From The Daily Swarm:
A Rational Conversation is a column by editor and writer Eric Ducker. Every week he gets on iChat or Gchat or Skype or whatever with a special guest to examine a subject that’s been on his mind.
Over the past decade, the Light in the Attic label has gained beloved status among music connoisseurs for its practice of releasing gorgeous reissues of under-loved albums from the likes of Betty Davis, Gabor Szabo, Karen Dalton, Jane Birkin, and Ray Stinnett – but 2012 has proven an especially banner year for the indie imprint. The increased interest stems from the success of the label’s two Rodriguez reissues following the acclaim of this year’s Searching for Sugar Man documentary; in addition, Light in the Attic released what might be the unexpected breakout album of the moment in Donnie & Joe Emerson’s Dreamin’ Wild, an objet trouvé masterpiece of beguiling, unwittingly experimental soft rock recorded in the ‘70s by two Washington State teenage farm boys. Dreamin’ Wild garnered massive coverage beyond the expected music-blogging frontliners, appearing everywhere from major-media outlets like The New York Times and L.A. Times to tastemaker mainstays like Pitchfork. Meanwhile, Donnie & Joe Emerson’s affecting ballad “Baby” – which could have been a Bieber smash in a different era – even turned into a minor hit via a loving cover version by Ariel Pink, who claimed that ”‘Baby’ has been a staple on just about every playlist/mixtape I’ve assembled in the past 3 years. It is nothing short of sublime.”
That momentum continues to bubble. Last month, Light in the Attic held a tenth anniversary show in Los Angeles featuring Rodriguez, Michael Chapman, and Shin Joong Hyun; on October 12, 2012, they will host a show in Seattle with nearly the same lineup, but swapping a rare Donnie & Joe Emerson appearance for Hyun. Below, Ducker and Light in the Attic founder and co-owner Matt Sullivan discuss how to best make undiscovered, sometimes forgotten music from another time relevant to today’s tastes and economy.