond. Beyond the label, Sai is a DJ responsible for the Bangkok Paradise club, which brought Theppabutr back to the stage in February 2012 with his group Wong Dontri Molam Theppabutr. Thanks to Sai, the wider world is now privy to a rich seam of Thai pop, garage rock, funk, and disco from a selection of artists largely unknown outside of Southeast Asia.

A record label and shop with a strong desire to find old gems and and present them as beautiful reissues, ZudRangMa and Light In The Attic clearly share a similar ethos despite the thousands of miles separating them. In their native Thailand, ZudRangMa’s CD issues of these compilations are housed in a limited, hand-stitched soft cloth sleeve. Not to be outdone, we issued our complementary vinyl editions as epic 2xLP packages complete with gatefold sleeves, vintage album art, lovingly remastered audio and four varieties of the beautiful hand-stitched, printed and colored cloth outer sleeves.

Theppabutr Productions: The Man Behind The Molam Sound 1972-75 continues that tradition, appearing here on vinyl for the first time and issued with an old school tip-on gatefold sleeve, a download card for all tracks and a foldout poster. This compilation opens a musical door that few in the western world have peered through before. Pop on the phones and travel back to a Thai concert hall sometime in the early ‘70s – it’s time to meet the Berry Gordy of Bangkok.


Mercury Rev Deserted Songs

* Official Record Store Day 2013 Exclusive

* Re-mastered from original sources

* 180-gram LP housed in a hand-numbered gatefold “tip-on” jacket

* Limited color wax edition on white and clear vinyl

* 4-pg insert with notes by Mercury Rev’s Jonathan Donahue & Grasshopper

* Unseen photos from the “Deserter’s Songs” original photo sessions

Last year, the vinyl reissue of Mercury Rev’s cherished 1998 album, Deserter’s Songs, kicked off our new Modern Classics Recordings imprint. We couldn’t have found a more apt beginning – Deserter’s Songs has lost none of its charm in the 15 years since its release.

Out of step with the times even when it was released in 1998, Deserter’s Songs has all the hallmarks of a lost classic. Except it wasn’t lost at all – it was lauded by everyone from hip-young-thing-chasing NME to the more distanced likes of Mojo magazine. Retrospectively, Pitchfork placed it in their Top 100 albums of the 1990s.

Now, we are digging into the album’s archive with Deserted Songs, a collection of outtakes from the Deserter’s Songs sessions, all of which are new to vinyl. Knowing how we roll, this is no standard package. Pressed on 180-gram vinyl, housed in a hand-numbered, old school ‘tip-on’-style gatefold jacket, it has insert notes by Mercury Rev’s Jonathan Donahue & Grasshopper and comes with unseen photos from the original Deserter’s Songs photo sessions. The special edition of 2,000 is pressed on white and clear vinyl.

Set to be one of our official Record Store Day 2013 releases, this is a special package. But this is special music too, living in a magical, twilit netherworld somewhere between fairytale and nightmare. In these demos, offcuts and alternate and early versions of Deserter’s Songs tracks, we hear the bits in between the grooves of the original album. Where Deserter’s Songs is an album of grandiose proportions, Deserted Songs strips back to the songs’ fragile hearts.

Intended as the band’s swan song, Deserter’s Songs was made with utter abandon. That sense of freedom permeates these demos, some of which are throwaway instrumentals, some embryonic versions of iconic songs. And in hearing these tracks, we find that the seeds of Deserter’s Songs were sown many years before the album’s release – there’s a version of “Goddess On A Hiway” recorded on home cassette in 1989.

Of course, the band didn’t bow out after Deserter’s Songs. Instead, the album propelled them to a new level of fame, and the group would go on to make plenty more strange, beautiful, dreamlike music. They allowed themselves a brief pause to look back in 2011, when the album was reissued on CD with a bonus disc featuring the Deserted Songs tracks in their original, digital release. That summer, they played Deserter’s Songs in full to wowed audiences across Europe. Then they promptly stopped looking back and moved on.

But reading Grasshopper’s mystical liner notes, the album – and the tracks that became Deserted Songs – clearly hold a special place in the hearts of the band members.

“As we pulled these Deserted Songs to the surface…,” he writes, “whatever had been holding us hostage cracked and withered in the blistering power of this music, and these songs allowed us to find ourselves and lose ourselves at the same time… It is the magic of the vibrating universe; the music of the ‘Angels’.”




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