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Light In The Attic’s Japan Archival Series continues with Sachiko Kanenobu’s Misoraa timeless classic of intricate finger-picking, gently soaring melodies and rustic Laurel Canyon mysticism, produced by Haruomi Hosono and originally released in 1972 on URC (Underground Record Club), one of Japan’s first independent record labels. One of the most beloved works to come out of Japan’s 1960s-70s folk and rock scene, Light In The Attic’s forthcoming reissue marks the first time that Misora will be available physically in the United States.

Available July 12th, the LP and CD packages contain brand new liner notes, made in full cooperation with the artist. Online Deluxe LP Edition (available exclusively through LightInTheAttic.net) is pressed on “Misora Blue” vinyl and includes an 8×10 photo (limited to 250) signed by Kanenobu. Indie Retail Exclusive LP edition is pressed on “Kagero Gold” vinyl.

Light In The Attic Online Exclusive “Misora Blue” Bundle (with signed photo)



  1. Misora (Look Up, The Sky Is Beautiful)
  2. Anata Kara Toku E (Far Away From You)
  3. Kagero (The Heat Wave)
  4. Toki Ni Makasete (Leave It To Time)
  5. Sora Wa Fukigen (Moody Sky)
  6. Omae No Hoshii No Wa Nani (What Do You Really Want?)
  7. Aoi Sakana (Blue Fish)
  8. Yuki Ga Fureba (I Wish It Would Snow)
  9. Michi Yuki (Running Away On A Road Of Snow)
  10. Hayabusa To Watashi (Falcon And I)
  11. Haru Ichiban No Kaze Wa Hageshiku (The First Strong Winds Of Spring)

More about Sachiko Kanenobu:

Often regarded as Japan’s first female singer-songwriter, Kanenobu created an enduring legacy with Misora, which remains one of the most beloved works to come out of Japan’s 1960s-70s folk and rock scenes. Two of Kanenobu’s songs – one as part of the group Gu, another taken from Misora – were featured in Light In The Attic’s acclaimed 2017 compilation Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973.

Born and raised in Osaka in a large, music-loving family, Kanenobu picked up the guitar as a teen just as the “college folk” boom swept through university campuses in the Kansai area in the mid-60s. The Pete Seeger and American folk-leaning scene didn’t appeal much to her; however, she instead gravitated towards the British sounds of Donovan and Pentangle, teaching herself guitar techniques by listening to their music. Kanenobu made her songwriting and recording debut as part of Himitsu Kessha Marumaru Kyodan, whose sole single was released on URC in 1969. After years of being pushed aside by the label in favor of newer male artists who were more “folky” in a traditional sense, it was her friendship with the groundbreaking band and labelmate Happy End that ultimately helped her secure the opportunity to record a solo album. With Hosono on board as producer, Kanenobu spent seven days recording the songs that would become Misora, with most songs recorded in a single take.

By the time Misora released in September 1972, Kanenobu had left for America, eager to start a new life with Paul Williams, a music writer who had founded Crawdaddy Magazine in 1966. Without the artist to promote it, “Misora was asleep for a long time,” she said. Meanwhile Kanenobu settled near Sonoma in Northern California, retiring from music and concentrating on raising her two children. It wasn’t until Philip K. Dick, the famed writer and family friend, heard Misora and encouraged her to get back into music, that Kanenobu felt the urge to pick up the guitar again. Soon new songs started flowing, and Dick helped finance a single for Kanenobu in 1981. He was committed to producing a full length when he died unexpectedly in 1982.

While Kanenobu enjoyed success (especially in Germany) with her hard-hitting group Culture Shock in the 1980s, and continued to release albums in America and in Japan in the 1990s, it’s Misora that keeps coming back to her. Every few years a new generation of fans discover the album. Devendra Banhart, Jim O’Rourke, Steve Gunn, and many others continue to tout its greatness.

Kanenobu played a series of sold-out homecoming shows in Japan in 2018, playing Misora in its entirety. Surviving members of Happy End, with Hosono on bass, came out to support, some even playing in her backing band. Audience members included old and young, some young enough to be her grandchildren. “I love it,” she said. “They love Misora, they’ve heard it so many times. And here it rose from death…because for them, they can’t believe it—she’s still alive!”

Kanenobu will play a series of live concerts in support of the release and her current projects. For the NY dates she will be backed by Steve Gunn and his band along with James McNew from Yo La Tengo on bass. Confirmed dates below:

Tour Dates: 

New York, NY:
Friday, June 7
NYC Union Pool
w/Joshua Abrams Natural Information Society

 Saturday, June 8
SummerStage in Central Park
w/ Parquet Courts 

Los Angeles, CA:
Thursday, June 20
w/ Mia Doi Todd

More dates TBA

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