Listen Live
Donate
 on air
Schedule

KCRW

Read & Explore

  • News
  • Entertainment
  • Food
  • Culture
  • Events

Listen

  • Live Radio
  • Music
  • Podcasts
  • Full Schedule

Information

  • About
  • Careers
  • Help / FAQ
  • Newsletters
  • Contact

Support

  • Become a Member
  • Become a VIP
  • Ways to Give
  • Shop
  • Member Perks

Become a Member

Donate to KCRW to support this cultural hub for music discovery, in-depth journalism, community storytelling, and free events. You'll become a KCRW Member and get a year of exclusive benefits.

DonateGive Monthly

Copyright 2026 KCRW. All rights reserved.

Report a Bug|Privacy Policy|Terms of Service|
Cookie Policy
|FCC Public Files

Light in the Attic’s Latest Discovery: Lewis

Years back LA’s extraordinary crate digging label Light in the Attic released the first legitimate reisssue of Rodriguez’s undeniably excellent “Cold Fact”. The strange and captivating narrative of that album…

  • Share
By Mario Cotto • Jun 24, 2014 • 1 min read

Years back LA’s extraordinary crate digging label Light in the Attic released the first legitimate reisssue of Rodriguez’s undeniably excellent “Cold Fact”.

The strange and captivating narrative of that album and it’s seemingly lost/dead creator turned into the heartbeat of one of the best, most moving music documentaries ever made, the Oscar award winning Searching for Sugar Man.

In what now seems a modus operandi for the label, they’ve unearthed another perplexing gem by a mystery man who it turns out, unlike Sixto Rodriguez, is truly, truly lost in the ether.

A mysterious figure who looks like a late 70s Soap Opera star, singer/songwriter Randall Wulff released an album under the name Lewis.

Lewis’ private press record “L’Amour”, was found in a flea market in Edmonton, Alberta and then again in a Calgary record store by friends of the label.

The album with it’s somewhat cheesy black and white photo of a shirtless, blond highlighted actor with slightly beatific blue eyes initially promises laughs but disarms with actual heartbreaking sincerity.

When filtered through the narrative of a sometime con artist who came to LA, and ran up substantial debts staying in fancy hotels, driving cool convertible cars, and dedicating tracks to supermodels…the album is the portrait of a pretender wrestling with his remorse and longing.

From beginning to end, the album is chock a block torch songs that whisper and quiver with soulful sadness that tell as much of the story as the lyrics and the limited puzzle pieces of Randall Wulff’s life in LA.

When trying to describe it, I told a friend it sounded like some “damaged indie Eric Carmen or Paul Williams” to which he replied “AOR Jandek” all of which come close but don’t quite fully encapsulate the feeling of “L’Amour”.

The smoky piano bar meets Vangelis synths in a reverby (no doubt low lit) Silver Lake studio vibes are hard to get a bead on. An excruciatingly naked window into the soul of a man, the album and it’s cover reveal everything and nothing at all.

  • https://images.ctfassets.net/2658fe8gbo8o/AvYox6VuEgcxpd20Xo9d3/769bca4fbf97bf022190f4813812c1e2/new-default.jpg?h=250

    Mario Cotto

    Host of Mario Cotto

    Music NewsBest New Music