Lots of times we’re coming into something that’s 30, 40 or 50 years old and you knock on someone’s door and they say, “Where have you been for the last 50 years?” Or they might not want to revisit the project and pull those ghosts out of the closet again. Or the artist could own the rights and he or she is a little hesitant because they don’t know us at all. You could be trying to work with a record label in, say, South Korea or Brazil that’s now defunct. Once we find a project that we’re excited about - and that often comes from our great network of friends and contacts in the music world - the next big challenge is licensing, which could take a day or 10 years to figure out. But even before that, finding something that we are all very passionate about, that we think we can get back out into the world in a meaningful way, takes time. There are so many elements to it but the key ones have to do with licensing. But there’s something about these records that’s timeless.įor those that don’t know, what is the process like to put out a reissue? It’s human nature - our attention spans are limited. So, I think I have a love for these old recordings and the artists who didn’t get their due.

I’ve always been a sucker for rooting for the underdog whenever and wherever it might be. Your tastes are always changing and evolving, so finding new bands to love, regardless of era or genre, is very exciting. All of us at Light In The Attic love music and we love the discovery aspect of it. Why do you like to bring sounds and old recordings back to life?īeing a music lover is a constant journey. I have a lot of love for the album format these days, too. I really like the vinyl experience, it’s something that asks for your attention. Getting older and having kids, combined with the media oversaturation we all experience, I think I have more of an appreciation for the quiet times I get with music. How has your appreciation of music changed over the last 20 years? As a result, we wanted to catch up with Sullivan to get a sense of what it takes to reissue an album, how his experiences have shaped his appreciation of music, and why he likes to bring sounds back to life. And this year, Light in the Attic has another great catalog of music they’re releasing into the world. Light in the Attic, which started in Fremont but now has offices in L.A., was also responsible for reissuing the music of famed rock ‘n’ roll artist, Sixto Rodriguez, the star in the now infamous film, Searching for Sugar Man. Since then, he’s rereleased unknown, under-appreciated, and utterly fantastic music - like that of The Last Poets, Digable Planets, and countless others. Also, how Boomtown can come together as a city to help a neighbor, many of whom have lived far too long without answers.Matt Sullivan founded his company, Light In The Attic Records, in 2002 in Seattle.

Let's show the true crime world how the fourth largest city in the US deals with crime and violence. See H-Town in a new light, a light inclusive to every victim in Houston, no matter the sex, race, or income. No stranger to crime, Houston has thousands of stories to tell, from unsolved murder mysteries to current missing persons cases. Explore the city's diverse and eclectic culture while examining the darker stories that weave the downtown streets and flow out down the bayous. In Episode 8, take a journey down 'The Alley' and hear about the women who made it all possible, and the possibility they're still helping the show go on to this day.įor photos and more: Murder City: True Crime of Houston, TexasĪ bi-weekly true crime podcast focused exclusively on murdered and missing persons cases out of the Houston Metro area. Unfortunately, the award-winning theatre company would suffer two great losses within two years.

Already having made her mark on The Alley Theatre, she was ready to push the theatre company forward and, maybe, find the next big star. She had big shoes to fill after the death of Nina Vance, and she wasn't taking that lightly.

Iris Siff was a force to be reckoned with.

Siff 2018 and then there was light