{"title":"Pop","description":"\u003cp\u003eCollection of pop hits on vinyl at Light in the Attic\u003c\/p\u003e\n\u003c!----\u003e","products":[{"product_id":"philosophy-of-the-world","title":"Philosophy Of The World","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003eIn 1968, three sisters from Fremont, New Hampshire strapped on their instruments and declared themselves The Shaggs. At that moment begun a peculiar tale that would last far beyond the group’s five-year run. Dot, Betty and Helen (and occasionally Rachel, the fourth sister) played in the group on the insistence of their father, Austin Wiggin Jr., who was convinced they were going to be big. Years earlier, Austin’s mother gave him a palm reading, predicting that her son would marry a strawberry blonde woman, that he would have two sons after his mother died, and that his daughters would form a popular music outfit. The first two became reality, so Austin was certain the third would follow suit.\u003c\/p\u003e\n\u003cp\u003eWith pure confidence and his mother’s bold prediction, Austin decided that his daughters would forgo attending the local high school in favor of home schooling interspersed with a strict regiment of instrumental and vocal practice, along with jumping jacks and sit-ups. Soon after The Shaggs would enter Fleetwood Recording studios in Revere, Massachusetts to record their sole album, \u003cem\u003ePhilosophy Of The World\u003c\/em\u003e, a collection of garage rock tunes that balanced charm and discordance in equal measure. Austin would spend most of his savings not only on the session but also on the manufacturing costs to press up 1,000 copies of the album (900 of which mysteriously vanished upon completion).\u003c\/p\u003e\n\u003cp\u003eThroughout _Philosophy_… simple truths are revealed through the pen of sister Dot, the songwriter of the band. The rich people want what the poor people got, just as the poor people want what the rich people got. Your parents love you. There is happiness in nearness and sadness in the farness.\u003c\/p\u003e\n\u003cp\u003eThe album failed to fulfill Austin’s expectations of rock stardom, though the group remained together until their father’s death, performing frequently at the Fremont town hall and a local nursing home, no further albums were released. That might have been the end of it, until rock band \u003cspan class=\"caps\"\u003eNRBQ\u003c\/span\u003e discovered a copy at a Massachusetts radio station and re-released it in 1980. \u003cem\u003eRolling Stone’s\u003c\/em\u003e reviewer at the time described it as “the most stunningly awful wonderful record I’ve heard in ages”.\u003c\/p\u003e\n\u003cp\u003eNearly 50 years later, the album ranks among the most polarizing LPs of all time. Some said it was the worst thing ever made. Others felt it was one of the great long players of the 20th century. Frank Zappa famously dubbed the band “better than The Beatles”, while Kurt Cobain placed the album at #5 on his list of Top 50 favorite albums. Original copies of the album fetch for $10,000.\u003c\/p\u003e\n\u003cp\u003eDecades later and one could argue that maybe Austin was right all along. We’re all here, still enthralled by the purity of The Shaggs.\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eIn 1968, three sisters from Fremont, New Hampshire strapped on their instruments and declared themselves The Shaggs. At that moment begun a peculiar tale that would last far beyond the group’s five-year run. Dot, Betty and Helen (and occasionally Rachel, the fourth sister) played in the group on the insistence of their father, Austin Wiggin Jr., who was convinced they were going to be big. Years earlier, Austin’s mother gave him a palm reading, predicting that her son would marry a strawberry blonde woman, that he would have two sons after his mother died, and that his daughters would form a popular music outfit. The first two became reality, so Austin was certain the third would follow suit.\u003c\/p\u003e\n\u003cp\u003eWith pure confidence and his mother’s bold prediction, Austin decided that his daughters would forgo attending the local high school in favor of home schooling interspersed with a strict regiment of instrumental and vocal practice, along with jumping jacks and sit-ups. Soon after The Shaggs would enter Fleetwood Recording studios in Revere, Massachusetts to record their sole album, \u003cem\u003ePhilosophy Of The World\u003c\/em\u003e, a collection of garage rock tunes that balanced charm and discordance in equal measure. Austin would spend most of his savings not only on the session but also on the manufacturing costs to press up 1,000 copies of the album (900 of which mysteriously vanished upon completion).\u003c\/p\u003e\n\u003cp\u003eThroughout the album’s simple truths are revealed through the pen of sister Dot, the songwriter of the band. The rich people want what the poor people got, just as the poor people want what the rich people got. Your parents love you. There is happiness in nearness and sadness in the farness.\u003c\/p\u003e\n\u003cp\u003eThe album failed to fulfill Austin’s expectations of rock stardom, though the group remained together until their father’s death, performing frequently at the Fremont town hall and a local nursing home, no further albums were released. That might have been the end of it, until rock band \u003cspan class=\"caps\"\u003eNRBQ\u003c\/span\u003e discovered a copy at a Massachusetts radio station and re-released it in 1980. \u003cem\u003eRolling Stone’s\u003c\/em\u003e reviewer at the time described it as “the most stunningly awful wonderful record I’ve heard in ages”.\u003c\/p\u003e\n\u003cp\u003eNearly 50 years later, the album ranks among the most polarizing LPs of all time. Some said it was the worst thing ever made. Others felt it was one of the great long players of the 20th century. Frank Zappa famously dubbed the band “better than The Beatles”, while Kurt Cobain placed the album at #5 on his list of Top 50 favorite albums. Original copies of the album fetch for $10,000.\u003c\/p\u003e\n\u003cp\u003eDecades later and one could argue that maybe Austin was right all along. 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Featuring lyrics rife with social commentary masked by sugary yet complex harmonies and jazzy progressions, Kites Are Fun is a sunshine-bubblegum-daisy-puppy pop masterpiece that stands the test of time. Fans of the Beach Boys, the 5th Dimension and other seminal pop artists will wonder how they could’ve overlooked this 1967 gem, now admired by the likes of Beck, Madlib, and Belle \u0026amp; Sebastian.\u003c\/p\u003e\n\u003cp\u003eThe Free Design never achieved mainstream fame – an injustice that still puzzles many critics. Born out of the the Greenwich Village scene of 1966, the family act was filling New York City coffee houses with dreamy, deceptively complex harmonies when acclaimed producer Enoch Light signed the siblings – Bruce, Chris, and Sandy Dedrick – to his Project 3 label. One year later, The Free Design debuted with Kites Are Fun. 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The name may be slightly different, but this is absolutely our man: a familiar blond posing on the sleeve, a familiar, tortured voice pouring his heart out over languid synths and synthetic waltz beats.\u003c\/p\u003e[[Release Description]]\u003cp\u003eEarlier this year, we released the mysterious, bewitching \u003cem\u003eL’Amour\u003c\/em\u003e, a 1983 private press record thought to be the only release by one of music’s true lost talents: Lewis.\u003c\/p\u003e\n\u003cp\u003eSo lost, in fact, was Lewis, he eluded every effort to track him down. Scant details were known: just a series of possibly apocryphal stories about a sports car-driving Canadian with a model on his arm and a habit of skipping town when there were bills to be paid.\u003c\/p\u003e\n\u003cp\u003eDeciding that Lewis’ spider web-delicate songs demanded to be heard, we put the album out anyway, offering to present the due royalties to anyone who could prove they were Lewis.\u003c\/p\u003e\n\u003cp\u003eOne sure thing was this: Lewis was a man of many names: Randall A. Wulff among them. Now we have either found another alias – or perhaps even his real name – on the sleeve of a completely unknown album.\u003c\/p\u003e\n\u003cp\u003eSourced soon after the re-release of \u003cem\u003eL’Amour\u003c\/em\u003e, \u003cem\u003eRomantic Times\u003c\/em\u003e is the 1985 follow-up to \u003cem\u003eL’Amour\u003c\/em\u003e – and it’s released as Lewis Baloue. The name may be slightly different, but this is absolutely our man: a familiar blond posing on the sleeve, a familiar, tortured voice pouring his heart out over languid synths and synthetic waltz beats.\u003c\/p\u003e\n\u003cp\u003eRemastered from a sealed, vinyl copy of the ultra-rare album, the album was discovered in the vaults of DJ and collector Kevin “Sipreano” Howes in Vancouver, BC. It’s so rare that what is, at present, the only other known copy – found in the same Calgary store where Aaron Levin discovered a batch of sealed copies of \u003cem\u003eL’Amour\u003c\/em\u003e – is presently soaring into quadruple digits on eBay.\u003c\/p\u003e\n\u003cp\u003eEven engineer Dan Lowe, credited for working on the album at Calgary’s Thunder Road Studios, remembered little about the session other than that Lewis seemed to be “under the influence”. Yet the music is utterly captivating.\u003c\/p\u003e\n\u003cp\u003eThe album further fleshes out the Lewis myth – we see him pictured in that white suit with his famous white Mercedes and a private jet too; we hear him focussing more intently on matters of the heart, and appearing to unravel in the process. “I felt like I was witnessing a full-blown exorcism of a phantom clad in the finest linen,” writes filmmaker and historian Jack D. Fleischer in his brand new liner notes. “This record went further [than \u003cem\u003eL’Amour\u003c\/em\u003e ].  It was a personal plea, of sorts.  Something had gone wrong.  Nerves were clearly exposed.”\u003c\/p\u003e\n\u003cp\u003eIt paints Lewis, then, as being more like a David Lynch character than even his debut did, exposing the darkness beneath the sheen. The album is presently being readied for release to the throng of new fans Lewis has found, willingly or not. The man himself remains a total enigma.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eFirst ever LP reissue, first time on CD \u0026amp; Digital\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\t\u003cli\u003eAll tracks newly re-mastered\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\t\u003cli\u003eLP housed in deluxe Stoughton “Tip-On” gatefold jacket\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\t\u003cli\u003eLiner notes by Jack D. Fleischer\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\t\u003cli\u003eAll CD \u0026amp; LP Pre-orders include immediate MP3 download of the full album\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\t\u003cli\u003eLP includes download card for MP3 of the full album\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]LITA123LP[[Artist]]Lewis","brand":"Light in the Attic","offers":[{"title":"Romantic Times \/ Lewis Baloue - MP3\/320 \/ album \/ MP3\/320","offer_id":32230291996751,"sku":"82R\/MP3","price":7.99,"currency_code":"USD","in_stock":true},{"title":"Romantic Times \/ Lewis Baloue - FLAC \/ album \/ FLAC","offer_id":32230292029519,"sku":"82R\/FLAC","price":7.99,"currency_code":"USD","in_stock":true},{"title":"Romantic Times \/ Lewis Baloue - WAV \/ album \/ WAV","offer_id":32230292062287,"sku":"82R\/WAV","price":7.99,"currency_code":"USD","in_stock":true},{"title":"Romantic Times \/ Lewis Baloue - WAV-HD \/ album \/ WAV-HD","offer_id":32230292095055,"sku":"82R\/WAVHD","price":7.99,"currency_code":"USD","in_stock":true},{"title":"Romantic Times \/ Vinyl \/ LP Black","offer_id":32236501532751,"sku":"LITA123LP","price":19.0,"currency_code":"USD","in_stock":true},{"title":"Romantic Times \/ CD \/ CD","offer_id":32237410877519,"sku":"LITA123CD","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1406152015683-jew377kb0fqolxr-766a9de7996a26c7317bec5c7209497b_2FAlbum_2BCover.jpg?v=1696119833"},{"product_id":"a-house-safe-for-tigers-soundtrack","title":"A House Safe For Tigers","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003eLight In The Attic’s Lee Hazlewood Archive Series continues with the first time reissue of one of Hazlewood’s greatest yet largely unknown albums, \u003cem\u003eA House Safe For Tigers\u003c\/em\u003e. Never before available outside of an ultra-limited Swedish pressing in 1975, \u003cem\u003eTigers\u003c\/em\u003e is part reality, part fantasy and perhaps the most revealing portrait ever made by Lee Hazlewood. From the sweeping orchestrations of ‘Souls Island’ – arguably the\u003cbr\u003emost dramatic recording of his career, a memorable, bucolic counterpart to the psychedelic\u003cbr\u003eshowmanship of ‘Some Velvet Morning’ to the country-funk vibe of ‘Sand Hill Anna and the Russian Mouse,’ \u003cem\u003eA House Safe For Tigers\u003c\/em\u003e is a true masterwork in the same league as \u003cem\u003eCowboy In Sweden\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"325\" height=\"183\" src=\"https:\/\/www.youtube.com\/embed\/fNXIdT_gFQk?rel=0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"325\" height=\"183\" src=\"https:\/\/www.youtube.com\/embed\/xdrCA5rBsIw?rel=0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA House Safe For Tigers\u003c\/em\u003e is the soundtrack to one of the seven TV movies Lee Hazlewood made with the director Torbjörn Axelman during his period living in Sweden in the early 1970s. Hazlewood had moved there to lay low and to help his son avoid the draft, but wound up finding happiness and creative freedom. Many of the albums recorded in Sweden made their way no further than Scandinavia, but of them all, \u003cem\u003eA House Safe For Tigers\u003c\/em\u003e is the holy grail for collectors, often changing hands for hundreds of dollars.\u003c\/p\u003e\n\u003cp\u003eOriginally only available in Sweden, this marks the first time \u003cem\u003eTigers\u003c\/em\u003e has been reissued and available the world over. The movie was a “semi-documentary” featuring Hazlewood and his friend Axelman, looking back to childhood and contemplating the meaning of life. In it, Hazlewood runs a marathon, tells anecdotes about a bum who cured his stutter and convinces a group of Swedish children to take sides against Richard Nixon. “It’s strange, very strange,” Hazlewood said, “But we meant it to be strange.”\u003c\/p\u003e\n\u003cp\u003eIt’s not necessary to see \u003cem\u003eA House Safe For Tigers\u003c\/em\u003e to enjoy the soundtrack, of course. Despite the fact that it was never released outside of Sweden, the music’s hallowed reputation – cultivated in the intervening decades by the privileged few who were able to hear it – is testament to the strength of its material.\u003c\/p\u003e\n\u003cp\u003eThe album finds Hazlewood contentedly immersing himself in Swedish life, serenading Gotland, the island Hazlewood fell in love with during the shooting of the television movie \u003cem\u003eCowboy in Sweden\u003c\/em\u003e and where he spent time filming \u003cem\u003eTigers\u003c\/em\u003e. Highlights include “The Nights,” in which Lee conjures up an epic tale of love and genocide that draws on his Native American blood running, “Our Little Boy Blue,” a magical, sleepy lullaby, and the two versions of the stirring, cinematic “Souls Island” frame the album; within them is held the blueprint for Richard Hawley’s solo career.\u003c\/p\u003e\n\u003cp\u003eBefore he died, Hazlewood and Axelman talked about the soundtrack \u003cem\u003eA House Safe For Tigers\u003c\/em\u003e, and whether it would ever be released again. “I don’t know if anybody would be interested,” Lee said. “Maybe perhaps they are. Sometimes we have to wait 30 years to be discovered.”\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFirst ever reissue\u003c\/li\u003e\n\u003cli\u003eRe-mastered from original master tapes\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA087CD[[Artist]]Lee Hazlewood\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"A House Safe For Tigers Soundtrack \/ Lee Hazlewood - MP3\/320 \/ album \/ MP3\/320","offer_id":32230302089295,"sku":"61R\/MP3","price":9.99,"currency_code":"USD","in_stock":true},{"title":"A House Safe For Tigers Soundtrack \/ Lee Hazlewood - FLAC \/ album \/ FLAC","offer_id":32230302122063,"sku":"61R\/FLAC","price":9.99,"currency_code":"USD","in_stock":true},{"title":"A House Safe For Tigers Soundtrack \/ Lee Hazlewood - WAV \/ album \/ WAV","offer_id":32230302154831,"sku":"61R\/WAV","price":9.99,"currency_code":"USD","in_stock":true},{"title":"A House Safe For Tigers \/ Vinyl \/ LP Black","offer_id":32236500582479,"sku":"LITA087LP","price":18.0,"currency_code":"USD","in_stock":true},{"title":"A House Safe For Tigers \/ CD \/ CD","offer_id":32237410156623,"sku":"LITA087CD","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/LITA087_325.jpg?v=1696119811"},{"product_id":"still-dreamin-wild-the-lost-recordings-1979-81","title":"Still Dreamin' Wild: The Lost Recordings 1979-81","description":"[[Release Detail]]\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e[[Release Description]]\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/gOklbYMPfGM?rel=0\" height=\"183\" width=\"325\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/0OUdkC0QGTQ\" height=\"180\" width=\"320\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003ciframe width=\"320\" height=\"180\" src=\"https:\/\/www.youtube.com\/embed\/V8_RUf82I1Y\" frameborder=\"0\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eSome people have to wait for fame; some people wait even longer than most. Donnie and Joe Emerson are in a league of their own. In a relatively short span of time, just two-and-a-half years after releasing their first album \u003cem\u003eDreamin’ Wild\u003c\/em\u003e, the boys recorded close to 70 songs to tape at that magical home studio on the farm. A dozen of them are included here on \u003cem\u003eStill Dreamin’ Wild: The Lost Recordings 1979-81\u003c\/em\u003e and ready to be enjoyed for the first time ever.\u003c\/p\u003e\n\u003cp\u003eAs teenagers in Fruitland, Washington in the late 70s, the farming brothers dreamed of being heard. The synthesizers were sometimes crude, and the 8-track recorder had its limitations, but the brothers aimed at nothing short of perfection in their home studio on the farm. They titled their 1979 debut \u003cem\u003eDreamin’ Wild\u003c\/em\u003e, and, as multi-instrumentalist Donnie later admitted, “Joe and I basically lived the dream of the title of the album.” The same goes for their parents who heavily believed in their sons’ musical dreams, taking out a second mortgage on the farm and investing $100,000 in a dream that refused to die. But their privately funded, private press record sank without trace, the family lost most of their 1,600 acre farm, and as Joe focused on the family farming business, Donnie focused on his solo career.\u003c\/p\u003e\n\u003cp\u003eAs for \u003cem\u003eDreamin’ Wild\u003c\/em\u003e, things began to change three decades later when record collector Jack Fleischer bought a copy of the album for $5 at a Spokane thrift shop. Something about the brothers’ smiles, bouffant hair, and matching white jumpsuits gave him a good feeling. Fleischer’s blogging about the album brought it to the attention of cult musician Ariel Pink, who recorded his own version of standout track “Baby.” Eventually re-released on Light In The Attic and widely available for the first time, the album chimed louder a lifetime after its conception. \u003cem\u003ePitchfork\u003c\/em\u003e described it as “a godlike symphony to teenhood.” \u003cem\u003eThe New York Times\u003c\/em\u003e flew out to the family farm, while Jimmy Fallon took to Twitter to proclaim his love for the duo.\u003c\/p\u003e\n\u003cp\u003eWith a familiar blend of FM rock, power pop, and new wave, the 12 tracks on \u003cmeta charset=\"utf-8\"\u003e\u003cem data-mce-fragment=\"1\"\u003eStill Dreamin’ Wild\u003c\/em\u003e cover the entirety of that fruitful period, stretching from the second song Donnie ever recorded (“Everybody Knows It”) to tracks documenting his temporary move to L.A. in 1981. Donnie’s life story is in these songs. Where \u003cem\u003eDreamin’ Wild\u003c\/em\u003e captures the teenage experience, \u003cem\u003eStill Dreamin’ Wild\u003c\/em\u003e tells a broader story, one in which teenage dreams turn to painful yearning. So where the Beach Boys indebted “Ooh Baby Yeah” is inspired by a teenage girlfriend, “Big Money” shows the emergence of a naive political awareness. Later, 1981’s “One True Love” captures the sound of what Donnie described as “the city as imagined from the farm,” and the epic closing track, “Don’t Disguise The Way You Feel” found Donnie after high school, feeling stifled and frustrated in the isolation of the countryside and mourning the loss of his friend and occasional backing vocalist Dwayne. It is, quite simply, heartbreaking.\u003c\/p\u003e\n\u003cp\u003eThe long-belated success of \u003cem\u003eDreamin’ Wild\u003c\/em\u003e has given the Emerson brothers – still close, and still the heart of a loving family – a new lease of life. They’ve finally taken their music on the road, performing at Seattle’s Showbox followed by New York’s Mercury Lounge. \u003cem\u003eStill Dreamin’ Wild\u003c\/em\u003e proves that the album wasn’t a fluke and that Donnie’s songwriting is as consistent as it is rare. All this time later, we finally have the pleasure of hearing the brothers’ music. And the good news? They’ve still got the jumpsuits.\u003c\/p\u003e\n[[Selling Points]]\n\u003cul\u003e\n\u003cli\u003eFirst ever release\u003c\/li\u003e\n\u003cli\u003eAll tracks newly re-mastered from original tapes\u003c\/li\u003e\n\u003cli\u003eLP housed in a deluxe Stoughton “Tip-On” gatefold jacket\u003c\/li\u003e\n\u003cli\u003eLiner notes by Jack D. Fleischer, interviewing Donnie \u0026amp; Joe\u003c\/li\u003e\n\u003cli\u003eLP includes download card\u003c\/li\u003e\n\u003cli\u003eColor vinyl editions (including a “Jingle Demo Reel” 7\" featuring 4 unreleased jingles Donnie wrote for local Washington businesses back in the day)\u003cbr\u003e - 200 on “Snow White” wax + 7\" (\u003ca href=\"http:\/\/lightintheattic.net\/releases\/1006-2014-light-in-the-attic-subscription-part-i\"\u003e \u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e Vinyl subscriber exclusive\u003c\/a\u003e) \u003cbr\u003e - 500 on “Baby Blue” wax + 7\" (\u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e.net pre-orders exclusive – \u003cstrong\u003elimit 2 per customer\u003c\/strong\u003e)\u003cbr\u003e - 100 on “Red\/Black Shag” wax + 7\" (\u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e Shop exclusive – \u003cstrong\u003elimit 2 per customer\u003c\/strong\u003e)\u003c\/li\u003e\n\u003c\/ul\u003e\n[[Catalog Number]]LITA115CD[[Artist]]Donnie \u0026amp; Joe Emerson","brand":"Light in the Attic","offers":[{"title":"Still Dreamin' Wild: The Lost Recordings 1979-81 \/ Donnie \u0026 Joe Emerson - MP3\/320 \/ album \/ MP3\/320","offer_id":32230316605519,"sku":"76R\/MP3","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Still Dreamin' Wild: The Lost Recordings 1979-81 \/ Donnie \u0026 Joe Emerson - FLAC \/ album \/ FLAC","offer_id":32230316638287,"sku":"76R\/FLAC","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Still Dreamin' Wild: The Lost Recordings 1979-81 \/ Donnie \u0026 Joe Emerson - WAV \/ album \/ WAV","offer_id":32230316671055,"sku":"76R\/WAV","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Still Dreamin' Wild: The Lost Recordings 1979-81 \/ Vinyl \/ LP White","offer_id":32236502122575,"sku":"LITA115LP-WHITE","price":19.0,"currency_code":"USD","in_stock":true},{"title":"Still Dreamin' Wild: The Lost Recordings 1979-81 \/ CD \/ CD","offer_id":32237411401807,"sku":"LITA115CD","price":7.0,"currency_code":"USD","in_stock":true},{"title":"Still Dreamin' Wild: The Lost Recordings 1979-81 \/ Vinyl \/ LP Black","offer_id":32237411434575,"sku":"LITA115LP","price":18.0,"currency_code":"USD","in_stock":true},{"title":"Still Dreamin' Wild: The Lost Recordings 1979-81 \/ Vinyl \/ LP + 7\" Blue","offer_id":32237411467343,"sku":"LITA115LP-BLUE","price":19.0,"currency_code":"USD","in_stock":true},{"title":"Still Dreamin' Wild: The Lost Recordings 1979-81 \/ Vinyl \/ LP Black\/Red","offer_id":44065412743413,"sku":"LITA115LP-RED\/BLACK","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/Cover.jpg?v=1696119838"},{"product_id":"dreamin-wild","title":"Dreamin' Wild","description":"[[Release Detail]]\n\u003cp\u003e[[Release Description]]\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/mbK8QOgr7_8\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003ePacific Northwest isolation mixed with wide-eyed ambition, a strong sense of family, and the gift of music proved to be quite the combination for teenage brothers Donnie and Joe Emerson. Originally released in 1979, \u003cem\u003eDreamin’ Wild\u003c\/em\u003e is the sonic vision of the talented Emerson boys, recorded in a family-built home studio in rural Washington State. Situated in the unlikely blink-and-you-missed-it town of Fruitland and far removed from the late 1970s punk movement and the larger disco boom, Donnie and Joe tilled their own musical soil, channeling bedroom pop jams, raw funk, and yacht rock.\u003c\/p\u003e\n\u003cp\u003eSpurred on by their high school’s music program, Donnie and Joe received a further push from their lifelong farmer father, who drew up a contract stating that he’d support his sons lofty ambitions with their very own recording studio as long as they focused on original material, sage advice for a man with zero experience in the music business. After taking out a second mortgage to help cover costs, Don Sr. also built his children a 300-capacity concert hall (dubbed Camp Jammin’) replete with ticket booth, stage, and fully functioning snack bar. The only problem was that the projected audience never quite materialized, despite a prime time TV profile entitled “The Rock And Roll Farmers” from nearby Spokane, Washington. Even the Emerson brothers' school pals were nonplussed at their privately pressed long player; hand distributed to local music stores, but not quite so far as Seattle, five hours away from their rural home. Somewhat dejected by the muted response but never surrendering, both Donnie and Joe continued down a musical path and are still active as performers today.\u003c\/p\u003e\n\u003cp\u003eThis rare slice of bedroom-funk gets the usual Light In The Attic treatment with newly remastered audio, detailed liner notes, and expanded original album art with loads of photos from the Emerson’s collection. Be sure to also check out the short documentary, \u003cem\u003eThe \u003c\/em\u003e\u003cem\u003eRock-n-Roll Farmers: Donnie \u0026amp; Joe Emerson\u003c\/em\u003e.\u003c\/p\u003e\n[[Selling Points]]\n\u003cp\u003e\u003cstrong\u003e2023 Edition:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eIncludes newly expanded artwork\u003c\/li\u003e\n\u003cli\u003eDetailed liner notes by Dave Segal, interviewing the Emersons plus unseen photos, lyrics and \u003cspan class=\"caps\"\u003eOBI\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003eLP includes 20-page booklet\u003c\/li\u003e\n\u003cli\u003eLP pressed at \u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e and housed in a gatefold jacket\u003c\/li\u003e\n\u003cli\u003eSpecial LP color edition pressed on Transparent Blue wax\u003c\/li\u003e\n\u003cli\u003eNewly expanded CD edition includes 36-page booklet\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n[[Catalog Number]]LITA 082[[Artist]]Donnie \u0026amp; Joe 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CD","offer_id":44433433297141,"sku":"LITA082-2","price":10.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/Donnie_JoeEmerson_DreaminWild_325.jpg?v=1697032708"},{"product_id":"the-blakes-s-t","title":"The Blakes - S\/T","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003ePitchfork has praised the band’s “swampy guitars, twitchy rhythms, and power-pop vocal harmonies” of their self-titled debut album. Mixed and mastered by Martin Feveyear (Kings of Leon, Crooked Fingers), The Blakes recall the stinging catchiness of early Who, Kinks, and other spitfire rock bands.\u003c\/p\u003e\n\u003cp\u003eThe early influences of Garnet Keim (guitar, vocals) and Snow Keim (bass, vocals) were Hank Williams and Brian Wilson. The brothers busked all around North America, writing songs in hostels and motel bathrooms, finally ending up in Seattle. There they met animalistic, mesmerizing drummer Bob Husak and asked him to join the band. The trio hit the road and have been touring ever since. The band’s debut album has finally arrived! Thirteen tracks full of chaotic and sensuous rock and roll like the regional hits “Don’t Bother Me,” “Two Times,” and “Streets.”\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]][[Catalog Number]]LITA 031[[Artist]]The Blakes\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"The Blakes - S\/T \/ Vinyl \/ LP Black","offer_id":32236498354255,"sku":"LITA031LP","price":11.0,"currency_code":"USD","in_stock":true},{"title":"The Blakes - S\/T \/ CD \/ CD","offer_id":32237408616527,"sku":"LITA031CD","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/theblakes-theblakes-lp.jpg?v=1696119790"},{"product_id":"histoire-de-melody-nelson","title":"Histoire de Melody Nelson","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“One of the greatest marriages of rock band and orchestra.”\u003c\/em\u003e -\u003cstrong\u003e Beck\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e10\/10 - Best New Reissue - \u003cstrong\u003ePitchfork\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e5\/5 - \u003cstrong\u003eAllMusic\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003eOften cited as the masterwork of French icon and national treasure Serge Gainsbourg, \u003cem\u003eHistoire De Melody Nelson\u003c\/em\u003e features actress, amour, and inspiration Jane Birkin, arranger\/conductor and co-conspirator Jean-Claude Vannier (\u003cem\u003eL’Enfant Assassins Des Mouches\u003c\/em\u003e), and a tight, hand-picked crew of top shelf U.K. session musicians, including Big Jim Sullivan, Vic Flick, Brian Odgers, and Dougie Wright. Originally released in 1971, this is an essential album for the discerning music lover.\u003cbr\u003e\u003cbr\u003eOur initial reissue marked the first time that \u003cem\u003eHistoire De Melody Nelson\u003c\/em\u003e was ever made available domestically in the U.S., now pressed on two brand new \u003cem\u003etrès chic\u003c\/em\u003e color variants. Dispelling countless myths, hearsay, and rumors surrounding\u003cem\u003e Histoire De Melody Nelson\u003c\/em\u003e, New York-based writer Andy Beta contributes a stylish essay for your edification, while the maestro himself chimes in with a period Q\u0026amp;A interview from France’s \u003cem\u003eRock N Folk Magazine\u003c\/em\u003e, originally published in June 1971. With its massive inspiration reaching from the quintessential rap of De La Soul and The Beatnuts to like-minded and eclectic singer-songwriters, \u003cem\u003eHistoire De Melody Nelson\u003c\/em\u003e has endured the test of to time, continuing to entrance both new listeners and Gainsbourg aficionados alike.\u003cbr\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eOld school style tip-on gatefold jacket with the original artwork\u003c\/li\u003e\n\u003cli\u003eInsert includes 1971 Q\u0026amp;A interview with Serge and liner notes by Andy Beta\u003c\/li\u003e\n\u003cli\u003eLP pressed at RTI\u003c\/li\u003e\n\u003cli\u003e2024 Color Vinyl Editions Available in Two Variants:\u003c\/li\u003e\n\u003cul\u003e\n\u003cli\u003eCrystal Clear Wax\u003c\/li\u003e\n\u003cli\u003eTransparent Blue with White Wax\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 040\u003c\/p\u003e\n\u003cp\u003e[[Artist]]Serge Gainsbourg\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Histoire de Melody Nelson \/ Vinyl \/ LP Black","offer_id":32236498845775,"sku":"LITA040LP","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Histoire de Melody Nelson \/ CD \/ CD","offer_id":32237408321615,"sku":"LITA040CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Histoire de Melody Nelson \/ Vinyl \/ LP Crystal Clear","offer_id":44573058924789,"sku":"LITA040-1-1","price":28.0,"currency_code":"USD","in_stock":true},{"title":"Histoire de Melody Nelson \/ Vinyl \/ LP Transparent Blue","offer_id":44573149790453,"sku":"LITA040-1-2","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/Screenshot2024-02-05145557.png?v=1707173778"},{"product_id":"dreamin-wild-8-track","title":"Dreamin' Wild 8-Track","description":"[[Release Detail]]\u003cbr\u003e[[Release Description]]\n\u003cp\u003eLimited Edition Dreamin’ Wild on 8-Track. Yes – 8-Track!! Edition of 100 Dreamin’ Wild Red 8-Track Tapes produced worldwide.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/mbK8QOgr7_8\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003ePacific Northwest isolation mixed with wide-eyed ambition, a strong sense of family, and the gift of music proved to be quite the combination for teenage brothers Donnie and Joe Emerson. Originally released in 1979,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDreamin’ Wild\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis the sonic vision of the talented Emerson boys, recorded in a family-built home studio in rural Washington State. Situated in the unlikely blink-and-you-missed-it town of Fruitland and far removed from the late 1970s punk movement and the larger disco boom, Donnie and Joe tilled their own musical soil, channeling bedroom pop jams, raw funk, and yacht rock.\u003c\/p\u003e\n\u003cp\u003eSpurred on by their high school’s music program, Donnie and Joe received a further push from their lifelong farmer father, who drew up a contract stating that he’d support his sons lofty ambitions with their very own recording studio as long as they focused on original material, sage advice for a man with zero experience in the music business. After taking out a second mortgage to help cover costs, Don Sr. also built his children a 300-capacity concert hall (dubbed Camp Jammin’) replete with ticket booth, stage, and fully functioning snack bar. The only problem was that the projected audience never quite materialized, despite a prime time TV profile entitled “The Rock And Roll Farmers” from nearby Spokane, Washington. Even the Emerson brothers' school pals were nonplussed at their privately pressed long player; hand distributed to local music stores, but not quite so far as Seattle, five hours away from their rural home. Somewhat dejected by the muted response but never surrendering, both Donnie and Joe continued down a musical path and are still active as performers today.\u003c\/p\u003e\n\u003cp\u003eThis rare slice of bedroom-funk gets the usual Light In The Attic treatment with newly remastered audio, detailed liner notes, and expanded original album art with loads of photos from the Emerson’s collection. Be sure to also check out the short documentary, \u003cem\u003eThe \u003c\/em\u003e\u003cem\u003eRock-n-Roll Farmers: Donnie \u0026amp; Joe Emerson\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e[[Selling Points]]\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eEdition of 100 Dreamin’ Wild Red 8-Track Tapes produced worldwide\u003c\/li\u003e\n\u003c\/ul\u003e\n[[Catalog Number]]LITA082-8[[Artist]]Donnie \u0026amp; Joe Emerson","brand":"Light in the Attic","offers":[{"title":"Dreamin' Wild 8-Track \/ Cassette \/ 8-Track","offer_id":32236500254799,"sku":"LITA082-8","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1573772261900-02k08ay22owc-f4acdb3cc6d2a9a2f60bfd3554f0fc74_2FDonnie_Joe_Emmerson_Mockup.jpg?v=1696119874"},{"product_id":"you-turned-my-head-around-lee-hazlewood-industries-1967-1970","title":"You Turned My Head Around: Lee Hazlewood Industries 1967-1970","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eLight In The Attic’s excavation of Lee Hazlewood’s \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e imprint continues with this lavishly packaged 45s box set featuring such \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e favorites as Suzi Jane Hokom, Honey Ltd., Kitchen Cinq, Ann-Margret, and of course the undeniable Mr. Lee.\u003c\/p\u003e\n\u003cp\u003ePart of the sheer joy of Light In The Attic’s excavation of Lee Hazlewood’s back catalogue has been exploring the output of his own, late ‘60s label, Lee Hazlewood Industries, which issued dozens of long forgotten 45s and LPs. Whether acid-folk, country-rock, pop-psych or soul, \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e artists were united by the patronage of the underdog hero of 1960s music, the moustachioed maverick Lee Hazlewood.\u003c\/p\u003e\n\u003cp\u003eThe best of these have been now collected in \u003cem\u003eYou Turned My Head Around\u003c\/em\u003e, a lavishly packaged, 3000-edition box set of eleven 45s, featuring such \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e favorites as Suzi Jane Hokom, Honey Ltd., Kitchen Cinq, Ann-Margret, and of course the undeniable Mr Lee.\u003c\/p\u003e\n\u003cp\u003eTo say Lee Hazelwood neither sings nor appears on many of these tracks, \u003cem\u003eYou Turned My Head Around\u003c\/em\u003e tells the listener much about the cult singer-songwriter, producer, film star and latter-day cowboy. Like Hazlewood’s own output, these are pop songs colored by sadness, pain and wisdom. Hazlewood’s character is there in every long, spiral groove thanks to his stunning production.\u003c\/p\u003e\n\u003cp\u003eThat’s not to say there’s no variety. Artists include the Nico-like Lynn Castle with Last Friday’s Fire, the Zombies-like psych-poppers The Kitchen Cinq, blues-rockers Hamilton Streetcar, the sweet, trippy vocal group Honey \u003cspan class=\"caps\"\u003eLTD\u003c\/span\u003e, instrumental group The Woodchucks, the Bobbie Gentry-like Ann Margret, psychedelic crooner Danny Michaels and the country stylings of Eve.\u003c\/p\u003e\n\u003cp\u003eThen there are those tracks featuring Lee himself: Suzi Jane Hokom proves to be every bit the worthy counterpart to the big man’s sonorous baritone, just as Nancy Sinatra did before, and Hazlewood’s solo ‘Troublemaker’ – a song about a conscientious objector – could be the rebellious performer’s theme song.\u003c\/p\u003e\n\u003cp\u003eFor fans of the lesser-discovered parts of the ‘60s music cannon, this is a treasure trove, chronicling the rise and fall of the flower power ideal from multiple perspectives; not just that of the young bands looking to ride the groovy train to pop stardom but from the perspective of Lee himself, a man already with a long career behind him, an accidental pop star for whom the hippy movement was to be viewed through eyes with deeper crow’s feet than most.\u003c\/p\u003e\n\u003cp\u003eAs with all Light In The Attic releases, \u003cem\u003eYou Turned My Head Around\u003c\/em\u003e has been produced with a great eye for detail. Housed in a custom-made, magnetic flip-top box, the package includes an \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e adapter and a free download card for all songs (handy for when you’re away from your beloved turntable). The eleven 7” singles each come in their own picture sleeve, making this a delight to hold, to see and to listen to.\u003c\/p\u003e\n\u003cp\u003eRemember the first time you heard \u003cem\u003eNuggets\u003c\/em\u003e? Get ready to get that feeling all over again.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"325\" height=\"183\" src=\"https:\/\/www.youtube.com\/embed\/B_z6XZ8lkXg\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e[[Catalog Number]]LITA 094[[Artist]]V\/A\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"You Turned My Head Around: Lee Hazlewood Industries 1967-1970 \/ Vinyl \/ 11x7\" Box Set","offer_id":32236500844623,"sku":"LITA094","price":55.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/LITA094_ReleasePage_Cover.jpg?v=1696119825"},{"product_id":"sing-for-very-important-people","title":"Sing For Very Important People","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eThe Free Design make childhood a bit more psychedelic with this 1970’s children’s album, featuring many of the group’s classic favorites, plus a number of new cuts!\u003c\/p\u003e\n\u003cp\u003eThe Free Design make childhood a bit more psychedelic with this 1970’s children’s album, featuring many of the group’s classic favorites, plus a number of new cuts!\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eExcerpt from CD Liner Notes (by The Free Design’s Bruce Dedrick):\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eBack in 1969, we were all big fans of \u003cspan class=\"caps\"\u003ePPM\u003c\/span\u003e and when Mary Travers became a mother, they released the Peter, Paul and Mommy album. I think it was one of the seeds that resulted in the germination of the Free Design Sings for Very Important People album. Other contributing factors included the fact that we were all parents by then and that several (“Bubbles”, “Kites”, “Daniel Dolphin”) of our songs already on our other albums were ideal for a children’s album. Our father, Art Dedrick, a prolific composer of Concert Band, Jazz Band and Choral music had a song he had written years before called “Little Cowboy” that was perfect for the album and Sandy’s “Love You” fit right in. Sesame Street the TV program was in full swing and that theme was one we had fun with in the studio. 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After a lengthy spell working in England during the first half of the 1960s, he returned to Toronto and took up an in-house position at the government sanctioned Canadian Broadcasting Corporation (\u003cspan class=\"caps\" data-mce-fragment=\"1\"\u003eCBC\u003c\/span\u003e). Commercially released by the short-lived Kanata Records label,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSongs\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ewas an introspective look at ever-dominant corporations, the cutthroat advertising world, our consumer society, decaying environment, and his own personal condition.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe results crossed the epic studio creations of David Axelrod’s Capitol output (or Spanish folk-rock fuelled\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003ePride\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eLP) with Free Design vocal harmonies from notable vocalists Tommy Ambrose and Laurie Bower (Billy Van Singers, Mutual Understanding, Laurie Bower Singers). 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Well, it’s far from cliché. Over the years, some have hit the road in search of Hollywood’s glitz and glamour, others, simply for warmer climes, but in the early 1970’s, Detroit-native and \u003cstrong\u003eMotown\u003c\/strong\u003e founder \u003cstrong\u003eBerry Gordy Jr.\u003c\/strong\u003e brought his musical family to the left coast, one piece at a time. He began by launching the \u003cstrong\u003eMowest\u003c\/strong\u003e subsidiary in 1971, a new L.A.-based label dedicated to coastal grooves and an eye towards the top of the charts.\u003c\/p\u003e\n\u003cp\u003eWe are completely honored to present the first ever compilation of this now legendary label - \"Our Lives Are Shaped By What We Love: Motown’s Mowest Story 1971-1973\" (\u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e 065), an adult portion of sweet soul, heavyweight funk, and even a dose of potent West Coast hippy rock.\u003cbr\u003e\u003cbr\u003eRegardless of talent, quality, and financial backing, \u003cstrong\u003eMowest\u003c\/strong\u003e faced an uphill battle. With the majority of Motown’s focus on the already established names of \u003cstrong\u003eStevie Wonder\u003c\/strong\u003e, \u003cstrong\u003eMarvin Gaye\u003c\/strong\u003e, \u003cstrong\u003eDiana Ross\u003c\/strong\u003e, \u003cstrong\u003eSmokey Robinson\u003c\/strong\u003e, \u003cstrong\u003eThe Temptations\u003c\/strong\u003e, and their latest chart dynamos, \u003cstrong\u003eThe Jackson 5\u003c\/strong\u003e, there wasn’t as much attention being given to the diverse Mowest roster. Acts like \u003cstrong\u003eSyreeta\u003c\/strong\u003e, \u003cstrong\u003eSisters Love\u003c\/strong\u003e, and \u003cstrong\u003eG.C. Cameron\u003c\/strong\u003e seemed to get lost in the shuffle. 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While Mowest artists \u003cstrong\u003eThe Commodores\u003c\/strong\u003e, \u003cstrong\u003eThelma Houston\u003c\/strong\u003e, and the aforementioned Cameron continued on with Motown proper, the sub label’s catalogue quickly gathered dust in the cut-out bins of record stores throughout the States.\u003cbr\u003e\u003cbr\u003eGone but not completely forgotten, the best of \u003cstrong\u003eMowest\u003c\/strong\u003e gently reverberated around the world in the way that great yet under-appreciated music usually does, from word-of-mouth praise and burning hearts like UK Northern Soul devotees adopting \u003cstrong\u003eFrankie Valli’s “The Night”\u003c\/strong\u003e as a dance floor anthem, Japanese rare groove DJs spinning \u003cstrong\u003eOdyssey’s “Our Lives Are Shaped By What We Love”\u003c\/strong\u003e at Tokyo free soul events, and \u003cspan class=\"caps\"\u003eNYC\u003c\/span\u003e cut-and-paste king Danny Krivit’s notorious \u003cstrong\u003eSisters Love “Give Me Your Love”\u003c\/strong\u003e edit.\u003c\/p\u003e\n\u003cp\u003eForty years later, it’s time for the rest of the world to rediscover what a treasure trove of soulful sounds Mowest left behind. \u003cem\u003eOur Lives Are Shaped By What We Love_ is a lovingly prepared 16-track CD, 2 LP set with epic re-mastering from the original master tapes by engineer \u003cstrong\u003eDave Cooley\u003c\/strong\u003e (Blue Note, Warp, Stones Throw, Now Again), extensive liner notes from project curator \u003cstrong\u003eKevin “Sipreano” Howes\u003c\/strong\u003e (_Jamaica-Toronto\u003c\/em\u003e series, Doug Randle, Rodriguez, Monks), and \u003cstrong\u003eStrath Shepard’s\u003c\/strong\u003e (Pacific Standard) impeccable graphic design. This is a slice of Motown like you’ve never heard or seen before, so let’s head to the beach, set up shop, and max out to the rhythm. Looking at the Pacific, it appears that Mowest’s surf is just about to break.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFirst ever Mowest anthology\u003c\/li\u003e\n\u003cli\u003eLovingly re-mastered from the original tapes\u003c\/li\u003e\n\u003cli\u003eExtensive liner notes and photos\u003c\/li\u003e\n\u003cli\u003eDouble LP housed in an old school gatefold tip-on jacket\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 064[[Artist]]V\/A\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Our Lives Are Shaped By What We Love: Motown's Mowest Story 1971-73 \/ Vinyl \/ LP Black","offer_id":32237503021135,"sku":"LITA064LP","price":18.0,"currency_code":"USD","in_stock":true},{"title":"Our Lives Are Shaped By What We Love: Motown's Mowest Story 1971-73 \/ CD \/ CD","offer_id":32237503184975,"sku":"LITA064CD","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/Mowest_cover.jpg?v=1696119788"},{"product_id":"light-in-the-attic-10-year-anniversary-lee-hazlewood-wont-you-tell-your-dreams","title":"Light In The Attic 10 Year Anniversary: Lee Hazlewood \"Won't You Tell Your Dreams\"","description":"[[Release Detail]]\u003cp\u003eCelebrating Light In The Attic’s 10 year anniversary in 2012, we are releasing a series of very special colored vinyl 7”s and digital downloads. The series features contemporary artists covering a track reissued by Light In The Attic on the A-side, plus the original version on the B-side.\u003c\/p\u003e[[Release Description]]\u003cp\u003eCelebrating Light In The Attic’s 10 year anniversary in 2012, we are releasing a series of very special colored vinyl 7”s and digital downloads. The series features contemporary artists covering a track reissued by Light In The Attic on the A-side, plus the original version on the B-side.\u003c\/p\u003e\n\u003cp\u003eIn 2011, Seattle band Gold Leaves released one of our favorite albums of the year.  The Ornament is their debut long player and was released by Hardly Art\/Sub Pop.  We’ve been obsessing over their sound ever since and are honored to have the band contributing a track for our 10 year anniversary 45 singles series.  For the series, Gold Leaves record a hazy take on Lee Hazlewood’s “Won’t You Tell Your Dreams.”  Found on the flip side is Hazlewood’s version, which was originally included on his solo album Requiem For An Almost Lady, released in 1971 on his label \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e.\u003c\/p\u003e\n\u003cp\u003eA-side is produced by Gold Leaves, engineered by Chris Early, and recorded in Seattle in September 2012.  B-side features Lee’s original version as remastered by John Baldwin for our recent compilation Lee Hazlewood – The \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e Years: Singles, Nudes, \u0026amp; Backsides (1968-71).\u003c\/p\u003e\n\u003cp\u003eLimited edition 7\" series on smokey grey vinyl with custom \u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e juke-box style sleeve in a poly bag with custom die-cut sticker.\u003c\/p\u003e\n\u003cp\u003eOther artists in the series include Iggy Pop \u0026amp; Zig Zags covering Betty Davis, Mark Lanegan covering Karen Dalton, Charles Bradley \u0026amp; The Menahan Street Band covering Rodriguez, and Sweet Tea (feat. Alex Maas of the Black Angels \u0026amp; Erika Wennerstrom of the Heartless Bastards) covering Wendy Rene. More releases in the series to be announced.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eLimited edition 7\" series on smokey grey vinyl with custom \u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e juke-box style sleeve in a poly bag with custom die-cut sticker.\u003c\/li\u003e\n\t\u003cli\u003eOther artists in the series include Iggy Pop \u0026amp; Zig Zags covering Betty Davis, Mark Lanegan covering Karen Dalton, and Sweet Tea (feat. Alex Maas of the Black Angels \u0026amp; Erika Wennerstrom of the Heartless Bastards) covering Wendy Rene. More releases in the series to be announced.\u003c\/li\u003e\n\t\u003cli\u003eDesign by Henry Owings, Chunklet Graphic Control.\u003c\/li\u003e\n\t\u003cli\u003eArtist illustrations by Drew Christie.\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]LITA45-024[[Artist]]Gold Leaves \/ Lee Hazlewood","brand":"Light in the Attic","offers":[{"title":"Light In The Attic 10 Year Anniversary: Lee Hazlewood \"Won't You Tell Your Dreams\" \/ Gold Leaves - MP3\/320 \/ album \/ MP3\/320","offer_id":32354225061967,"sku":"129R\/MP3","price":1.99,"currency_code":"USD","in_stock":true},{"title":"Light In The Attic 10 Year Anniversary: Lee Hazlewood \"Won't You Tell Your Dreams\" \/ Gold Leaves - FLAC \/ album \/ FLAC","offer_id":32354225094735,"sku":"129R\/FLAC","price":1.99,"currency_code":"USD","in_stock":true},{"title":"Light In The Attic 10 Year Anniversary: Lee Hazlewood \"Won't You Tell Your Dreams\" \/ Gold Leaves - WAV \/ album \/ WAV","offer_id":32354225127503,"sku":"129R\/WAV","price":1.99,"currency_code":"USD","in_stock":true},{"title":"Light In The Attic 10 Year Anniversary: Lee Hazlewood \"Won't You Tell Your Dreams\" \/ Gold Leaves - WAV-HD \/ album \/ WAV-HD","offer_id":32354225160271,"sku":"129R\/WAVHD","price":1.99,"currency_code":"USD","in_stock":true},{"title":"Won't You Tell Your Dreams (Gold Leaves Cover) \/ track \/ MP3\/320","offer_id":32354225193039,"sku":"1655T\/MP3","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Won't You Tell Your Dreams (Gold Leaves Cover) \/ track \/ FLAC","offer_id":32354225225807,"sku":"1655T\/FLAC","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Won't You Tell Your Dreams (Gold Leaves Cover) \/ track \/ WAV","offer_id":32354225258575,"sku":"1655T\/WAV","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Won't You Tell Your Dreams (Gold Leaves Cover) \/ track \/ WAV-HD","offer_id":32354225291343,"sku":"1655T\/WAVHD","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Won't You Tell Your Dreams \/ track \/ MP3\/320","offer_id":32354225324111,"sku":"1656T\/MP3","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Won't You Tell Your Dreams \/ track \/ FLAC","offer_id":32354225356879,"sku":"1656T\/FLAC","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Won't You Tell Your Dreams \/ track \/ WAV","offer_id":32354225389647,"sku":"1656T\/WAV","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Light In The Attic 10 Year Anniversary: Lee Hazlewood \"Won't You Tell Your Dreams\" \/ Vinyl \/ 45","offer_id":32398539489359,"sku":"LITA45-024","price":5.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/LITA45-024.jpg?v=1696119814"},{"product_id":"light-in-the-attic-10-year-anniversary-donnie-joe-emerson-baby","title":"Light In The Attic 10 Year Anniversary: Donnie \u0026 Joe Emerson \"Baby\"","description":"[[Release Detail]]\u003cp\u003eCelebrating Light In The Attic’s 10 year anniversary in 2012, we are releasing a series of very special colored vinyl 7”s and digital downloads. The series features contemporary artists covering a track reissued by Light In The Attic on the A-side, plus the original version on the B-side. This disc features Ariel Pink’s Haunted Graffiti \u0026amp; Dâm-Funk covering Donnie \u0026amp; Joe Emerson.\u003c\/p\u003e[[Release Description]]\u003cp\u003eCelebrating Light In The Attic’s 10 year anniversary in 2012, we are releasing a series of very special colored vinyl 7”s and digital downloads. The series features contemporary artists covering a track reissued by Light In The Attic on the A-side, plus the original version on the B-side.\u003c\/p\u003e\n\u003cp\u003eA side features Ariel Pink’s Haunted Graffiti \u0026amp; Dâm-Funk’s exalted cover of Donnie \u0026amp; Joe Emerson’s ode to youthful romance, “Baby”, with the original from 1979 found on the flip-side.\u003c\/p\u003e\n\u003cp\u003eA side recorded in Los Angeles in 2012, as featured on the Ariel Pink’s Haunted Graffiti album \u003cem\u003eMature Themes\u003c\/em\u003e (\u003cspan class=\"caps\"\u003eCAD\u003c\/span\u003e 3230). B Sides features the original version by Donnie \u0026amp; Joe Emerson, recorded in Fruitland, WA in 1978\/79, as it appears on their album \u003cem\u003eDreamin’ Wild\u003c\/em\u003e (\u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e 082).\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eLimited edition 7\" series on “baby” blue vinyl with custom \u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e juke-box style sleeve in a poly bag with custom die-cut sticker.\u003c\/li\u003e\n\t\u003cli\u003eOther artists in the series include Iggy Pop \u0026amp; Zig Zags covering Betty Davis, Mark Lanegan covering Karen Dalton, and Sweet Tea (feat. Alex Maas of the Black Angels \u0026amp; Erika Wennerstrom of the Heartless Bastards) covering Wendy Rene. More releases in the series to be announced.\u003c\/li\u003e\n\t\u003cli\u003eDesign by Henry Owings, Chunklet Graphic Control.\u003c\/li\u003e\n\t\u003cli\u003eArtist illustrations by Drew Christie.\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]LITA45-023[[Artist]]Ariel Pink's Haunted Graffiti \u0026amp; Dâm-Funk","brand":"Light in the Attic","offers":[{"title":"Light In The Attic 10 Year Anniversary: Donnie \u0026 Joe Emerson \"Baby\" \/ Vinyl \/ 45","offer_id":32372155678799,"sku":"LITA45-023","price":7.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/LITA45-023.jpg?v=1696119811"},{"product_id":"tous-les-garcons-et-les-filles","title":"Tous Les Garçons Et Les Filles","description":"[[Release Detail]]\u003cp\u003eBetween 1962 and 1966, Françoise Hardy released one French-language album per year. Each, strictly speaking, was eponymously titled and each was collected from a series of contemporary four-track, seven-inch, picture-sleeve EPs–pop music’s main format in France, known as le super 45.\u003c\/p\u003e[[Release Description]]\u003cp\u003eBetween 1962 and 1966, Françoise Hardy released one French-language album per year. Each, strictly speaking, was eponymously titled and each was collected from a series of contemporary four-track, seven-inch, picture-sleeve EPs–pop music’s main format in France, known as le super 45. In them, we see the maturing of one of the decade’s most singular talents– a pop singer with the heart of a chanteuse, a singer-songwriter in an age before such a thing was known, and a style icon who valued privacy and modesty. Remastered from the original tapes, we present the first five Françoise Hardy albums in their original French format, on deluxe LP and CD.\u003c\/p\u003e\n\u003cp\u003eRaised by her mother in Paris, Hardy’s upbringing was strict, and she was, she notes today, “a very, very shy person.\" Records and Radio Luxembourg provided escape and inspiration–her two loves were Chanson Française, the Gallic style of Edith Piaf and Charles Aznavour, and rock‘n’roll. The Everly Brothers, she says, were a “lightning bolt.”\u003c\/p\u003e\n\u003cp\u003eSent to The Sorbonne to study political sciences, Hardy instead pursued a career as a singer, auditioning for a number of labels before Johnny Hallyday’s Disques Vogue snapped her up, intending to market her as a female rocker–the track “Oh Oh Chéri” here gives you a window into their vision. Hardy had other ideas and was determined to record her own songs, written in French, too. The runaway success of one of her own tracks, the iconic “Tous Les Garçons Et Les Filles,” proved Hardy right.\u003c\/p\u003e\n\u003cp\u003eHardy soon captivated the rest of the world–she was immortalized in 1964 in a poem by Bob Dylan, she associated with The Stones, and dined with Beatles Paul McCartney and George Harrison. She also soon gained more creative control over her music, and she now distances herself from these early recordings where this was not the case. “Even if I had been able to say something about the production,” she says now, “maybe I would have been listened to, but I didn’t know anything.”\u003c\/p\u003e\n\u003cp\u003eIn the album’s title track, Hardy sang about being a soul in torment, and this is the Hardy that emerged–a complicated, pensive outsider, part pop singer, part chanteuse, and utterly unique.\u003c\/p\u003e\n\u003cp\u003eAnd she will forever personify a particularly French brand of cool.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eRestored to the original mono mixes\u003c\/li\u003e\n\t\u003cli\u003eExclusive interview with Françoise Hardy\u003c\/li\u003e\n\t\u003cli\u003eLiner Notes by Kieron Tyler\u003c\/li\u003e\n\t\u003cli\u003eNewly expanded gatefold edition housed in a deluxe Stoughton jacket\u003c\/li\u003e\n\t\u003cli\u003e180-gram vinyl\u003c\/li\u003e\n\t\u003cli\u003eFirst time available on CD in the US\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]FDR614CD[[Artist]]Francoise Hardy","brand":"Future Days Recordings","offers":[{"title":"Tous Les Garçons Et Les Filles \/ CD \/ CD","offer_id":32374424961103,"sku":"FDR614CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Tous Les Garçons Et Les Filles \/ Vinyl \/ LP Black","offer_id":44065413071093,"sku":"FDR614LP","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1448301562760-4etii4xglst0rudi-fcead7c553ffcfe717aee4b0432bda47_2FFDR614web.jpg?v=1696119835"},{"product_id":"the-family-of-apostolic","title":"The Family Of Apostolic","description":"[[Release Detail]]\u003cp\u003eApostolic was many things: a label, a collective, a state of mind even. But before all of that, it was a recording studio set up by New Yorker John Townley.\u003c\/p\u003e\n\u003cp\u003eAs a member of the Magicians, (you recognize that name from the Nuggets albums), Townley worked in some of the finest studios in the \u003cspan class=\"caps\"\u003eUSA\u003c\/span\u003e, but he felt he was on a conveyor belt. “You had to do the creation ahead of time, which is not my idea of a good time,” he says now. \"You had all this stuff to play with, and you weren’t allowed to play with it.” When Townley came into an $85,000 inheritance he immediately invested in a loft building on 10th Street, New York, against the advice of, well, “everybody”. But there were fellow believers. Friends Matt Hoffman and Michael and Danny Weiss, heirs to the Weiss jewelry fortune, helped assemble the studio, which was built to bleeding-edge specifications and even had a 12-track recorder.\u003c\/p\u003e\n\u003cp\u003eSoon, it was attracting likeminded souls such as Frank Zappa, whose Mothers Of Invention recorded several landmark LPs at Apostolic. But the greatest example of the output of this artistic community is the sprawling double LP The Family of Apostolic. A utopian album inspired by global cultures ranging from Pakistani folk songs to Scottish traditional music and Chinese opera, it was made by a cast of 19, bonded by a desire to create “primitive performance art” from surrealist happenings. \"The idea of Apostolic was that the whole operation was a family,” says Townley. “Anybody could do anything if they participated.”\u003c\/p\u003e\n\u003cp\u003eDespite the possibilities opened up by the studio and the chance to treat the desk as an instrument, \u003cem\u003eThe Family Of Apostolic\u003c\/em\u003e is nonetheless a folk record at heart, and sounds downright spare in places. The experimentation was there in subtle ways, per Townley’s desire for each song to be “like just a natural happening. We were trying to get a very close, upfront, live feeling.” Released under a deal with Vanguard, the rambling album proved too difficult to market. Singles were released under different artist names, serving only to confuse the public more. Soon the studio was heading down the tubes, thanks in part to Jimi Hendrix’s multi-track studio Electric Lady opening two blocks away. And before long, the Apostolic dream was over.\u003c\/p\u003e\n\u003cp\u003eThe album remains a curate’s egg, but one filled with delights. Opening track Redeemer asks, \"O say, are you a true believer?” By the time you’ve listened to our deluxe reissue, you will be.\u003c\/p\u003e[[Release Description]]\u003cp\u003eApostolic was many things: a label, a collective, a state of mind even. But before all of that, it was a recording studio set up by New Yorker John Townley.\u003c\/p\u003e\n\u003cp\u003eAs a member of the Magicians, (you recognize that name from the Nuggets albums), Townley worked in some of the finest studios in the \u003cspan class=\"caps\"\u003eUSA\u003c\/span\u003e, but he felt he was on a conveyor belt. “You had to do the creation ahead of time, which is not my idea of a good time,” he says now. \"You had all this stuff to play with, and you weren’t allowed to play with it.” When Townley came into an $85,000 inheritance he immediately invested in a loft building on 10th Street, New York, against the advice of, well, “everybody”. But there were fellow believers. Friends Matt Hoffman and Michael and Danny Weiss, heirs to the Weiss jewelry fortune, helped assemble the studio, which was built to bleeding-edge specifications and even had a 12-track recorder.\u003c\/p\u003e\n\u003cp\u003eSoon, it was attracting likeminded souls such as Frank Zappa, whose Mothers Of Invention recorded several landmark LPs at Apostolic. But the greatest example of the output of this artistic community is the sprawling double LP The Family of Apostolic. A utopian album inspired by global cultures ranging from Pakistani folk songs to Scottish traditional music and Chinese opera, it was made by a cast of 19, bonded by a desire to create “primitive performance art” from surrealist happenings. \"The idea of Apostolic was that the whole operation was a family,” says Townley. “Anybody could do anything if they participated.”\u003c\/p\u003e\n\u003cp\u003eDespite the possibilities opened up by the studio and the chance to treat the desk as an instrument, \u003cem\u003eThe Family Of Apostolic\u003c\/em\u003e is nonetheless a folk record at heart, and sounds downright spare in places. The experimentation was there in subtle ways, per Townley’s desire for each song to be “like just a natural happening. We were trying to get a very close, upfront, live feeling.” Released under a deal with Vanguard, the rambling album proved too difficult to market. Singles were released under different artist names, serving only to confuse the public more. Soon the studio was heading down the tubes, thanks in part to Jimi Hendrix’s multi-track studio Electric Lady opening two blocks away. And before long, the Apostolic dream was over.\u003c\/p\u003e\n\u003cp\u003eThe album remains a curate’s egg, but one filled with delights. Opening track Redeemer asks, \"O say, are you a true believer?” By the time you’ve listened to our deluxe reissue, you will be.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eMastered from the original tapes\u003c\/li\u003e\n\t\u003cli\u003eHand numbered jacket, limited to 1,000 copies\u003c\/li\u003e\n\t\u003cli\u003e2XLP housed in a deluxe Stoughton gatefold “tip-on” jacket\u003c\/li\u003e\n\t\u003cli\u003eExpansive book with liner notes interviewing key players\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]FDR613LP[[Artist]]The Family Of Apostolic","brand":"Future Days Recordings","offers":[{"title":"The Family Of Apostolic \/ CD \/ CD","offer_id":32374425059407,"sku":"FDR613CD","price":14.0,"currency_code":"USD","in_stock":true},{"title":"The Family Of Apostolic \/ Vinyl \/ 2LP Black","offer_id":32374425157711,"sku":"FDR613LP","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1458691938849-74n2eyvlhrgpwt3f-22959d145c936a6bd24d46e57e81e6bd_2FFDR613.jpg?v=1696119853"},{"product_id":"le-premier-bonheur-du-jour","title":"Le Premier Bonheur Du Jour","description":"[[Release Detail]]\u003cp\u003eBetween 1963 and 1966, Françoise Hardy released one French-language album per year. Each, strictly speaking, was eponymously titled, and each was collected from a series of contemporary four-track, seven-inch, picture-sleeve EPs–pop music’s main format in France, known as le super 45.\u003c\/p\u003e[[Release Description]]\u003cp\u003eBetween 1963 and 1966, Françoise Hardy released one French-language album per year. Each, strictly speaking, was eponymously titled, and each was collected from a series of contemporary four-track, seven-inch, picture-sleeve EPs–pop music’s main format in France, known as le super 45. In them, we see the maturing of one of the decade’s most singular talents–a pop singer with the heart of a chanteuse, a singer-songwriter in an age before such a thing was known, and a style icon who valued privacy and modesty. Remastered from the original tapes, we present the first five Françoise Hardy albums in their original French format, on deluxe LP and CD.\u003c\/p\u003e\n\u003cp\u003eLike her 1962 debut, the cover of the following year’s \u003ci\u003eLe Premier Bonheur Du Jour\u003c\/i\u003e had Hardy staring enigmatically at the listener. On the album itself, the sound had changed in line with Hardy’s solidifying vision and voice; where \u003ci\u003eTous Les Garçons Et Les Filles\u003c\/i\u003e was produced by a series of collaborators who struggled to understand her style, \u003ci\u003eLe Premier Bonheur Du Jour\u003c\/i\u003e gave fans the most significant insight so far into the identity of Françoise Hardy.\u003c\/p\u003e\n\u003cp\u003eIn 1963, at a time when Serge Gainsbourg was tentatively dipping a toe into pop and the term yé-yé was only just being coined, Hardy was a rare thing: a singer-songwriter with heaps of her own material but not a folk singer in any sense. Hers was pop music that took the weight of chanson on its shoulders. Here, \"Comme Tant D’Autres” says, “I know well that life is short, and I’ve been around”–hardly “She loves you, yeah yeah yeah.”\u003c\/p\u003e\n\u003cp\u003eFor the tracks on \u003ci\u003eLe Premier Bonheur Du Jour\u003c\/i\u003e, Hardy was produced by arranger Marcel Hendrix. As well as her own compositions, “L’Amour D’Un Garçon” saw Hardy adapt Burt Bacharach and Hal David’s \"The Love Of A Boy.” In a contemporary interview, she said she would not perform songs where there was no sense of the words touching her intimately. “A song–it is your own story, or it is nothing,” she said.\u003c\/p\u003e\n\u003cp\u003eIt was another year before Hardy’s records were issued in Britain and another year before she started to brush up against the likes of Bob Dylan, The Beatles, and The Stones, but life was changing for the 19-year-old.\u003c\/p\u003e\n\u003cp\u003eHer unique sound would take her far, despite admitting now that she “had no ambition. At the beginning, my ambition was to record something. I thought anything outside France was an impossible dream, but I did what I could to make it come true. It was like a current that carried me.”\u003c\/p\u003e[[Selling Points]]\u003cp\u003e+ First time available in the US\u003cbr\u003e\n+ Restored to the original mono mixes\u003cbr\u003e\n+ Exclusive interview with Françoise Hardy\u003cbr\u003e\n+ Liner Notes by Kieron Tyler\u003cbr\u003e\n+ 180-gram vinyl housed in a deluxe Stoughton jacket\u003c\/p\u003e[[Catalog Number]]FDR615CD[[Artist]]Francoise Hardy","brand":"Future Days Recordings","offers":[{"title":"Le Premier Bonheur Du Jour \/ CD \/ CD","offer_id":32374425256015,"sku":"FDR615CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Le Premier Bonheur Du Jour \/ Vinyl \/ LP Black","offer_id":44065413038325,"sku":"FDR615LP","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1448301149164-l28qq7vmldwy7gb9-87e82ced10ef4a23d47d544dc96c03ce_2FFDR615web.jpg?v=1696119835"},{"product_id":"mon-amie-la-rose","title":"Mon Amie La Rose","description":"[[Release Detail]]\u003cp\u003eBetween 1963 and 1966, Françoise Hardy released one French-language album per year. Each, strictly speaking, was eponymously titled, and each was collected from a series of contemporary four-track, seven-inch, picture-sleeve EPs–pop music’s main format in France, known as le super 45.\u003c\/p\u003e[[Release Description]]\u003cp\u003eBetween 1963 and 1966, Françoise Hardy released one French-language album per year. Each, strictly speaking, was eponymously titled, and each was collected from a series of contemporary four-track, seven-inch, picture-sleeve EPs–pop music’s main format in France, known as le super 45. In them, we see the maturing of one of the decade’s most singular talents–a pop singer with the heart of a chanteuse, a singer-songwriter in an age before such a thing was known, and a style icon who valued privacy and modesty. Remastered from the original tapes, we present the first five Françoise Hardy albums in their original French format, on deluxe LP and CD.\u003c\/p\u003e\n\u003cp\u003eFollowing the French success of 1962’s \u003ci\u003eTous Les Garçons Et Les Filles\u003c\/i\u003e and 1963’s \u003ci\u003eLe Premier Bonheur Du Jour\u003c\/i\u003e, 1964 was the year Hardy went truly international. Having competed in the Eurovision Song Contest and acted in a Roger Vadim film, this was the year Dylan dedicated a poem to her on the sleeve of Another Side and the year she ventured to Britain to record English language songs for the first time.\u003c\/p\u003e\n\u003cp\u003eHardy’s first three French EPs of the year, from which just “Pourtant Tu M’aimes” appears on \u003ci\u003eMon Amie La Rose\u003c\/i\u003e, were largely recorded on home soil with Paris-based arranger Mickey Baker. After the third, Françoise changed tack, abandoned French studios and arrangers, and headed to London’s Pye Studios. She would not record again in France until 1968, instead employing a series of British producers and musicians that even included then-studio guitarist Jimmy Page.\u003c\/p\u003e\n\u003cp\u003e“It was very difficult for me to convince my record company to go to London for the production because my artistic director was having lots of success with very bad arrangements,” she says dryly. “Since they were having success with bad arrangements, they could continue like that.”\u003c\/p\u003e\n\u003cp\u003eHardy got her way and, working with arranger Charles Blackwell, a former protégé of Joe Meek, set about creating a new interpretation of her glacial, existentially yearning music: part pop, part chanson, part soul music. On one hand, she was marrying yearning melodies with lyrics examining feelings of otherness. On the other, she was interpreting the music coming from Britain and America—both that of Phil Spector and country, too. Blackwell was the first arranger with whom Hardy was happy, and Mon Amie La Rose was the first album she thought of as more than an afterthought. “She chose her own songs and was very in control,” says Blackwell. “She was very much a perfectionist.”\u003c\/p\u003e\n\u003cp\u003eAs Hardy’s sound was changing, so was her life; the British were enchanted by her Parisian style and sophistication and didn’t see her as the shy, sad soul that those at home painted her as. A new era was beginning, and Hardy’s music was traveling further than ever.\u003c\/p\u003e[[Selling Points]]\u003cp\u003e+ Restored to the original mono mixes\u003cbr\u003e\n+ Exclusive interview with Françoise Hardy\u003cbr\u003e\n+ Liner Notes by Kieron Tyler\u003cbr\u003e\n+ 180-gram vinyl housed in a deluxe Stoughton jacket\u003cbr\u003e\n+ First time available on CD in the US\u003c\/p\u003e[[Catalog Number]]FDR616CD[[Artist]]Francoise Hardy","brand":"Future Days Recordings","offers":[{"title":"Mon Amie La Rose \/ CD \/ CD","offer_id":32374425321551,"sku":"FDR616CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Mon Amie La Rose \/ Vinyl \/ LP Black","offer_id":32374425354319,"sku":"FDR616LP","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1448300444922-97ko0ixvl4ayk3xr-4505a152726d62a1f4f73ad520d75b1f_2FFDR616web.jpg?v=1696119835"},{"product_id":"l-amitie","title":"L’Amitié","description":"[[Release Detail]]\u003cp\u003eBetween 1963 and 1966, Françoise Hardy released one French-language album per year. Each, strictly speaking, was eponymously titled, and each was collected from a series of contemporary four-track, seven-inch, picture-sleeve EPs–pop music’s main format in France, known as le super 45.\u003c\/p\u003e[[Release Description]]\u003cp\u003eBetween 1963 and 1966, Françoise Hardy released one French-language album per year. Each, strictly speaking, was eponymously titled, and each was collected from a series of contemporary four-track, seven-inch, picture-sleeve EPs–pop music’s main format in France, known as le super 45. In them, we see the maturing of one of the decade’s most singular talents–a pop singer with the heart of a chanteuse, a singer-songwriter in an age before such a thing was known, and a style icon who valued privacy and modesty. Remastered from the original tapes, we present the first five Françoise Hardy albums in their original French format, on deluxe LP and CD.\u003c\/p\u003e\n\u003cp\u003eBy 1965, Françoise Hardy was truly international. She’d hung out with The Beatles and The Stones, played high-profile shows in London, established a working relationship with British producer Charles Blackwell, and appeared in the film What’s New Pussycat? She was also a fashion icon seen in the pages of Marie Claire and Vogue and on the cover of Elle, and her first US album was issued that year.\u003c\/p\u003e\n\u003cp\u003eIn France, Hardy was to release album number four, the second album to be recorded in London, where her celebrity was rapidly growing–at odds with her natural shyness. “In London, it was the first time I’d been made to think I had a certain charm or charisma,” she says now. “Thanks to the time in England, I became aware I could be seductive.” \u003ci\u003eL’Amitié\u003c\/i\u003e, with its evocative, close-up album cover and late-night sound, is the result.\u003c\/p\u003e\n\u003cp\u003eProduced by Jacques Wolfsohn alongside arranger Charles Blackwell, the sessions were notable for some distracting visitors. “Mick Jagger was there a few times with various entourages of his at Pye [Studios],” recalls Blackwell. “There was a long seat in front of the mixing desk where they used to sit.”\u003c\/p\u003e\n\u003cp\u003eHardy was, however, not the epitome of the swinging ‘60s idyll; she was an intellectual, into yoga and Buddhism and astrology, and she still noted French chanson singers George Brassens and Jacques Brel as favorites alongside Elvis, Dionne Warwick, and The Rolling Stones.\u003c\/p\u003e\n\u003cp\u003eDespite her new links to the world of fashion, the tentative steps into film, the growing international awareness, and the attention she brought sheerly through her presence, music remained Françoise’s focus, and her fourth album more than demonstrated this.\u003c\/p\u003e\n\u003cp\u003eA mix of Hardy’s own songs, Blackwell’s songs, and tracks from writers including Jean-Max Rivière and Gérard Bourgeois (who wrote the title track), the sound focused on stirring, heavy pop, not least in the yearning “\u003ci\u003eL’Amitié\u003c\/i\u003e.” “I’m still very proud of ‘\u003ci\u003eL’Amitié\u003c\/i\u003e,’” says Françoise, who’s wont to undervalue her own work. “The French lyrics are so very moving.”\u003c\/p\u003e[[Selling Points]]\u003cp\u003e+ Restored to the original mono mixes\u003cbr\u003e\n+ Exclusive interview with Françoise Hardy\u003cbr\u003e\n+ Liner Notes by Kieron Tyler\u003cbr\u003e\n+ 180-gram vinyl housed in a deluxe Stoughton jacket\u003cbr\u003e\n+ First time available on CD in the US\u003c\/p\u003e[[Catalog Number]]FDR617CD[[Artist]]Francoise Hardy","brand":"Future Days Recordings","offers":[{"title":"L’Amitié \/ CD \/ CD","offer_id":32374425288783,"sku":"FDR617CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"L’Amitié \/ Vinyl \/ LP Black","offer_id":44065412841717,"sku":"FDR617LP","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1448301339245-1mqldivfoclq5mi-460c74ea07cd3f274f1b1eda6451b4af_2FFDR617web.jpg?v=1696119833"},{"product_id":"la-maison-ou-j-ai-grandi","title":"La Maison Ou J’Ai Grandi","description":"[[Release Detail]]\u003cp\u003eBetween 1963 and 1966, Françoise Hardy released one French-language album per year. Each, strictly speaking, was eponymously titled, and each was collected from a series of contemporary four-track, seven-inch, picture-sleeve EPs–pop music’s main format in France, known as le super 45.\u003c\/p\u003e[[Release Description]]\u003cp\u003eBetween 1963 and 1966, Françoise Hardy released one French-language album per year. Each, strictly speaking, was eponymously titled, and each was collected from a series of contemporary four-track, seven-inch, picture-sleeve EPs–pop music’s main format in France, known as le super 45. In them, we see the maturing of one of the decade’s most singular talents–a pop singer with the heart of a chanteuse, a singer-songwriter in an age before such a thing was known, and a style icon who valued privacy and modesty. Remastered from the original tapes, we present the first five Françoise Hardy albums in their original French format, on deluxe LP and CD.\u003c\/p\u003e\n\u003cp\u003eHardy’s fifth album was a collection of English-language recordings. For her next, released in October 1966, the focus was back on her home market in France, where things were changing quickly. Writing much of her own material was no longer a novelty–her future partner, Jacques Dutronc, was doing the same, and artists like Antoine were following Dylan’s lead.\u003c\/p\u003e\n\u003cp\u003e1966 was the year Hardy met Dylan, who demanded an audience with her at his Paris gig and later performed for her at a party. “It was only later that it occurred to me that he was singing ‘I Want You’ because he actually wanted me,” she says. Françoise said Dylan was not part of her world. As \u003ci\u003eLa Maison Ou J’Ai Grandi\u003c\/i\u003e proved, Hardy’s world was perfect and fleshed out and set–five albums in, she had a sound, mood, and feel all her own.\u003c\/p\u003e\n\u003cp\u003eRecorded in London, the hit “La Maison Ou J’Ai Grandi” solidified what Hardy did best: marrying French chanson songs to epic production influenced by Phil Spector, Dusty Springfield, and George Martin; the toweringly powerful “Je Changerais D’avis,” which opens the LP, is a prime example.\u003c\/p\u003e\n\u003cp\u003eThough Hardy had formed a strong working relationship with producer Chris Blackwell, nine of the twelve tracks were arranged by Johnny Harris, known for his work with Petula Clark and Tom Jones. Although the artist and language were French, the album drew from an internationalist, polyglot world–six tracks were penned by Hardy, the remainder cherry-picked from French, British, and Italian songwriters.\u003c\/p\u003e\n\u003cp\u003eAnd despite its varied sources, the album was a cogent artistic statement. Françoise had returned to acoustic sounds like with her earliest songs, accompanying herself on a Spanish guitar, and was reasserting her own vision of her music.\u003c\/p\u003e\n\u003cp\u003eThese were yearning songs delivered with an intimate authority, at odds with the perception of Hardy in Britain and beyond, where she was seen as an ultra-fashionable, ultra-hip Parisian sophisticate, but totally in line with everything she’d ever striven for musically.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eRestored to the original mono mixes\u003c\/li\u003e\n\t\u003cli\u003eExclusive interview with Françoise Hardy\u003c\/li\u003e\n\t\u003cli\u003eLiner Notes by Kieron Tyler\u003c\/li\u003e\n\t\u003cli\u003e180-gram vinyl housed in a deluxe Stoughton jacket\u003c\/li\u003e\n\t\u003cli\u003eFirst time available in the US\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]FDR618CD[[Artist]]Francoise Hardy","brand":"Future Days Recordings","offers":[{"title":"La Maison Ou J’Ai Grandi \/ CD \/ CD","offer_id":32374425419855,"sku":"FDR618CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"La Maison Ou J’Ai Grandi \/ Vinyl \/ LP Black","offer_id":44065413103861,"sku":"FDR618LP","price":21.0,"currency_code":"USD","in_stock":true},{"title":"La Maison Ou J’Ai Grandi \/ Bundle \/ 5CD","offer_id":44065413136629,"sku":"FDRHARDYBUNDLECD","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1448301462688-adtijep70c7919k9-5b29e2675bb4c3430784a48d4a9e8e0e_2FFDR918web.jpg?v=1696119837"},{"product_id":"lee-hazlewoodism-its-cause-and-cure","title":"Lee Hazlewoodism: Its Cause And Cure","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eAvailable Now\u003c\/p\u003e\n\u003cp\u003eThe mid-to-late ’60s were strange days for Lee Hazlewood. Having struck gold as songwriter and vocal foil for Nancy Sinatra, he signed up to \u003cspan class=\"caps\"\u003eMGM\u003c\/span\u003e as an artist in his own right, and between 1966 and 1968, produced three ambitious solo albums that were eclectic, idiosyncratic, and most of all, unpredictable.\u003c\/p\u003e\n\u003cp\u003eIt was a happy time for Lee; his music was hot on the charts, he was fully immersed in his collaboration with his muse, Suzi Jane Hokom.\u003c\/p\u003e\n\u003cp\u003eThe second of his \u003cspan class=\"caps\"\u003eMGM\u003c\/span\u003e trilogy–1967’s peculiarly named \u003cem\u003eLee Hazlewoodism: Its Cause And Cure\u003c\/em\u003e–took on countrified French ye-ye (“The Girls In Paris”), a tale of a young bullfighter built on Spanish guitar and choral cowboys (“Jose”), a string-drenched song about the passing of time (“The Old Man And His Guitar”), and a western epic about a Native American tribe (“The Nights”). And that was just the first four tracks. Elsewhere, the honky tonk madness of “Suzi Jane Is Back In Town,” the Byrds-like jangle of “In Our Time” and–in the bonus tracks–an instrumental named “Batman” confirm this to be one of Hazlewood’s most far-ranging, far-out LPs ever.\u003c\/p\u003e\n\u003cp\u003eIt’s the result of two main factors: ambition–to top Phil Spector, primarily–and cash, which paid for orchestras, plush studios, and the inestimable talents of arranger Billy Strange. “I think the big sound of those records came out of the Spector thing,” says Hokom, in the new liner notes. “If you can have a big sound and you have money to burn… it was a flamboyancy.”\u003c\/p\u003e\n\u003cp\u003eReleased before the \u003cem\u003eNancy \u0026amp; Lee\u003c\/em\u003e LP–a bona fide hit for Reprise Records– \u003cem\u003eHazlewoodism\u003c\/em\u003e was a tougher nut to crack, a record that confused by combining po-faced delivery with unabashed comical touches. By 1967, Hazlewood had founded the \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e imprint, and was busy building his own empire–one we’ve been lovingly archiving for the past few years. We now present this missing link in the story, plus predecessor, \u003cem\u003eThe Very Special World Of Lee Hazlewood\u003c\/em\u003e and follow-up, \u003cem\u003eSomething Special\u003c\/em\u003e. Welcome to Hazlewood’s magnificent–and mad–MGM years.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eAlbum remastered from the original tapes with bonus tracks\u003c\/li\u003e\n\u003cli\u003eLiner notes by Hunter Lea with exclusive interviews and archive photos\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 132[[Artist]]Lee Hazlewood\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Lee Hazlewoodism: Its Cause And Cure \/ CD \/ CD","offer_id":32374425813071,"sku":"LITA132CD","price":14.0,"currency_code":"USD","in_stock":true},{"title":"Lee Hazlewoodism: Its Cause And Cure \/ Vinyl \/ LP Black","offer_id":32374425845839,"sku":"LITA132LP","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1448300502979-uzn0jpoprolmcxr-e22242f47ee19d41b62c1873eaec4b53_2FLITA132web.jpg?v=1696119845"},{"product_id":"something-special","title":"Something Special","description":"[[Release Detail]]\u003cp\u003eThe three years spent on \u003cspan class=\"caps\"\u003eMGM\u003c\/span\u003e Records between 1966 and 1968 were golden ones for Lee Hazlewood.\u003c\/p\u003e[[Release Description]]\u003cp\u003eThe three years spent on \u003cspan class=\"caps\"\u003eMGM\u003c\/span\u003e Records between 1966 and 1968 were golden ones for Lee Hazlewood. He spent them working with his muse, Suzi Jane Hokom, writing a still-unreleased book, \u003cem\u003eThe Quiet Revenge of Elmo Furback\u003c\/em\u003e, competing with Phil Spector from their respective studios, and coming up with the formula for the \"boy\/girl” songs for which he’d become famous. In fact, the unflattering portrait on the cover of \u003cem\u003eSomething Special\u003c\/em\u003e did little to hint at how hip this late-flowering talent (he was in his late 30s when “These Boots Are Made For Walkin’” made him a star songwriter) had become.\u003c\/p\u003e\n\u003cp\u003eThe common strand on the \u003cspan class=\"caps\"\u003eMGM\u003c\/span\u003e trilogy is one of the unexpected happening. They were an ill fit for a major label–experimental, difficult to pigeonhole, and unpredictable. Those descriptors apply nowhere more aptly than \u003cem\u003eSomething Special\u003c\/em\u003e. Where 1966’s \u003cem\u003eThe Very Special World Of Lee Hazlewood\u003c\/em\u003e and 1967’s \u003cem\u003eLee Hazlewoodism: Its Cause And Cure\u003c\/em\u003e had employed an arranger, Billy Strange, and a full orchestra, \u003cem\u003eSomething Special\u003c\/em\u003e stripped things back and brought in a flavor of jazz and blues, complete with gravelly-voiced scatting courtesy of collaborator Don Randi. This sat alongside tracks like “Little War” and “Hands,” the kind of late night, acoustic balladeering Hazlewood would later seize for his career-highlight LP, \u003cem\u003eRequiem For An Almost Lady\u003c\/em\u003e. The sound was that of a stripped-down nightclub jazz\/blues\/folk combo, fully rejecting the psychedelic music going on all over the world.\u003c\/p\u003e\n\u003cp\u003eThe album made clear that forging a career as a serious star was not at the top of Hazlewood’s agenda, and at the third opportunity, he’d let the listener in on the joke. Tellingly, Hokom recalls Hazlewood saying the \u003cspan class=\"caps\"\u003eMGM\u003c\/span\u003e albums were his “expensive demos. I’m sure that \u003cspan class=\"caps\"\u003eMGM\u003c\/span\u003e thought that they would be successful.” Little chance of that with \u003cem\u003eSomething Special\u003c\/em\u003e –it was originally released only in Germany. The same year, Hazlewood founded the \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e imprint, and began building his own empire, one we’ve been lovingly archiving for the past few years. We now present this missing link in the story, three albums that generated some of Hazlewood’s best–and most varied–work.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eAlbum remastered from the original tapes with bonus track\u003c\/li\u003e\n\t\u003cli\u003eLiner notes by Hunter Lea with exclusive interviews and archive photos\u003c\/li\u003e\n\t\u003cli\u003eLP housed in a deluxe gatefold Stoughton tip-on jacket\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]LITA133LP[[Artist]]Lee Hazlewood","brand":"Light in the Attic","offers":[{"title":"Something Special \/ CD \/ CD","offer_id":32374425878607,"sku":"LITA133CD","price":14.0,"currency_code":"USD","in_stock":true},{"title":"Something Special \/ Vinyl \/ LP Black","offer_id":32374425976911,"sku":"LITA133LP","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1448300076562-6dqbe2b4l3y58kt9-ef95004b2da580c2cee245d9a52d6f91_2FLITA133rbg.jpg?v=1696119846"},{"product_id":"zulu-rock","title":"Zulu Rock","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003eIn the course of three albums, Lizzy Mercier Descloux, the rogue poet, artist, and singer-songwriter, traveled on a musical voyage from Manhattan (1979 debut \u003cem\u003ePress Color\u003c\/em\u003e) to The Bahamas (1981 follow-up \u003cem\u003eMambo Nassau\u003c\/em\u003e) and apartheid South Africa (1984’s \u003cem\u003eZulu Rock\u003c\/em\u003e) – a controversial cultural boycott in protest of the nation’s racially divided society.\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eIn the course of three albums, Lizzy Mercier Descloux, the rogue poet, artist, and singer-songwriter, traveled on a musical voyage from Manhattan (1979 debut \u003cem\u003ePress Color\u003c\/em\u003e) to The Bahamas (1981 follow-up \u003cem\u003eMambo Nassau\u003c\/em\u003e) and apartheid South Africa (1984’s \u003cem\u003eZulu Rock\u003c\/em\u003e) – a controversial cultural boycott in protest of the nation’s racially divided society.\u003c\/p\u003e\n\u003cp\u003eOne place Descloux had never visited was the pop charts, but that changed when “Mais Où Sont Passées Les Gazelles? (Where Have The Gazelles Gone?)” – a reworking of a South African Shangaan disco hit – went all the way to the top spot in her native France, giving her a platform and a profile in the land she’d fled many years before. Recorded at Satbel Studios in Johannesburg, the album followed what her mentor Michel Esteban describes as “an extraordinary adventure” through eastern Africa following the footsteps of 19th century poet Rimbaud through Sudan, Ethiopia, the East Coast.\u003c\/p\u003e\n\u003cp\u003eA socially conscious person, Descloux wanted to use her music to draw some attention to the situation in South Africa, even obliquely, but there were musical motivations too – she was tapping into a hot and little-heard dance music in the aforementioned Shangaan disco, Soweto jive and mbaqanga, the style Malcolm McLaren had mined for his mash-up hit “Duck Rock” a year before.\u003c\/p\u003e\n\u003cp\u003eThe music of South Africa seduced, subsumed, and molded Lizzy, who sounds surer and more swinging than ever before throughout \u003cem\u003eZulu Rock\u003c\/em\u003e, but credit must also go to British producer Adam Kidron, then best known for his work with Scritti Politti, who joined Esteban and Descloux for the entire African journey. Lizzy and Adam’s was a battle of wills from the start, but his insistence on getting Lizzy to sing in a more conventional, tuneful way resulted in an emotional, ambitious, creative power struggle that delivered arguably her best vocals yet.\u003c\/p\u003e\n\u003cp\u003eIn Vivien Goldman’s new liner notes for this reissue, Kidron says: “My first impression of Lizzy was that she couldn’t sing but that she had that crazy Madonna, Neneh Cherry, Nina Hagen attitude thing going on and a magical way with words — a marketer’s gift for getting to the essence of a feeling or idea.” And for once, on this album, the marketing did itself.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRemastered from the original tapes\u003c\/li\u003e\n\u003cli\u003eEssay by “Punk Professor” Vivien Goldman, interviewing key players\u003c\/li\u003e\n\u003cli\u003eLP includes download card for full album + 5 bonus tracks\u003c\/li\u003e\n\u003cli\u003eCD includes full album plus 6 bonus tracks\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 138[[Artist]]Lizzy Mercier Descloux\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Zulu Rock \/ CD \/ CD","offer_id":32374425944143,"sku":"LITA138CD","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Zulu Rock \/ Vinyl \/ LP Black","offer_id":32374426009679,"sku":"LITA138LP","price":20.0,"currency_code":"USD","in_stock":true},{"title":"Zulu Rock \/ Vinyl \/ LP Color","offer_id":44065413497077,"sku":"LITA138LP-ONLINE","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1449099499330-cjdthp5jg1xos9k9-ff1610826c9c5d8293a35e523a37cc9c_2FLizzy_LITA138_LPOutside.jpg?v=1696119849"},{"product_id":"one-for-the-soul","title":"One For The Soul","description":"[[Release Detail]]\u003cp\u003eteBy the time poet, singer-songwriter, and artist Lizzy Mercier Descloux recorded 1984’s \u003cem\u003eZulu Rock\u003c\/em\u003e, she’d marked herself out as both a globe trotter with more passport stamps than Tintin and a musical innovator whose loose, arty spirit could be applied to styles as varied as no wave, Bavarian oompa and Soweto jive.\u003c\/p\u003e[[Release Description]]\u003cp\u003eBy the time poet, singer-songwriter, and artist Lizzy Mercier Descloux recorded 1984’s \u003cem\u003eZulu Rock\u003c\/em\u003e, she’d marked herself out as both a globe trotter with more passport stamps than Tintin and a musical innovator whose loose, arty spirit could be applied to styles as varied as no wave, Bavarian oompa and Soweto jive. She’d also established a tight-knit threesome with muse\/former lover Michel Esteban and producer\/on-off lover Adam Kidron, who all reunited to follow \u003cem\u003eZulu Rock\u003c\/em\u003e – a surprise hit in her native France – with something that, once again, represented a complete about-turn.\u003c\/p\u003e\n\u003cp\u003eThe location, this time, was Rio De Janeiro, a suitably exotic location to follow their sojourn in Soweto given that Brazil had recently emerged from twenty years of dictatorship. But unlike \u003cem\u003eZulu Rock\u003c\/em\u003e‘s broad appropriation of the local sound, \u003cem\u003eOne For The Soul\u003c\/em\u003e borrows very liberally from Brazilian culture. The aim, says Kidron, was to “reimagine the blues”, but Lizzy’s musical essence was in flux. “A Word Is A Wah\" meshes reggae with her beloved accordion, “Women Don’t Like Me” is wild, new wave pop, and she even wanders into soul territory, with whispery lounge versions of Al Green’s “Simply Beautiful”. Most notable is the album’s foray into jazz, and the fact that Chet Baker, the master jazz trumpeter, blew his last on “Fog Horn Blues” and the sensuous “Off Off Pleasure”.\u003c\/p\u003e\n\u003cp\u003eRio was to be the last great hurrah of Lizzy and Michel’s global recording adventures, and although work proceeded apace, the experience was often quite tense. \"The sessions were tough work,” says Kidron, in the new liner notes by Vivien Goldman accompanying this deluxe reissue. “Lizzy never quite got singing, no matter how much she drank, and no matter how hard she tried. Chet was very much at the drug-ravaged end of his life and had very little stamina or dexterity left… but there is a deep, sad, lyrical tone to his performances on the album.”\u003c\/p\u003e\n\u003cp\u003eSo fraught were the sessions, it’s a miracle that such a cohesive, sparky record emerged. The record-buying public did not agree, and as the album crashed and burned, so did the relationship between its three heroes. Lizzy was, for the first time, about to take on the world alone – and there was but one album left in her.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eRemastered from the original tapes\u003c\/li\u003e\n\t\u003cli\u003eEssay by “Punk Professor” Vivien Goldman, interviewing key players\u003c\/li\u003e\n\t\u003cli\u003eLP Includes download card for full album + 2 bonus tracks\u003c\/li\u003e\n\t\u003cli\u003eCD includes full album plus 6 bonus tracks\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]LITA139LP[[Artist]]Lizzy Mercier Descloux","brand":"Light in the Attic","offers":[{"title":"One For The Soul \/ CD \/ CD","offer_id":32374426075215,"sku":"LITA139CD","price":10.0,"currency_code":"USD","in_stock":true},{"title":"One For The Soul \/ Vinyl \/ LP Black","offer_id":32374426107983,"sku":"LITA139LP","price":20.0,"currency_code":"USD","in_stock":true},{"title":"One For The Soul \/ Vinyl \/ LP Color","offer_id":44065413366005,"sku":"LITA139LP-ONLINE","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1447715781698-p943h0oudwy7gb9-a268b97757badb2cbb051648cd69dbc0_2FLizzy_LITA139_LPOutside.jpg?v=1696119842"},{"product_id":"mambo-nassau","title":"Mambo Nassau","description":"[[Release Detail]]\u003cp\u003eAfter 1979’s Press Color – reissued by Light In The Attic – Lizzy Mercier Descloux went tropical. \u003cem\u003eMambo Nassau\u003c\/em\u003e, released in 1981 on ZE Records, saw the vagabond Parisian poet, artist and musician decamp from New York to the Bahamas with her manager and sometime lover, Michel Esteban.\u003c\/p\u003e[[Release Description]]\u003cp\u003eAfter 1979’s Press Color – reissued by Light In The Attic – Lizzy Mercier Descloux went tropical. \u003cem\u003eMambo Nassau\u003c\/em\u003e, released in 1981 on ZE Records, saw the vagabond Parisian poet, artist and musician decamp from New York to the Bahamas with her manager Michel Esteban.\u003c\/p\u003e\n\u003cp\u003eThe effect on her music was not as expected. \u003cem\u003ePress Color\u003c\/em\u003e had been an album of dissonant, distorted disco influenced by the New York no wave scene, but Chris Blackwell’s Compass Point Studios provided a hermetically sealed environment into which the island’s relaxed atmosphere did not seep. Instead, music from within those four walls – made by Tom Tom Club and Grace Jones – had the effect of a feedback loop. The album, meanwhile, reflected the growing confidence of Descloux as a musician, an increasing interest in African music and the input of two new collaborators: synthesizer innovator Wally Badarou and Jamaican engineer Steve Stanley, the album’s de facto producer.\u003c\/p\u003e\n\u003cp\u003e“Since 1975, we had spent seven years in New York and it felt like the end of a cycle,” says Esteban, who co-founded ZE Records, on which label Descloux’s first album was released. “We wanted to get out of Manhattan and move towards Africa. We needed new adventures and change. \u003cem\u003eMambo Nassau\u003c\/em\u003e was our next stage.”\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMambo Nassau\u003c\/em\u003e’s skip through styles is like a tour of Lizzy’s musical \u003cspan class=\"caps\"\u003eDNA\u003c\/span\u003e, embracing mutant funk, disco and punk.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMambo Nassau\u003c\/em\u003e did speak to the mavericks enamored of Lizzy’s free spirit but it did not sell well. “We never were commercial,” notes Esteban. The album is presented now with bonus tracks including “Mister Soweto”, “Corpo Molli Pau Duro” and a cover of Bob Marley’s “Sun Is Shining”, all of which were intended to help score a record deal that would allow her to record in Soweto, South Africa. It worked. With the follow-up, \u003cem\u003eZulu Rock\u003c\/em\u003e, on the horizon, Descloux’s African adventure was only just beginning…\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eRemastered from the original tapes\u003c\/li\u003e\n\t\u003cli\u003eEssay by “Punk Professor” Vivien Goldman, interviewing key players\u003c\/li\u003e\n\t\u003cli\u003eLP Includes download card for full album + 6 bonus tracks\u003c\/li\u003e\n\t\u003cli\u003eCD includes full album plus 6 bonus tracks\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]LITA137LP[[Artist]]Lizzy Mercier Descloux","brand":"Light in the Attic","offers":[{"title":"Mambo Nassau \/ CD \/ CD","offer_id":32374426042447,"sku":"LITA137CD","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Mambo Nassau \/ Vinyl \/ LP Black","offer_id":44065413300469,"sku":"LITA137LP","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Mambo Nassau \/ Vinyl \/ LP Color","offer_id":44065413333237,"sku":"LITA137LP-ONLINE","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1447714615098-lan0ey2g3xlayvi-8cbf9ff9491ab8e5f4f230ef38b7345c_2FLizzy_LITA137_LPOutside.jpg?v=1696119842"},{"product_id":"suspense","title":"Suspense","description":"[[Release Detail]]\u003cp\u003eBy the time bohemian singer\/poet\/artist Lizzy Mercier Descloux recorded her fifth album, 1988’s \u003cem\u003eSuspense\u003c\/em\u003e, she’d enjoyed a recording career that was as far from the clichés of music lore as is possible, flitting between genres, continents and collaborators, enjoying great success and equally great failure and even stealing the final breaths of master trumpeter Chet Baker for 1986’s \u003cem\u003eOne For The Soul\u003c\/em\u003e.\u003c\/p\u003e[[Release Description]]\u003cp\u003eBy the time bohemian singer\/poet\/artist Lizzy Mercier Descloux recorded her fifth album, 1988’s \u003cem\u003eSuspense\u003c\/em\u003e, she’d enjoyed a recording career that was as far from the clichés of music lore as is possible, flitting between genres, continents and collaborators, enjoying great success and equally great failure and even stealing the final breaths of master trumpeter Chet Baker for 1986’s \u003cem\u003eOne For The Soul\u003c\/em\u003e. When she came to make \u003cem\u003eSuspense\u003c\/em\u003e – reissued here as the final album in our series – she was, for the first time, working without her longtime muse, partner and manager Michel Esteban, with whom she’d first moved from their native France to New York, where it all began.\u003c\/p\u003e\n\u003cp\u003eThe pressure was on to repeat the success of “Mais Où Sont Passées Les Gazelles”, a smash hit in France, and Descloux’s label were keen to make a conventional artist of her, pairing her with John Brand, an in-vogue producer with a style geared to a big, shiny 1980s chart sound—an approach Lizzy had never experienced before, nor intended to. Recorded in Oxfordshire and Wales, it features songs recorded in both French and English, with lyrics by Mark Cunningham, the trumpet player of the avant-garde band \u003cspan class=\"caps\"\u003eMARS\u003c\/span\u003e, and James Reyne, the Australian artist who co-wrote much of \u003cem\u003eOne For The Soul\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eIn Vivien Goldman’s new liner notes, Esteban notes that \u003cem\u003eSuspense\u003c\/em\u003e sounds “less Lizzy than the other records, less open,” but in splitting herself into two – English and Francophone – the album has two personalities too; oddly, it shines a light on the real Descloux that her cultural experiments never did.\u003c\/p\u003e\n\u003cp\u003eThough the initial aim was to make a folky, acoustic album, the pop sound suited the singer, and “A Room In New York” is as fine and sparky as \u003cspan class=\"caps\"\u003eAOR\u003c\/span\u003e gets. But when early single “Gueule D’Amour\/Cry of Love” stiffed, \u003cspan class=\"caps\"\u003eEMI\u003c\/span\u003e lost confidence and buried the LP. Bound by her contract to the label, Descloux moved away from music and focused on painting. She eventually settled in Corsica, the French island, where she died, aged 48, of cancer. Descloux’s musical career ended, therefore, with the aptly titled \u003cem\u003eSuspense\u003c\/em\u003e. It was only a matter of time before this furiously creative artist’s work was re-evaluated, and with these deluxe reissues, that time is now.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eRemastered from the original tapes\u003c\/li\u003e\n\t\u003cli\u003eEssay by “Punk Professor” Vivien Goldman, interviewing key players\u003c\/li\u003e\n\t\u003cli\u003eLP Includes download card for full album + 6 bonus tracks\u003c\/li\u003e\n\t\u003cli\u003eCD includes full album plus 6 bonus tracks\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]LITA140LP[[Artist]]Lizzy Mercier Descloux","brand":"Light in the Attic","offers":[{"title":"Suspense \/ CD \/ CD","offer_id":32374426140751,"sku":"LITA140CD","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Suspense \/ Vinyl \/ LP Black","offer_id":32374426173519,"sku":"LITA140LP","price":20.0,"currency_code":"USD","in_stock":true},{"title":"Suspense \/ Vinyl \/ LP Color","offer_id":44065413398773,"sku":"LITA140LP-ONLINE","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1449099573353-q4c4lef4cevu0udi-a51b1e8d995ee755221c08f83a6aaca5_2FLizzy_LITA140_LPOutside.jpg?v=1696119844"},{"product_id":"omni-sight-seeing-lita-171","title":"Omni Sight Seeing","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\" size=\"+2\"\u003e\u003cstrong\u003eNot Available to Customers Outside U.S.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFirst ever vinyl release\u003c\/li\u003e\n\u003cli\u003eTranslated interview with Haruomi Hosono\u003c\/li\u003e\n\u003cli\u003eLP housed in a deluxe gatefold jacket \u0026amp; limited to 1500 copies\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/RsD_iVrLETI\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eThe unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter, and producer. Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with \u003cem\u003eHosono House\u003c\/em\u003e, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom. Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (\u003cspan class=\"caps\"\u003eYMO\u003c\/span\u003e), who made their debut in 1978.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eOmni Sight Seeing\u003c\/em\u003e, originally released in 1989 during YMO’s initial hiatus, is an exhilarating musical journey around the world as filtered through Hosono’s kaleidoscopic lens. This work stands as a manifestation of his concept of “Sight Seeing Music,” putting his own tasteful spin on the “world” music encountered during his explorations of global cultures. From Japanese minyo and Algerian rai to American swing jazz and the self-described, extraterrestrial “Ether music,” his eclectic influences coalesce into a sound that is unmistakably Hosono’s, and many consider this album to be the perfect summation of his mastery of pop music forms. Partly recorded in Paris with assistance from producer Martin Meissonnier (Don Cherry, Fela Kuti) and contributions from French-Tunisian singer Amina, O\u003cem\u003emni Sight Seeing\u003c\/em\u003e includes the mysterious “Orgone Box” (inspired by Wilhelm Reich and Steve Reich), the acid house “Laugh-Gas” (inspired by Rococo and the French Revolution) and the serene fan favorite “Pleocene” (conveying an “oceanic feeling”).\u003c\/p\u003e\n\u003cp\u003eAdmired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]][[Catalog Number]]LITA 171[[Artist]]Haruomi Hosono\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"omni Sight Seeing (LITA 171) [SOLD OUT] \/ CD \/ CD","offer_id":32374426861647,"sku":"LITA171CD","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/products\/tmp_2F1523649396953-gvnr0nara0i-86805ae52e9a46831721e43a8583e02c_2FLITA171_HDCOVER.jpg?v=1592969876"},{"product_id":"stone-roses","title":"Stone Roses","description":"[[Release Detail]]\u003cp\u003eReleased in 1989, \u003cem\u003eThe Stone Roses\u003c\/em\u003e was a fusion of rock music and the nascent rave scene in the group’s native Manchester. For a period of a few years, the industrial English city that gave us Joy Division, The Fall, and The Smiths was home to a drug-fuelled, club-based scene that earned the town a new nickname–Madchester. Falling squarely in that point of transition, The Stone Roses created guitar music that made people dance, fostering the baggy scene that paved the way to Britpop and Manchester’s next mega band, Oasis.\u003c\/p\u003e[[Release Description]]\u003cp\u003eSome albums hold the blueprint for something bigger than can be contained on twelve inches of vinyl; the self-titled debut album by The Stone Roses is one of them. Despite clocking in at less than fifty minutes long, it’s a record that shaped the next two-and-a-half decades of British music.\u003c\/p\u003e\n\u003cp\u003eReleased in 1989, \u003cem\u003eThe Stone Roses\u003c\/em\u003e was a fusion of rock music and the nascent rave scene in the group’s native Manchester. For a period of a few years, the industrial English city that gave us Joy Division, The Fall, and The Smiths was home to a drug-fuelled, club-based scene that earned the town a new nickname–Madchester. Falling squarely in that point of transition, The Stone Roses created guitar music that made people dance, fostering the baggy scene that paved the way to Britpop and Manchester’s next mega band, Oasis.\u003c\/p\u003e\n\u003cp\u003eThe Stone Roses were the full package: they had the tough demeanor and insular mentality of any group of friends from a rugged city, they had a unique look comprised of bucket hats, Adidas sportswear, baggy jeans, and oversized T-shirts, and they talked a mean fight in interviews. But musically they were groaning with talent–Gary ‘Mani’ Mounfied (bass) and Alan ‘Reni’ Wren (drums) made complex rhythms seem effortless, guitarist John Squire could give his beloved Jimmy Page a run for his money, and frontman Ian Brown balanced punk sensibility and hippy mentality.\u003c\/p\u003e\n\u003cp\u003eIn the UK, the album is the stuff of legend, its cover still seen on T-shirts in any given gig venue. Around the world, its influence was less tangible, most likely due to the fact that the group was hamstrung by a legal wrangle with the Silvertone label following the album’s release.\u003c\/p\u003e\n\u003cp\u003eMusically, it’s a mix of the grandiose and the intimate, containing songs so forceful and emotive they’ve become terrace anthems (“This Is The One” is Manchester United’s walk-on music) alongside introspective tracks like the anti-monarchy madrigal \"Elizabeth My Dear.” In “Waterfall,” there are cascading guitar lines that describe its title like musical onomatopoeia, and in “Made Of Stone” and “She Bangs The Drum,” there are perfect pop songs too. Most significantly, there are songs in which the band etch their own myth in earth-rumbling basslines and grandiose statements: “I Wanna Be Adored,” which opens the album, and “I Am The Resurrection,” which closes.\u003c\/p\u003e\n\u003cp\u003eReissued on Light In The Attic on deluxe double-vinyl, this is your chance to discover the album for the first time or to own it in its most beautiful presentation yet.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eSecond pressing Black Vinyl\u003c\/li\u003e\n\t\u003cli\u003eRemastered from the original tapes\u003c\/li\u003e\n\t\u003cli\u003eTracklist is the same as the original 1989 UK Edition\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]MCR914[[Artist]]Stone Roses","brand":"Modern Classics Recordings","offers":[{"title":"Stone Roses \/ Vinyl \/ 2LP Black","offer_id":32374427844687,"sku":"MCR914","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1420573049348-s4rvbej6l5g919k9-e0b7ea9049dbb04b796f7811c3583366_2FMCR914.jpg?v=1696119829"},{"product_id":"the-very-special-world-of-lee-hazlewood","title":"The Very Special World Of Lee Hazlewood","description":"[[Release Detail]]\u003cp\u003eLee Hazlewood was a late bloomer. Following a meandering career as a disc jockey, producer, songwriter, label executive and solo artist, Hazlewood hit the jackpot at the ripe age of 37 with “These Boots Are Made For Walkin’,” the song Nancy Sinatra took to the top of the charts on both sides of the Atlantic.\u003c\/p\u003e[[Release Description]]\u003cp\u003eLee Hazlewood was a late bloomer. Following a meandering career as a disc jockey, producer, songwriter, label executive and solo artist, Hazlewood hit the jackpot at the ripe age of 37 with “These Boots Are Made For Walkin’,” the song Nancy Sinatra took to the top of the charts on both sides of the Atlantic. Its success convinced \u003cspan class=\"caps\"\u003eMGM\u003c\/span\u003e Records that Hazlewood was a bankable star, and they signed him as an artist in his own right the same year. But as a self-described “non-singer” whose cult 1963 debut, \u003cem\u003eTrouble Is A Lonesome Town\u003c\/em\u003e, was little more than a happy accident, they’d perhaps gotten the wrong end of the stick where Lee was concerned.\u003c\/p\u003e\n\u003cp\u003eIn three years on the label, Hazlewood delivered three albums and sundry odds and ends, beginning with 1966 album \u003cem\u003eThe Very Special World Of Lee Hazlewood\u003c\/em\u003e. The LP found Hazlewood gunning–in as much as he ever did–for commercial success, blending country, pop, novelty, mariachi, and lounge music into something unusually of-the-moment.\u003c\/p\u003e\n\u003cp\u003eLushly orchestrated and–like the album that preceded it–half-sung, half-spoken in a way that Hazlewood made all his own, the album collected solo versions of songs made famous by Sinatra and others (“Sand,” “Boots,” “So Long Babe,” “Summer Wine”–included as a bonus duet with Suzi Jane Hokom) alongside some of his career-best solo compositions, among them the Morricone-like opener, “For One Moment.” It’s a record of extremes: “When A Fool Loves A Fool” is as light and throwaway as anything he ever laid down, while the wistful “My Autumn’s Done Come” (sample lyric: “Let those I-don’t-care days come in, I’m tired of holding my stomach in”) is as raw and honest.\u003c\/p\u003e\n\u003cp\u003eDespite MGM’s best efforts, Hazlewood proved difficult to market without a Sinatra to temper his baritone drawl, and you’d suspect Hazlewood wasn’t taking it quite as seriously as they might have hoped anyway. By 1967, Hazlewood had founded the \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e imprint and was busy building his own empire–one we’ve been lovingly archiving for the past few years. We now present this missing link in the story, plus follow-ups \u003cem\u003eLee Hazlewoodism: Its Cause and Cure\u003c\/em\u003e (1967) and \u003cem\u003eSomething Special\u003c\/em\u003e (1968). Welcome, then, to Hazlewood’s magnificent \u003cspan class=\"caps\"\u003eMGM\u003c\/span\u003e years.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eAlbum remastered from the original tapes with bonus track\u003c\/li\u003e\n\t\u003cli\u003eLiner notes by Hunter Lea with exclusive interviews and archive photos\u003c\/li\u003e\n\t\u003cli\u003eLP housed in a deluxe gatefold Stoughton tip-on jacket\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]LITA131LP[[Artist]]Lee Hazlewood","brand":"Light in the Attic","offers":[{"title":"The Very Special World Of Lee Hazlewood \/ Vinyl \/ LP Black","offer_id":32374431055951,"sku":"LITA131LP","price":19.0,"currency_code":"USD","in_stock":true},{"title":"The Very Special World Of Lee Hazlewood \/ CD \/ CD","offer_id":44065413464309,"sku":"LITA131CD","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1448300584058-1nt27m0amiqc9pb9-7f9c3020d784c0b7d7645ab83928749e_2FLITA131web.jpg?v=1696119842"},{"product_id":"turns-into-stone","title":"Turns Into Stone","description":"[[Release Detail]]\u003cp\u003eThe album’s provenance speaks nothing of its quality: here can be found some of the greatest songs the four-piece ever recorded, from their poppets single, “Elephant Stone,” to the towering “One Love” and the anthemic “Fools Gold,” the track on which their hybrid of atmospheric indie and acid house found its most perfect balance. It’s the track that allowed the group’s rhythm section of Gary ‘Mani’ Mounfied (bass) and Alan ‘Reni’ Wren (drums) to shine and the one that gave them cred beyond the indie scene–Run \u003cspan class=\"caps\"\u003eDMC\u003c\/span\u003e sampled it on 1990’s “What’s It All About?”\u003c\/p\u003e[[Release Description]]\u003cp\u003eAvailable June 16, 2015\u003c\/p\u003e\n\u003cp\u003eYou can tell a lot about a band by the songs they leave off their albums. Manchester’s Stone Roses released just two albums–the self-titled 1989 debut and, five years later, the follow-up, Second Coming. But those albums tell only part of the story. The missing bits can be found on Turns Into Stone, originally released in 1992 and scooping up early singles and B-sides that didn’t appear on the debut album.\u003c\/p\u003e\n\u003cp\u003eThe album’s provenance speaks nothing of its quality: here can be found some of the greatest songs the four-piece ever recorded, from their poppets single, “Elephant Stone,” to the towering “One Love” and the anthemic “Fools Gold,” the track on which their hybrid of atmospheric indie and acid house found its most perfect balance. It’s the track that allowed the group’s rhythm section of Gary ‘Mani’ Mounfied (bass) and Alan ‘Reni’ Wren (drums) to shine and the one that gave them cred beyond the indie scene–Run \u003cspan class=\"caps\"\u003eDMC\u003c\/span\u003e sampled it on 1990’s “What’s It All About?”\u003c\/p\u003e\n\u003cp\u003eQuite why The Stone Roses chose not to put these songs on an album is a mystery, but Turns Into Stone itself was controversial at the time. In a protracted battle with record label Silvertone, the band were unable to release any new material for several years due to an injunction against them, and Turns Into Stone was released without input from the band–unlike the majority of their releases, it boasts no cover art from the guitarist, painter and sculptor John Squire.\u003c\/p\u003e\n\u003cp\u003eThe title is taken from the closing line in “One Love”–“What goes up must come down\/Turns into dust or turns into stone.” The lyric proved prescient for The Stone Roses who split acrimoniously following the divisive Second Coming and a poorly received performance at the UK’s influential Reading Festival. It took eighteen years for the group to reunite, and when they did, they played to 220,000 people in three nights at Manchester’s Heaton Park.\u003c\/p\u003e\n\u003cp\u003eFor a time, relations between the band did indeed turn to dust. The band’s legacy, which lives on in those three albums, is rock solid.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eSecond pressing Black Vinyl\u003c\/li\u003e\n\t\u003cli\u003eRemastered from the original tapes\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]MCR915[[Artist]]Stone Roses","brand":"Modern Classics Recordings","offers":[{"title":"Turns Into Stone \/ Vinyl \/ 2LP Black","offer_id":32374431318095,"sku":"MCR915","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1420580358837-46w4u0snbvivbo6r-9d51d749f614f732d35cb100f2edb01f_2FMCR915.jpg?v=1696119833"},{"product_id":"heaven-earth","title":"Heaven\/Earth","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eListen to The Free Design’s acclaimed third album, \u003cem\u003eHeaven\/Earth\u003c\/em\u003e, to experience a sound that has awed the in-the-know for more than three decades. The New York-based family band – siblings Bruce, Chris, Sandy \u0026amp; younger sister Ellen – recorded \u003cem\u003eHeaven\/Earth\u003c\/em\u003e in 1969 for acclaimed producer Enoch Light’s Project 3 label. The album is quintessential Free Design with “a sweet sound that caressed the aural taste buds and floated deliciously,” in the words of rock historian Kingsley Abbott, “daring listeners to follow it.” Chris Dedrick’s imaginative lyrics of both innocence and irony, and the band’s tight vocals and dreamy enthusiasm, shine on “2002 – A Hit Song,” “Dorian Benediction,” and the album’s other delights.\u003c\/p\u003e\n\u003cp\u003eThe Free Design, those oft-overlooked legends of ‘60s soft pop, drew inspiration from such diverse musicians as Duke Ellington and The Mamas \u0026amp; The Papas. Today, with its sweet harmonies and even sweeter lyrics, The Free Design inspires such diverse musicians as Belle \u0026amp; Sebastian and Jurassic 5. Listen to the band’s acclaimed third album, \u003cem\u003eHeaven\/Earth\u003c\/em\u003e, to experience a sound that has awed the in-the-know for more than three decades. The New York-based family band – siblings Bruce, Chris, Sandy \u0026amp; younger sister Ellen – recorded \u003cem\u003eHeaven\/Earth\u003c\/em\u003e in 1969 for acclaimed producer Enoch Light’s Project 3 label. The album is quintessential Free Design with “a sweet sound that caressed the aural taste buds and floated deliciously,” in the words of rock historian Kingsley Abbott, “daring listeners to follow it.” Chris Dedrick’s imaginative lyrics of both innocence and irony, and the band’s tight vocals and dreamy enthusiasm, shine on “2002 – A Hit Song,” “Dorian Benediction,” and the album’s other delights.\u003c\/p\u003e\n\u003cp\u003eAs a special treat and for the first time on CD, fans will finally be able to enjoy a couple bonus tracks from the Project 3 archives: Ellen Dedrick’s 1969 solo 45.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFirst Time on CD in U.S.!\u003c\/li\u003e\n\u003cli\u003e24-Bit Remastered\u003c\/li\u003e\n\u003cli\u003e1st Vinyl Reissue\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eNew Liner notes by Kingsley Abbott and Peter Yarrow (Peter, Paul \u0026amp; Mary)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog 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MP3\/320","offer_id":32398401503311,"sku":"1376T\/MP3","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Settlement Boy \/ track \/ FLAC","offer_id":32398401536079,"sku":"1376T\/FLAC","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Settlement Boy \/ track \/ WAV","offer_id":32398401568847,"sku":"1376T\/WAV","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Heaven\/Earth \/ CD \/ CD","offer_id":32398423064655,"sku":"LITA005CD","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/1969heavenearth.jpg?v=1696119790"},{"product_id":"some-velvet-morning-b-w-tired-of-waiting-for-you","title":"Some Velvet Morning b\/w Tired Of Waiting For You","description":"[[Release Detail]][[Release Description]]\n\u003cp\u003eLight in the Attic Records is proud to honor the enduring legacy of singer, actress, activist, and cultural icon Nancy Sinatra, who recently entered her eighth decade and sixth as a worldwide household name and a force for positive cultural change both at home and abroad. \u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e will pay homage to Sinatra’s pioneering music career with a selection of archival releases and full-album reissues throughout 2021 and beyond.\u003c\/p\u003e\n\u003cp\u003eLITA’s Nancy Sinatra Archival Series will kicked off on Black Friday 2020 with a limited edition 7” single featuring one of the 20th century’s greatest recordings, “Some Velvet Morning” on the A-side, while the flip includes a cover of The Kinks’ classic “Tired Of Waiting For You.” Stay tuned for much more to follow, including a definitive new collection entitled \u003cem\u003eStart Walkin’ 1965–1976\u003c\/em\u003e, available as of 2021.\u003c\/p\u003e\n[[Selling Points]]\n\u003cul\u003e\n\u003cli\u003e2020 Record Store Day \/ Black Friday Exclusive Release\u003c\/li\u003e\n\u003cli\u003eLimited to 2,000 copies\u003c\/li\u003e\n\u003cli\u003eTwo classics recorded with The Wrecking Crew in 1967 and 1968\u003c\/li\u003e\n\u003cli\u003eNewly remastered from the original analog tapes\u003c\/li\u003e\n\u003cli\u003eFirst time on vinyl for “Tired Of Waiting For You”\u003c\/li\u003e\n\u003cli\u003ePressed on splattered color wax (images are mock-ups and subject to change)\u003c\/li\u003e\n\u003c\/ul\u003e\n[[Catalog Number]]LITA 45-052[[Artist]]Nancy Sinatra","brand":"Light in the Attic","offers":[{"title":"Some Velvet Morning b\/w Tired Of Waiting For You \/ Vinyl \/ 7” Black","offer_id":43347812876533,"sku":"LITA 45-052","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1601929397064-7bs592kr34p-8b978a267da1378590fe732865ac4723_2F826853455275.jpg?v=1696119880"},{"product_id":"start-walkin-1965-1976-deluxe-bundles","title":"Start Walkin’ 1965–1976 Deluxe Bundles (DEACTIVATED)","description":"[[Release Detail]][[Release Description]]\n\u003cp\u003eLight In The Attic Records is proud to present\u003cem\u003e Nancy Sinatra: Start Walkin’ 1965–1976\u003c\/em\u003e. The definitive new collection surveys Sinatra’s most prolific period over 1965–1976, including her revered collaborations with Lee Hazlewood (over 23 tracks!).\u003c\/p\u003e\n\u003cp\u003eRemastered from the original analog tapes by GRAMMY®–nominated engineer John Baldwin, the collection is complemented by liner notes penned by Amanda Petrusich (author and music critic at The New Yorker), featuring insightful new interviews with Sinatra, as well as a Q\u0026amp;A with archivist and GRAMMY®–nominated reissue co-producer, Hunter Lea. The CD edition comes housed in a 7”x7” hardcover book (featuring 64–pages) and the two-disc vinyl set is presented in a gatefold jacket (featuring a 24–page booklet).\u003c\/p\u003e\n\u003cp\u003eNancy’s performance of the Lee Hazlewood–penned song “These Boots Are Made for Walkin’” was a huge hit in 1966 and became her signature tune. The pair began a three year run of successful albums, duets, and singles including “Sugar Town,” “Some Velvet Morning,” “Summer Wine,” “Sand,” “Jackson,” and the title track to the 1967 James Bond film “You Only Live Twice.”\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eStart Walkin’\u003c\/em\u003e explores Nancy’s recordings with Lee, her inspired collaborations with songwriter Mac Davis (“Hello L.A., Bye Bye Birmingham”), producer Lenny Waronker (“Hook and Ladder”), and the “should’ve-been-hit” song with arranger\/producer Billy Strange (“How Are Things In California.”)\u003c\/p\u003e\n\u003cp\u003eOver the years, she has been cited as an influence by countless artists including Sonic Youth, Morrissey, Calexico, U2, and Lana Del Rey. Her haunting song “Bang, Bang” gained a new legion of fans when it appeared in the opening credits of Quentin Tarantino’s 2003 film, \u003cem\u003eKill Bill Volume 1\u003c\/em\u003e.\u003c\/p\u003e\n[[Selling Points]]\n\u003cul\u003e\n\u003cli\u003eDefinitive compilation spans solo recordings, rarities, and duets with Lee Hazlewood\u003c\/li\u003e\n\u003cli\u003eNewly remastered from the original analog tapes by GRAMMY®–nominated engineer John Baldwin\u003c\/li\u003e\n\u003cli\u003eNew interviews with the legendary singer, actress, and activist, Nancy Sinatra\u003c\/li\u003e\n\u003cli\u003eExtensive essay by Amanda Petrusich\u003c\/li\u003e\n\u003cli\u003eQ\u0026amp;A interview with Nancy \u0026amp; GRAMMY®–nominated reissue co-producer, Hunter Lea\u003c\/li\u003e\n\u003cli\u003eNever-before-seen photos from Nancy Sinatra’s personal archive\u003c\/li\u003e\n\u003cli\u003eDeluxe CD housed in 7”x7” hardcover book w\/ 64–pg booklet\u003c\/li\u003e\n\u003cli\u003eBeautifully packaged Double LP (pressed at \u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e) featuring a 24–pg book\u003c\/li\u003e\n\u003cli\u003eImages are mock-ups and subject to change\u003cbr\u003e \u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eLP Bundle includes Online Color Edition – Summer Wine Sunburst Orange, Nancy Sinatra 2021 Calendar, and a signed 8×10 glossy (limited to 100)\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCD Bundle includes CD, Nancy Sinatra 2021 Calendar, and a signed 8×10 glossy (limited to 100)\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n[[Catalog Number]]LITA 195[[Artist]]Nancy Sinatra","brand":"Light in the Attic","offers":[{"title":"Start Walkin’ 1965–1976 Deluxe Bundles \/ Vinyl \/ Bundle","offer_id":43347813040373,"sku":"LITA195-1-DLXB-A","price":100.0,"currency_code":"USD","in_stock":true},{"title":"Start Walkin’ 1965–1976 Deluxe Bundles \/ Bundle \/ Bundle","offer_id":43347813073141,"sku":"LITA195-2-DLXB-A","price":80.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1603225988000-0f49gda6imes-b30099d31514948c5c1c911612f08701_2Fnancy_lpBundle_1.png?v=1696119883"},{"product_id":"lee-hazlewood-the-lhi-years-singles-nudes-backsides-1968-71","title":"Lee Hazlewood - The LHI Years: Singles, Nudes, \u0026 Backsides (1968-71)","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003eAs a true legend of the great American songbook and a rebellious pioneer who left behind a lengthy trail of echo laden pop masterpieces, Lee Hazlewood’s influence continues to reverberate today. Between 1968-71, Hazlewood not only released his finest solo work, but produced numerous artists on \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e. From acid-folk and country-rock to pop-psych and soul, \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e issued dozens of long forgotten 45s and LPs. This series will include material from \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e (re-mastered for the first time from the original analog tapes), along with Lee’s output for other labels, rarities, and unreleased gems.\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003ciframe height=\"183\" width=\"325\" src=\"http:\/\/player.vimeo.com\/video\/40277858?title=0\u0026amp;byline=0\u0026amp;portrait=0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/vimeo.com\/40277858\"\u003eLee Hazlewood – The \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e Years: Singles, Nudes, And Backsides | 2xLP | What’s Inside?\u003c\/a\u003e from \u003ca href=\"http:\/\/vimeo.com\/user11029346\"\u003eLight In The Attic Records\u003c\/a\u003e on \u003ca href=\"http:\/\/vimeo.com\"\u003eVimeo\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe height=\"183\" width=\"325\" src=\"http:\/\/player.vimeo.com\/video\/41529021\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eWith his handlebar moustache and booming baritone, Lee Hazlewood was one of the defining stars of the late ‘60s. Though he’s perhaps best known for his work with Nancy Sinatra (including writing mega-hit “These Boots Are Made For Walking”), Hazlewood did stunning work away from that particular glamour queen and found latter day champions in Beck, Sonic Youth, and Jarvis Cocker. Now, for Record Store Day 2012, we are kicking off our excavation of the Lee Hazlewood archives with this anthology, \u003cem\u003eSingles, Nudes \u0026amp; Backsides\u003c\/em\u003e, collecting the best of Lee’s solo songs and duets from his \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e (Lee Hazlewood Industries) imprint.\u003c\/p\u003e\n\u003cp\u003eSee the sleeve: surrounded by nude girls, each wearing a fake moustache, Hazlewood wears a suit, ever-so-slightly awkwardly playing the role of the ‘60s playboy. Just like the picture, the songs present a man conflicted; he’s the tender-hearted romantic, the broken-hearted loser and the rugged cowboy, all in one. It’s there in the western swing of “Califia (Stone Rider)”, the loneliness of ”The Bed” and the bleak beauty of ”If It’s Monday Morning.” Hazlewood’s tremulous voice was made for duets (indeed, he wrote ”Some Velvet Morning”, one of the greatest of all time); here, Suzi Jane Hokom, Ann-Margret and Nina Lizell play counterpart to his manly tones.\u003c\/p\u003e\n\u003cp\u003eIn the wonderful liner notes, written by British journalist Wyndham Wallace, the writer describes his friend Hazlewood as “a curmudgeonly, unpredictable sort at the best of times, as impatient with his own talent as he is with other people.” The Hazlewood Wallace knew was puzzled by the growing interest in him in the last two decades of his life, which was ended by cancer at age 78. That late flurry of interest saw him perform at the Royal Festival Hall in 1999, his first ever solo performance in the UK.\u003c\/p\u003e\n\u003cp\u003eA natural wanderer, Lee lived a big life, fighting in the Korean War, working as a radio DJ in Phoenix, Arizona, setting up Viv Records in the ‘50s, working as a big-shot LA producer in the ‘60s, signing Phil Spector to his Trey Records label and prematurely announcing retirement in the wake of the mid-‘60s British invasion. He didn’t: Nancy Sinatra came along, the hits started flowing and he continued producing characterful solo albums into the ‘70s, which saw his move to Sweden. By 2007, Hazlewood was living in Vegas, and begrudgingly enjoying that flurry of latter-day interest in his work. This landmark compilation promises to create many more converts.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eCuts from essential albums like Cowboy In Sweden\u003c\/li\u003e\n\u003cli\u003eFeatures duets with Suzi Jane Hokom, Ann-Margret and Nina Lizell\u003c\/li\u003e\n\u003cli\u003eAudio re-mastered from original tapes\u003c\/li\u003e\n\u003cli\u003eUnreleased song “I Just Learned To Run”\u003c\/li\u003e\n\u003cli\u003eIn-depth liner notes \u0026amp; unseen photographs\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 084[[Artist]]Lee Hazlewood\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Lee Hazlewood - The LHI Years: Singles, Nudes, \u0026 Backsides (1968-71) \/ Vinyl \/ 2LP Color","offer_id":43347813335285,"sku":"LITA084-1-1","price":26.0,"currency_code":"USD","in_stock":true},{"title":"Lee Hazlewood - The LHI Years: Singles, Nudes, \u0026 Backsides (1968-71) \/ Vinyl \/ 2LP Black","offer_id":44065410187509,"sku":"LITA084LP","price":28.0,"currency_code":"USD","in_stock":true},{"title":"The LHI Years: Singles, Nudes, \u0026 Backsides (1968-71) \/ Vinyl \/ 2LP Black","offer_id":44207170453749,"sku":"LITA084-1","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/LITA084_325_64b6ac50-a124-406a-b22f-751ebc35a818.jpg?v=1696119811"},{"product_id":"nancy-lee","title":"Nancy \u0026 Lee","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eWondering when this will be back in stock? We love it too! There are no current plans to repress this title but if we do, we will announce it in our \u003cspan style=\"color: rgb(43, 0, 255);\"\u003e\u003ca href=\"https:\/\/lightintheattic.net\/pages\/newsletter\" style=\"color: rgb(43, 0, 255);\"\u003enewsletter\u003c\/a\u003e\u003c\/span\u003e. We encourage you to sign up there to be the first to know!\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eLight in the Attic is thrilled to announce the first official reissue of \u003cem\u003eNancy \u0026amp; Lee\u003c\/em\u003e, the highly-influential 1968 duet album from Nancy Sinatra and Lee Hazlewood. This definitive edition of \u003cem\u003eNancy \u0026amp; Lee\u003c\/em\u003e features newly-remastered audio by the GRAMMY®-nominated engineer John Baldwin and includes an array of exclusive content, including a new interview with Nancy, never-before-seen photos, and two bonus tracks from the album sessions: an ethereal cover of The Kinks’ “Tired of Waiting for You” and an uptempo version of “Love Is Strange” (first made famous by Mickey \u0026amp; Sylvia in 1956). This release marks the official debut on vinyl for both tracks.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNancy \u0026amp; Lee\u003c\/em\u003e can be found in a variety of formats, including vinyl, cassette tape, CD, 8-track, and digital. The vinyl LP, pressed at Record Technology, Inc. (\u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e), is presented in an expanded gatefold jacket and features the iconic, original cover photo by Ron Joy. Inside, a 20-page booklet offers an array of photos from the legendary singer, actress, and activist’s personal collection as well as an in-depth Q\u0026amp;A with Sinatra, conducted by the reissue’s GRAMMY®-nominated co-producer, Hunter Lea (also available in the CD package). In addition to the classic black vinyl pressing, a selection of colorful variants can be found exclusively at NancySinatra.com, LightInTheAttic.net, independent record stores, and select online retailers.\u003c\/p\u003e\n\u003cp\u003eIn celebration of the release, Nancy Sinatra and fellow musician and longtime friend Don Randi (The Wrecking Crew) visited Record Technology, Inc. (\u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e) in Camarillo, CA to take a tour of the plant and get a sneak peek at the Bootique-exclusive pressing of \u003cem\u003eNancy and Lee\u003c\/em\u003e. A short video piece documenting the day, including new interviews with Sinatra, Randi, and \u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e plant manager Rick Hashimoto is available \u003ca href=\"https:\/\/www.youtube.com\/watch?v=pnamWlNxZr0\"\u003e \u003cstrong\u003ehere\u003c\/strong\u003e\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"caps\"\u003eMORE\u003c\/span\u003e \u003cspan class=\"caps\"\u003eABOUT\u003c\/span\u003e \u003cem\u003e\u003cspan class=\"caps\"\u003eNANCY\u003c\/span\u003e \u0026amp; \u003cspan class=\"caps\"\u003eLEE\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eWhen Nancy–the eldest daughter of Frank Sinatra–first met Lee Hazlewood in 1965, she was a demure, 25-year-old divorcée who was struggling to find her place as an artist amid the changing musical landscape. At the urging of her label, she was introduced to the Oklahoma-born songwriter, Lee Hazlewood, who had found success working with guitarist Duane Eddy. While Sinatra and Hazlewood hailed from vastly different worlds, they were about to embark on a partnership that would change the course of their lives. Just months after meeting, Sinatra scored her first No.1 hit with “These Boots Are Made For Walkin’.” Written and produced by Hazlewood, the song became Sinatra’s signature tune–transforming her into a confident and commanding feminist icon.\u003c\/p\u003e\n\u003cp\u003eInitially, Hazlewood maintained a behind-the-scenes role with Sinatra, enlisting arranger and composer Billy Strange as well as other members of The Wrecking Crew (the famed Los Angeles session musicians) for the singer’s best-selling 1966 debut LP, \u003cem\u003eBoots\u003c\/em\u003e. But when they returned to the studio later that year for Sinatra’s sophomore effort, \u003cem\u003eHow Does That Grab You?\u003c\/em\u003e, Hazlewood joined the singer for a duet of his song, “Sand.” Over the next year as Sinatra’s star rose, the artists continued to collaborate in the vocal booth finding success with “Summer Wine,” “Lady Bird,” and the cinematic “Some Velvet Morning” (all penned by Hazlewood). In 1967, just months after Johnny Cash and June Carter Cash scored a country hit with “Jackson,” Sinatra and Hazlewood released a pop version of the offbeat song, landing in the Top Ten across Europe and peaking at No.14 in the US.\u003c\/p\u003e\n\u003cp\u003eRecalling her duets with Hazlewood, Sinatra laughs, “We used to call it beauty and the beast! Voices with no blend.” Indeed, no one could have predicted that these two contrasting voices (and personalities) would work together quite so well. Praising the duo’s “sonic alchemy,” Hunter Lea writes, “Rarely in music has there been such an unlikely collaboration: Nancy, the sassy and sweet songstress contrasted by Lee, the gruff, psychedelic cowboy. A harmonic partnership that defies conventional logic yet yields so much beauty.”\u003c\/p\u003e\n\u003cp\u003eBefore long, it seemed only natural for the artists to release an entire album together. In addition to compiling their recent duets (many of which appeared on Sinatra’s solo LPs), the duo recorded several new covers and Hazlewood originals. Billy Strange and The Wrecking Crew provided lush orchestral arrangements as the two artists performed a range of material including folk, pop, and country songs with a twist of psychedelia.\u003c\/p\u003e\n\u003cp\u003eThroughout the album, a palpable chemistry can be heard between Sinatra and Hazlewood–from the frisky banter on “Greenwich Village Folk Song Salesman” to the tongue-in-cheek delivery of “I’ve Been Down So Long (It Looks Up To Me).” But the artists also reveal their softer sides–particularly in the romantic balladry of “Sand.” Their languid rendition of “You’ve Lost That Lovin’ Feeling,” meanwhile, is downright erotic despite the lyrics. But, as Sinatra asserts, her decades-long relationship with Hazlewood was always platonic. “We had sort of a love\/hate relationship,” she explains. “Maybe it was a sexual tension because we never had any kind of affair. I don’t know exactly what it was, but it worked.”\u003c\/p\u003e\n\u003cp\u003eThat je ne sais quoi certainly did work. Upon its release in the spring of 1968, \u003cem\u003eNancy \u0026amp; Lee\u003c\/em\u003e became a critical and commercial hit on both sides of the Atlantic, peaking at No. 13 on the Billboard 200 and No. 17 in the UK. By 1970, the album was certified Gold by the \u003cspan class=\"caps\"\u003eRIAA\u003c\/span\u003e. Over the decades, however, the appeal of \u003cem\u003eNancy \u0026amp; Lee\u003c\/em\u003e has only grown, while the album has amassed an enduring cult status that few titles achieve. Multiple generations of artists including Sonic Youth, Lana Del Rey, and the Jesus \u0026amp; Mary Chain have cited \u003cem\u003eNancy \u0026amp; Lee\u003c\/em\u003e as an influence.\u003c\/p\u003e\n\u003cp\u003eIn recent years, \u003cem\u003eNancy \u0026amp; Lee\u003c\/em\u003e has also inspired a groundswell of recognition from such outlets as \u003cem\u003eRolling Stone\u003c\/em\u003e, which ranked the pair at No. 9 on their 20 Greatest Duos of All Time list. \u003cem\u003ePitchfork\u003c\/em\u003e included \u003cem\u003eNancy \u0026amp; Lee\u003c\/em\u003e in their “Best Albums of the 1960s” roundup, hailing the record as “a document of a flawless collaboration.” The UK’s \u003cem\u003eFar Out Magazine\u003c\/em\u003e declared \u003cem\u003eNancy \u0026amp; Lee\u003c\/em\u003e to be “a masterpiece that still ripples in the sonic waves today.” \u003cspan class=\"caps\"\u003eNPR\u003c\/span\u003e, meanwhile, noted that “Sinatra and Hazlewood masterfully marry sunshiny orchestral elements with lyrics that dig at something darker about the human condition.” They went on to praise Sinatra’s work on \u003cem\u003eNancy \u0026amp; Lee\u003c\/em\u003e as “some of the best that she’s ever recorded… it proved that she would hardly allow herself to be pigeonholed into one-hit-wonder territory. Here, she made it clear that she was capable of so much more.”\u003c\/p\u003e\n\u003cp\u003eToday, Sinatra reflects fondly on her time with Hazlewood. “The most fun was when there were two mics in the studio, and Lee was on one and I was on one,” she recalls. When asked about the lasting appeal of \u003cem\u003eNancy \u0026amp; Lee\u003c\/em\u003e, the artist credits much of its success to her partner. “Lee has a following that continues to this day. He’s beloved; people love him all over the world.”\u003c\/p\u003e\n\u003cp\u003eSinatra’s legacy, meanwhile, continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums–her duets with Hazlewood among them–and dozens of charting singles, including the theme song to the 1967 James Bond film, \u003cem\u003eYou Only Live Twice\u003c\/em\u003e). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the GRAMMY® Hall of Fame. That same year, Sinatra partnered with Light in the Attic Records for \u003cem\u003eNancy Sinatra: Start Walkin’ 1965-1976\u003c\/em\u003e, a definitive survey of her most prolific period. At the end of 2021, \u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e reissued Sinatra’s classic debut, \u003cem\u003eBoots\u003c\/em\u003e, while the label will continue to celebrate Sinatra with a variety of special releases, exclusive merch, and more.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLP available on Standard Black Wax plus Special Limited Color Editions (Sundown, Sundown Metallic Gold \u0026amp; Clear Wax; Psychedelic Sands Orange\/Red Wax)\u003c\/li\u003e\n\u003cli\u003eFirst ever official reissue of Nancy \u0026amp; Lee’s classic 1968 duet album\u003c\/li\u003e\n\u003cli\u003eDefinitive reissue with Nancy’s involvement\u003c\/li\u003e\n\u003cli\u003eIncludes the bonus tracks “Tired Of Waiting for You” and “Love Is Strange” from the album sessions\u003c\/li\u003e\n\u003cli\u003eNewly remastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin\u003c\/li\u003e\n\u003cli\u003eVinyl pressed at \u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003eQ\u0026amp;A with Nancy \u0026amp; GRAMMY®-nominated reissue co-producer Hunter Lea\u003c\/li\u003e\n\u003cli\u003eNever-before-seen photos from Nancy Sinatra’s personal archive\u003c\/li\u003e\n\u003cli\u003eBeautifully packaged and expanded gatefold LP featuring a 20-page booklet\u003c\/li\u003e\n\u003cli\u003eCD housed in a digipak and featuring a 28-page booklet\u003c\/li\u003e\n\u003cli\u003eCassette and 8-track also available\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 198[[Artist]]Nancy Sinatra\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Nancy \u0026 Lee \/ Vinyl \/ LP Gold","offer_id":43347816612085,"sku":"LITA198-1-1","price":22.0,"currency_code":"USD","in_stock":true},{"title":"Nancy \u0026 Lee \/ Vinyl \/ LP Black","offer_id":43347816644853,"sku":"LITA198-1","price":20.25,"currency_code":"USD","in_stock":true},{"title":"Nancy \u0026 Lee \/ CD \/ CD","offer_id":43347816677621,"sku":"LITA198-2","price":14.0,"currency_code":"USD","in_stock":true},{"title":"Nancy \u0026 Lee \/ Cassette \/ Cassette Tape","offer_id":43347816710389,"sku":"LITA198-9","price":8.0,"currency_code":"USD","in_stock":true},{"title":"Nancy \u0026 Lee \/ Cassette \/ 8-Track","offer_id":43347816775925,"sku":"LITA198-8","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Nancy \u0026 Lee \/ Vinyl \/ LP Orange","offer_id":43347816808693,"sku":"LITA198-1-2","price":29.0,"currency_code":"USD","in_stock":true},{"title":"Nancy \u0026 Lee \/ Vinyl \/ LP Sundown","offer_id":43589023924469,"sku":"LITA198-1-1.2","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1649365771244-qb7eutyjqp-eb549cd0b90f48745332abb55162bec8_2Flita198_3000px_300dpi.jpg?v=1696119905"},{"product_id":"the-sweet-ride-lost-recordings-1965-68","title":"The Sweet Ride: Lost Recordings 1965-68","description":"[[Release Detail]][[Release Description]]\u003cp\u003eLight in the Attic Records is proud to continue its Lee Hazlewood archival series with The Sweet Ride: Lost Recordings 1965-68, a new compilation of demos, outtakes and home recordings from Lee’s most prolific and successful era. The tracks have been cherry picked from Lee’s personal tape stash by GRAMMY®-nominated producer Hunter Lea. The audio is remastered by GRAMMY®-nominated engineer John Baldwin and features ten previously unreleased recordings.\u003c\/p\u003e\n\u003cp\u003eThe collection is bookended by two different studio demos of “The Sweet Ride,” the title song Lee wrote for the 1968 surfer drama film in which Lee also co-starred as “The Man.” The film version was beautifully sung by Dusty Springfield and released on the soundtrack LP The Sweet Ride (20th Century Fox S4198, 1968). Both the fast and the slow demos were recorded on July 12, 1967 and feature the Los Angeles session musicians, The Wrecking Crew, which include the unmistakable piano of Don Randi. Don mentioned how Lee became friends with co-star Tony Franciosa while working on The Sweet Ride film. Lee thought so highly of Tony that he and Don demoed some songs in hopes to record an album, but Tony just couldn’t sing!\u003c\/p\u003e\n\u003cp\u003eTracks 2-5 are from a previously unheard demo tape, recorded August 12, 1965, the day before Lee’s very first session producing Nancy Sinatra! The songs were recorded at Sunset Sound Recorders and engineered by Bruce Botnick (The Beach Boys, Jerry Goldsmith, The Doors, Love). These four recordings are the missing link between Lee’s albums, Friday’s Child (Reprise 6163, 1965) and The Very Special World Of Lee Hazlewood (\u003cspan class=\"caps\"\u003eMGM\u003c\/span\u003e E-4362, 1966 \u0026amp; \u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e 131, 2014). “I Move Around,” and “When A Fool Loves A Fool” were re-recorded in 1966 for The Very Special World Of Lee Hazlewood, “The Old Man \u0026amp; His Guitar” was re-recorded for Lee Hazlewoodism: It’s Cause And Cure (\u003cspan class=\"caps\"\u003eMGM\u003c\/span\u003e E-4403, 1967 \u0026amp; \u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e 132, 2014) and “Big Town” never made it on album, it’s heard here for the first time!\u003c\/p\u003e\n\u003cp\u003e“Winter Moon” and “Little Bird” are a pair of mid-1960s acoustic demos. The raw, intimate tracks capture Lee sketching out new songs on his guitar. These embryonic recordings are the only known versions of the two compositions.\u003c\/p\u003e\n\u003cp\u003e“Spring Thing” was recorded in November of 1968 as a demo for The Spring Thing \u003cspan class=\"caps\"\u003eNBC\u003c\/span\u003e television special theme song.  The program featured Bobbie Gentry, Noel Harrison, Harper’s Bizarre, Goldie Hawn, Rod McKuen, Shirley Bassey and others. It aired in April of 1969 with Lee Hazlewood serving as the musical director. There is a very rare promo LP The Spring Thing (Celanese Arnel, \u003cspan class=\"caps\"\u003eCEL\u003c\/span\u003e-31769-A, 1969) that features a different cast recording of Lee’s composition and other songs from the special.\u003c\/p\u003e\n\u003cp\u003e“I’ve Been Down So Long (It Looks Like Up To Me)” and “Nothin’s Gonna Blow My Mind” were found on a tape of studio demos from early 1968, featuring a 12-string acoustic guitar and Lee. “I’ve Been Down So Long (It Looks Like Up To Me)” was recorded by Nancy Sinatra and Lee on their Nancy \u0026amp; Lee (Reprise RS-6273, 1968 \u0026amp; \u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e 198, 2022) album, while “Nothin’s Gonna Blow My Mind” was never re-recorded and has remained unissued until now.\u003c\/p\u003e[[Selling Points]]\u003cp\u003e\u003ca href=\"https:\/\/link.lightintheattic.net\/sweetride\"\u003e\u003cstrong\u003e\u003cspan class=\"caps\"\u003eSTREAM\u003c\/span\u003e \u003cspan class=\"caps\"\u003eHERE\u003c\/span\u003e\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cul\u003e\n\t\u003cli\u003eAll tracks previously unreleased\u003c\/li\u003e\n\t\u003cli\u003eRemastered from the original tapes by GRAMMY®-nominated engineer John Baldwin\u003c\/li\u003e\n\t\u003cli\u003eRelease produced by GRAMMY®-nominated producer Hunter Lea\u003c\/li\u003e\n\t\u003cli\u003eDigital Only\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]][[Artist]]Lee Hazlewood","brand":"Light in the Attic","offers":[{"title":"Default Title","offer_id":43347823952117,"sku":"","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/products\/tmp_2F1659475396598-9m170e90b0m-0aaf798802167b79dabca9daaf660478_2FleeHazlewood_sweetRide_3500px_300dpi.jpg?v=1665584235"},{"product_id":"start-walkin-1965-1976","title":"Start Walkin’ 1965–1976","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\u003cstrong\u003eWondering when this will be back in stock? We love it too! There are no current plans to repress this title but if we do, we will announce it in our \u003cspan style=\"color: rgb(43, 0, 255);\"\u003e\u003ca href=\"https:\/\/lightintheattic.net\/pages\/newsletter\" style=\"color: rgb(43, 0, 255);\"\u003enewsletter\u003c\/a\u003e\u003c\/span\u003e. We encourage you to sign up there to be the first to know!\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"blurb\"\u003eLight In The Attic Records is proud to present \u003cem\u003eNancy Sinatra: Start Walkin’ 1965–1976\u003c\/em\u003e. The definitive new collection surveys Sinatra’s most prolific period over 1965–1976, including her revered collaborations with Lee Hazlewood, over 23 tracks.\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv class=\"bio\"\u003e\n\u003cdiv class=\"read-more-bio only-desktop\"\u003e\n\u003cp\u003eRemastered from the original analog tapes by GRAMMY®–nominated engineer John Baldwin, the collection is complemented by liner notes penned by Amanda Petrusich (author and music critic at \u003cem\u003eThe New Yorker\u003c\/em\u003e), featuring insightful new interviews with Sinatra, as well as a Q\u0026amp;A with archivist and GRAMMY®–nominated reissue co-producer, Hunter Lea. The CD edition comes housed in a 7”x7” hardcover book (featuring 64–pages) and the two-disc vinyl set is presented in a gatefold jacket (featuring a 24–page booklet), with special color editions available exclusively at NancySinatra.com, LightInTheAttic.net, and independent record stores.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eNancy’s performance of the Lee Hazlewood–penned song “These Boots Are Made for Walkin’” was a huge hit in 1966 and became her signature tune. The pair began a three year run of successful albums, duets, and singles including “Sugar Town,” “Some Velvet Morning,” “Summer Wine,” “Sand,” “Jackson,” and the title track to the 1967 James Bond film “You Only Live Twice.”\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eStart Walkin’\u003c\/em\u003e explores Nancy’s recordings with Lee, her inspired collaborations with songwriter Mac Davis (“Hello L.A., Bye Bye Birmingham”), producer Lenny Waronker (“Hook and Ladder”), and the should’ve-been-hit song with arranger\/producer Billy Strange, “How Are Things In California?”\u003c\/p\u003e\n\u003cp\u003eOver the years, she has been cited as an influence by countless artists, including Sonic Youth, Morrissey, Calexico, U2, and Lana Del Rey. Her haunting song “Bang, Bang” gained a new legion of fans when it appeared in the opening credits of Quentin Tarantino’s 2003 film, \u003cem\u003eKill Bill Volume 1\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eDefinitive compilation spans solo recordings, rarities, and duets with Lee Hazlewood\u003c\/li\u003e\n\u003cli\u003eNewly remastered from the original analog tapes by GRAMMY®–nominated engineer John Baldwin\u003c\/li\u003e\n\u003cli\u003eNew interviews with the legendary singer, actress, and activist, Nancy Sinatra\u003c\/li\u003e\n\u003cli\u003eExtensive essay by Amanda Petrusich\u003c\/li\u003e\n\u003cli\u003eQ\u0026amp;A interview with Nancy \u0026amp; GRAMMY®–nominated reissue co-producer, Hunter Lea\u003c\/li\u003e\n\u003cli\u003eNever–before–seen photos from Nancy Sinatra’s personal archive\u003c\/li\u003e\n\u003cli\u003eDeluxe CD housed in 7”x7” hardcover book w\/ 64–pg booklet (\u003cspan class=\"caps\"\u003eSOLD\u003c\/span\u003e \u003cspan class=\"caps\"\u003eOUT\u003c\/span\u003e)\u003c\/li\u003e\n\u003cli\u003eBeautifully packaged Double LP (pressed at \u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e) featuring a 24–pg book\u003c\/li\u003e\n\u003cli\u003eCD Standard Edition: Digipak with 40-page booklet\u003c\/li\u003e\n\u003cli\u003eImages are mock-ups and subject to change\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eColor Editions\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003eVelvet Morning Sunrise Wax\u003c\/li\u003e\n\u003cli\u003eTransparent Yellow\u003c\/li\u003e\n\u003cli\u003eSummer Wine Sunburst Orange \u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 195[[Artist]]Nancy Sinatra\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Start Walkin’ 1965–1976 \/ Cassette \/ Cassette Tape","offer_id":43588711743733,"sku":"LITA195-9","price":14.0,"currency_code":"USD","in_stock":true},{"title":"Start Walkin’ 1965–1976 \/ Vinyl \/ 2LP Black","offer_id":43588711678197,"sku":"LITA195-1.3","price":20.0,"currency_code":"USD","in_stock":true},{"title":"Start Walkin’ 1965–1976 \/ Vinyl \/ 2LP Sunrise","offer_id":43588711776501,"sku":"LITA195-1-2.3","price":32.0,"currency_code":"USD","in_stock":true},{"title":"Start Walkin’ 1965–1976 \/ Vinyl \/ 2LP Yellow","offer_id":44065415299317,"sku":"LITA195-1-5","price":34.0,"currency_code":"USD","in_stock":true},{"title":"Start Walkin’ 1965–1976 \/ Vinyl \/ 2LP Orange","offer_id":44065415332085,"sku":"LITA195-1-1","price":32.0,"currency_code":"USD","in_stock":true},{"title":"Start Walkin’ 1965–1976 \/ CD \/ CD Standard","offer_id":43588711710965,"sku":"LITA195-2-2.2","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Start Walkin’ 1965–1976 \/ CD \/ CD Deluxe","offer_id":44815723036917,"sku":"LITA195-2","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1603218483868-zprs3r875wi-18ee9d1e6e5bcced33fde7524df399e0_2FLITA_2B195_2B-_2BNancy_2BSinatra_2B-_2BStart_2BWalkin-Hi_2BRes_2BCover.jpg?v=1696119890"},{"product_id":"boots","title":"Boots","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“Dumb stuff, as Lee used to call it. Dumb doesn’t mean stupid. It means human and understandable. It was the sound of three guitars, drums, and bass. It was simple, very, very simple. I can still see the room, the studio. With Carol Kaye, Glen Campbell, Donnie Owens… I can still see them all sitting there and chunking away. I guess simple was the best way to explain it, uncomplicated.” – Nancy Sinatra\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eLight in the Attic is proud to present the latest in the Nancy Sinatra Archival Series with a deluxe reissue of Nancy’s first album, \u003cem\u003eBoots\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eThe 1966 million-selling debut LP introduced the sassy, blonde, go-go booted icon. Built around her Lee Hazlewood-penned hits “These Boots Are Made for Walkin’” and “So Long, Babe,” the folk-rock era milestone album features songs by The Beatles, The Rolling Stones, Bob Dylan, Hazlewood, and more. The catchy and jangly pop hooks performed by famed Los Angeles session musicians The Wrecking Crew and Billy Strange’s innovative arrangements provided the perfect sound to help Nancy capture the attention of the world. The new reissue includes two bonus tracks recorded during the album sessions, the non-album b-side “The City Never Sleeps At Night” and the previously unreleased “For Some.”\u003c\/p\u003e\n\u003cp\u003eRemastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin, the reissue is complemented by a new Q\u0026amp;A interview with Nancy and GRAMMY®-nominated reissue co-producer Hunter Lea.\u003c\/p\u003e\n\u003cp\u003eThe CD edition is housed in a digipak and features a 28-page booklet, while each vinyl set is presented in an expanded gatefold jacket featuring a 20-page booklet with special color editions available exclusively at NancySinatra.com, LightInTheAttic.net, and independent record stores.\u003c\/p\u003e\n[[Selling Points]]\n\u003cul\u003e\n\u003cli\u003eDefinitive reissue of Nancy’s debut album\u003c\/li\u003e\n\u003cli\u003eIncludes the bonus tracks “The City Never Sleeps At Night” and the previously unreleased “For Some”\u003c\/li\u003e\n\u003cli\u003eNewly remastered from the original analog tapes by GRAMMY®–nominated engineer John Baldwin\u003c\/li\u003e\n\u003cli\u003eVinyl pressed at \u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003eQ\u0026amp;A with Nancy and GRAMMY®–nominated reissue co-producer Hunter Lea\u003c\/li\u003e\n\u003cli\u003eNever-before-seen photos from Nancy’s personal archive\u003c\/li\u003e\n\u003cli\u003eBeautifully packaged and expanded gatefold LP featuring a 20–page booklet\u003c\/li\u003e\n\u003cli\u003eCD housed in a digipak and featuring a 28-page booklet\u003cbr\u003e \u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eThree Special Limited Color Edition Waxes Available\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003eSo Long, Babe Blue Swirl Vinyl (First Photo)\u003c\/li\u003e\n\u003cli\u003eWalkin’ Boots Red Vinyl (Fifth Photo)\u003c\/li\u003e\n\u003cli\u003eBoots Exclusive Collector’s Choice Swirl Vinyl Edition (Sixth Photo)\u003c\/li\u003e\n\u003c\/ul\u003e\n[[Catalog Number]]LITA 197[[Artist]]Nancy Sinatra","brand":"Light in the Attic","offers":[{"title":"Boots \/ Vinyl \/ LP Black","offer_id":43588720328949,"sku":"LITA197-1.2","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Boots \/ Vinyl \/ LP Blue","offer_id":43588720361717,"sku":"LITA197-1-1.2","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Boots \/ Vinyl \/ LP Red","offer_id":44065415495925,"sku":"LITA197-1-2.2","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Boots \/ Vinyl \/ LP Swirl","offer_id":44065415528693,"sku":"LITA197-1-9","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Boots \/ Cassette \/ Cassette Tape","offer_id":43588720394485,"sku":"LITA197-9-1","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Boots \/ Cassette \/ 8-Track","offer_id":43588720427253,"sku":"LITA197-9","price":11.0,"currency_code":"USD","in_stock":true},{"title":"Boots \/ CD \/ CD","offer_id":43588720460021,"sku":"LITA197-2","price":11.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1626291676218-cpiuq4bxqk6-bd9ec93ada06ba717714498e4f859c3f_2Flita1974_lpCvr_3000px_300dpi.jpg?v=1696119905"},{"product_id":"nancy-lee-again","title":"Nancy \u0026 Lee Again","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eLight in the Attic Records is proud to present the next installment of the \u003cem\u003eNancy Sinatra Archival Series\u003c\/em\u003e with the first ever reissue of the classic 1972 album \u003cem\u003eNancy \u0026amp; Lee Again\u003c\/em\u003e. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair’s most enduring and ambitious duets including the epic ”Arkansas Coal (Suite),” the sensual “Paris Summer,” and the incredibly powerful Dolly Parton-penned “Down From Dover.” Equal parts daring, psychedelic, cinematic, and sweet, \u003cem\u003eNancy \u0026amp; Lee Again\u003c\/em\u003e reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNancy \u0026amp; Lee Again\u003c\/em\u003e is available in a variety of formats, including vinyl, CD, 8-track, and digital. The vinyl LP, pressed at Record Technology, Inc. (\u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e), is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist’s personal collection, as well as in-depth Q\u0026amp;A with Nancy Sinatra, conducted by the reissue’s GRAMMY®-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design and include two bonus tracks, “Machine Gun Kelly” (first time on vinyl) and the previously unreleased “Think I’m Coming Down.”\u003c\/p\u003e\n\u003cp\u003eIn addition to the black vinyl pressing, a selection of colorful variants can be found exclusively at NancySinatra.com, LightInTheAttic.net, independent record stores, and select online retailers.\u003c\/p\u003e\n\u003cp\u003eA limited-edition merchandise capsule, including a custom chain stitched denim jacket, embroidered pillow, canvas tote, and apparel collaboration with LA-based Midnight Rider will accompany the release at Nancy’s Bootique at \u003ca href=\"https:\/\/www.nancysinatra.com\/\"\u003e \u003cstrong\u003eNancySinatra.com\u003c\/strong\u003e\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003eNancy’s impact on fashion, music, and culture was celebrated at Modernism Week in Palm Springs in February 2023 with three events, including a roundtable discussion featuring Kii Arens (Visual Artist), Alison Martino (Vintage Los Angeles), Hunter Lea (Record Producer), Don Randi (The Wrecking Crew), and Amanda Erlinger (daughter of Nancy Sinatra and co-author of the book, \u003cem\u003eNancy Sinatra: One For Your Dreams\u003c\/em\u003e), a double decker bus tour featuring audio commentary from Nancy at notable locations, and a Nancy Sinatra Tribute street party on Arenas to close out the week’s festivities.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"caps\"\u003eMORE\u003c\/span\u003e \u003cspan class=\"caps\"\u003eABOUT\u003c\/span\u003e \u003cem\u003e\u003cspan class=\"caps\"\u003eNANCY\u003c\/span\u003e \u0026amp; \u003cspan class=\"caps\"\u003eLEE\u003c\/span\u003e \u003cspan class=\"caps\"\u003eAGAIN\u003c\/span\u003e\u003c\/em\u003e:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s \u003cem\u003eNancy \u0026amp; Lee Again\u003c\/em\u003e, a follow-up to their bestselling duet debut, \u003cem\u003eNancy \u0026amp; Lee\u003c\/em\u003e. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning”–all of which appeared on their highly-influential 1968 debut.\u003c\/p\u003e\n\u003cp\u003eNot long after the critical acclaim and chart success of\u003cem\u003e Nancy \u0026amp; Lee\u003c\/em\u003e died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.\u003c\/p\u003e\n\u003cp\u003eReturning to Los Angeles for the project, Hazlewood–who reprised his role as producer–chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do… It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s \u003cspan class=\"caps\"\u003eTCB\u003c\/span\u003e band whose early 70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, \u003cem\u003eCowboy in Sweden\u003c\/em\u003e. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.\u003c\/p\u003e\n\u003cp\u003eThe big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout \u003cem\u003eNancy \u0026amp; Lee Again\u003c\/em\u003e, particularly in “Paris Summer,” which details the conflict that a married woman faces as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.\u003c\/p\u003e\n\u003cp\u003eOne of the most emotionally-charged moments on \u003cem\u003eNancy \u0026amp; Lee Again\u003c\/em\u003e is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.\u003c\/p\u003e\n\u003cp\u003eAnother poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold\/And they tell you of where he has been\/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”\u003c\/p\u003e\n\u003cp\u003eThe song “Friendship Train” could also be interpreted as an apology of sorts–this time to Nancy. “You’ve been hurt and I’ve been hurt\/Now we’re living pain,” the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. “I felt pretty betrayed. I mean, who does that? Who just up and disappears like that? I’ll never understand it,” she reveals. But the uplifting duet–a slice of 70s pop perfection–offers reaffirming words of love between friends. “[Lee] felt things very deeply and tended to express his feelings in song instead of in real life,” explains Nancy.\u003c\/p\u003e\n\u003cp\u003eThe 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid as the duo have an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings–this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.\u003c\/p\u003e\n\u003cp\u003eThis definitive reissue of \u003cem\u003eNancy \u0026amp; Lee Again\u003c\/em\u003e also includes two bonus tracks. Both are stylistic departures for the duo but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of [Lee’s] drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums as well as \u003cem\u003eNancy \u0026amp; Lee\u003c\/em\u003e. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNancy \u0026amp; Lee Again\u003c\/em\u003e remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, \u003cem\u003eRecord World\u003c\/em\u003e, and \u003cem\u003eCash Box\u003c\/em\u003e, among others. Yet, \u003cem\u003eNancy \u0026amp; Lee Again\u003c\/em\u003e never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.\u003c\/p\u003e\n\u003cp\u003eFive decades later, Nancy’s legacy only continues to grow as new generations discover her impressive catalog (which boasts nearly 20 studio albums–her duets with Hazlewood among them–and dozens of charting singles, including the theme song to the 1967 James Bond film, \u003cem\u003eYou Only Live Twice\u003c\/em\u003e). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the GRAMMY® Hall of Fame. That same year, Sinatra partnered with Light in the Attic for \u003ca href=\"https:\/\/lita.fanlink.to\/NancySinatraStartWalkin\"\u003e \u003cstrong\u003eNancy Sinatra: Start Walkin’ 1965-1976\u003c\/strong\u003e\u003c\/a\u003e, a definitive survey of her most prolific period. \u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e has also reissued Sinatra’s classic debut, \u003ca href=\"https:\/\/link.lightintheattic.net\/BOOTS-PO\"\u003e \u003cstrong\u003eBoots\u003c\/strong\u003e\u003c\/a\u003e, and her iconic, 1968 album with Lee Hazlewood, \u003ca href=\"https:\/\/link.lightintheattic.net\/NancyLeePO\"\u003e \u003cstrong\u003eNancy \u0026amp; Lee\u003c\/strong\u003e\u003c\/a\u003e. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.\u003c\/p\u003e\n[[Selling Points]]\n\u003cul\u003e\n\u003cli\u003eLP available on Standard Black Wax plus Special Limited Color Editions\u003c\/li\u003e\n\u003cli\u003eFirst ever reissue of Nancy \u0026amp; Lee’s 1972 classic\u003c\/li\u003e\n\u003cli\u003eIncludes bonus tracks “Machine Gun Kelly” and the previously unreleased “Think I’m Coming Down”\u003c\/li\u003e\n\u003cli\u003eNewly remastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin\u003c\/li\u003e\n\u003cli\u003eVinyl pressed at \u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003eBeautifully packaged and expanded gatefold LP featuring a 20-page booklet\u003c\/li\u003e\n\u003cli\u003eQ\u0026amp;A with Nancy \u0026amp; GRAMMY®-nominated reissue co-producer Hunter Lea\u003c\/li\u003e\n\u003cli\u003eNever-before-seen photos from Nancy Sinatra’s personal archive\u003c\/li\u003e\n\u003cli\u003eCD housed in a digipak and featuring a 28-page booklet\u003c\/li\u003e\n\u003cli\u003e8-track also available\u003c\/li\u003e\n\u003cli\u003eActual LP pressing color may differ from mock-up image\u003c\/li\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eBig Red Balloon Swirl Edition\u003c\/strong\u003e\u003cbr\u003e (image #2 below)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eExperience Vinyl Edition pressed on Clear with Black \u0026amp; White Hi-Melt\u003c\/strong\u003e\u003cbr\u003e (image #7 below)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/ul\u003e\n[[Catalog Number]]LITA 199[[Artist]]Nancy Sinatra","brand":"Light in the Attic","offers":[{"title":"Nancy \u0026 Lee Again \/ Vinyl \/ LP Black","offer_id":43942286295285,"sku":"LITA199-1","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Nancy \u0026 Lee Again \/ Vinyl \/ LP Red","offer_id":43942286328053,"sku":"LITA199-1-1","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Nancy \u0026 Lee Again \/ Vinyl \/ LP Gold","offer_id":43942286360821,"sku":"LITA199-1-6","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Nancy \u0026 Lee Again \/ CD \/ CD","offer_id":43942286393589,"sku":"LITA199-2","price":14.0,"currency_code":"USD","in_stock":true},{"title":"Nancy \u0026 Lee Again \/ Cassette \/ 8-Track","offer_id":43942286426357,"sku":"LITA199-8","price":13.0,"currency_code":"USD","in_stock":true},{"title":"Nancy \u0026 Lee Again \/ Vinyl \/ LP Clear with Black \u0026 White","offer_id":43942286459125,"sku":"LITA199-1-5","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Nancy \u0026 Lee Again \/ Vinyl \/ LP Teal","offer_id":44065416708341,"sku":"LITA199-1-2","price":21.75,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1674083385494-opfm8kfke1c-6447dc37d5dd53b1becdbf5aedd35c80_2Flita199_hiRez.jpg?v=1696119910"},{"product_id":"no-more-lamps-in-the-morning","title":"No More Lamps In The Morning","description":"[[Release Detail]]\u003cp\u003e“She effortlessly dissolves barriers between herself and her fellow musicians, between music and listener, between language and expression\" The Wire\u003c\/p\u003e[[Release Description]]\u003cp\u003e“She effortlessly dissolves barriers between herself and her fellow musicians, between music and listener, between language and expression\" The Wire\u003c\/p\u003e\n\u003cp\u003eJosephine Foster’s “No More Lamps In the Morning” is a new folk route, a stripped down starsailor vector connecting heller to highwater. Foster, on nylon string guitar, and husband Victor Herrero, accompanying on Portuguese guitar, together weave intimate readings of songs spanning Foster’s songwriting career including selections from recent albums “This Coming Gladness” (2008) and “I’m a Dreamer” (2013) and back to Born Heller (2004).\u003c\/p\u003e\n\u003cp\u003eFoster’s new route is a free, chromatic music, a tuneful montana of mind—an expansive harmonic space dominated by Rif mountain on the horizon. As highwater as the music is, as broad the stylistic palette of the musicians, the music really exists in service of the lyrics. Two of the songs on No More Lamps are poems by Rudyard Kipling and James Joyce given musical settings by Foster. The rest arguably are musical settings of her own poems strengthened in a fiery crucible of guitars (and on 2 tracks Gyða Valtýsdóttir’s cello) in which dissonant notes bend and quaver as wirefork embers, dying without affecting the glowing tonal fire which unites contrary forces in a Moroccan speakeasy.\u003c\/p\u003e\n\u003cp\u003eShe and Herrero have performed, for an audience of burros, concerts of Federico Garcia Lorca poems set to music. A music of wandering and a music of roots. An impermanent tradition passed down for generations. Let your loved ones know. ~ Written by Chris Davis\u003c\/p\u003e\n\u003cp\u003eRecorded live to tape by Henry Hirsch and Patrick Higgins at Future-Past Studios, Hudson, NY, in February 2014, the record was mixed by Patrick Higgins. ‘No More Lamps In The Morning’ features Victor Herrero on Portuguese guitar and Gyða Valtýsdóttir on cello (tracks 4 and 6).\u003c\/p\u003e\n\u003cp\u003e‘No More Lamps In The Morning’ music and lyrics written by Josephine Foster except where noted.\u003c\/p\u003e[[Selling Points]][[Catalog Number]]FAME002LP[[Artist]]Josephine Foster","brand":"Fire America","offers":[{"title":"No More Lamps In The Morning \/ Vinyl \/ LP Black","offer_id":43959605657845,"sku":"FAME002LP","price":18.0,"currency_code":"USD","in_stock":true},{"title":"No More Lamps In The Morning \/ CD \/ CD","offer_id":43959605690613,"sku":"FAME002CD","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1449771698269-9roawz38035wmi-61a87728f1d133771442bdfcff8c89bb_2F809236100214.jpg?v=1690523270"},{"product_id":"a-pink-sunset-for-no-one","title":"A Pink Sunset For No One","description":"[[Release Detail]]\u003cp\u003e‘A Pink Sunset For No One’ is the eighth studio album from Noveller, the solo electric guitar project from US composer and filmmaker.\u003c\/p\u003e\n\u003cp\u003eOne of the most adept guitarists of our time, Lipstate returns with her signature breathtaking cinematic, experimental soundscapes. Eloquent and striking, her instrumentals evoke colourful and otherworldly imagery. Lipstate writes in majestic, emotional strokes with pieces ranging from remarkably tense environments to shimmering psychedelic rock or unraveling into something darker.\u003c\/p\u003e[[Release Description]]\u003cp\u003e\u003cem\u003eA Pink Sunset For No One\u003c\/em\u003e is the eighth studio album from Noveller, the solo electric guitar project from US composer and filmmaker.\u003c\/p\u003e\n\u003cp\u003eOne of the most adept guitarists of our time, Lipstate returns with her signature breathtaking cinematic, experimental soundscapes. Eloquent and striking, her instrumentals evoke colourful and otherworldly imagery. Lipstate writes in majestic, emotional strokes with pieces ranging from remarkably tense environments to shimmering psychedelic rock or unraveling into something darker.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eSingle sleeve LP includes a download card\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]FIRELP401[[Artist]]Noveller","brand":"Fire America","offers":[{"title":"A Pink Sunset For No One \/ Vinyl \/ LP Black","offer_id":43959623287029,"sku":"FIRELP401","price":22.0,"currency_code":"USD","in_stock":true},{"title":"A Pink Sunset For No One \/ CD \/ CD","offer_id":43959623319797,"sku":"FIRECD401","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1486770133370-ynoh1lavpsztldgx-17c0c262571705087181947a4c088391_2FFIRELP401.jpg?v=1690523891"},{"product_id":"victoria-williams-the-loose-band-town-hall-1995","title":"Victoria Williams \u0026 The Loose Band 'Town Hall 1995'","description":"[[Release Detail]]\u003cp\u003eIn 1995 Victoria Williams toured with the Loose band. Critics swooned and acclaimed her live shows as “beautiful” and “intimate”, set lists varied every night, special guests happened along. Finally they reached a town hall (somewhere) and this Record Store Day set was created. Seven of the 15 tracks are taken from ‘Loose’ but they are reduced Darwin-like, made even more personal. She harks back to the earlier Donnie Darko-like strangeness of ‘Crazy Mary’, sketches small town America on the ‘Summer Of Drugs’ and welcomes Lou Reed for a duet on ‘Sweet Jane’.\u003c\/p\u003e\n\u003cp\u003eNo Depression at the time enthused about a live show where 50 people were in touching distance of greatness. It was the perfect platform they believed, trying hard to still keep Victoria their own personal secret. This live set, with its laissez-faire feel and impromptu vibe is as close as it gets to a personal performance. Van Dyke’s veneer is rubbed off and every song positively tingles right through to a gorgeous version of ‘Over The Rainbow’. It’s a fairytale to believe in.\u003c\/p\u003e[[Release Description]]\u003cp\u003eAvailable: April 22nd, 2017\u003c\/p\u003e\n\u003cp\u003eIn 1995 Victoria Williams toured with the Loose band. Critics swooned and acclaimed her live shows as “beautiful” and “intimate”, set lists varied every night, special guests happened along. Finally they reached a town hall (somewhere) and this Record Store Day set was created. Seven of the 15 tracks are taken from ‘Loose’ but they are reduced Darwin-like, made even more personal. She harks back to the earlier Donnie Darko-like strangeness of ‘Crazy Mary’, sketches small town America on the ‘Summer Of Drugs’ and welcomes Lou Reed for a duet on ‘Sweet Jane’.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNo Depression\u003c\/em\u003e at the time enthused about a live show where 50 people were in touching distance of greatness. It was the perfect platform they believed, trying hard to still keep Victoria their own personal secret. This live set, with its laissez-faire feel and impromptu vibe is as close as it gets to a personal performance. Van Dyke’s veneer is rubbed off and every song positively tingles right through to a gorgeous version of ‘Over The Rainbow’. It’s a fairytale to believe in.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eExclusive \u003cspan class=\"caps\"\u003eRSD\u003c\/span\u003e 2017 release\u003c\/li\u003e\n\t\u003cli\u003eFeatures Lou Reed on the song ‘Sweet Jane’\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]FAME391[[Artist]]Victoria Williams","brand":"Fire America","offers":[{"title":"Victoria Williams \u0026 The Loose Band 'Town Hall 1995' \/ Vinyl \/ LP Black","offer_id":43959623942389,"sku":"FAME391LP","price":20.0,"currency_code":"USD","in_stock":true},{"title":"Victoria Williams \u0026 The Loose Band 'Town Hall 1995' \/ CD \/ CD","offer_id":43959623975157,"sku":"FAME391CD","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1487800545533-bcpwwb6wnzswiza3-ee804135f280586d76f05fa5551c24a2_2F809236139115.jpg?v=1690523919"},{"product_id":"pleasure-joy-and-happiness","title":"Pleasure, Joy and Happiness","description":"[[Release Detail]][[Release Description]]\u003cp\u003eEddie Chacon experienced proper, peak-nineties acclaim in the soul duo Charles and Eddie: they scored a global No. 1 in 1992 with “Would I Lie To You,” appeared three times on Top of the Pops, and featured on soundtracks from True Romance to Super Mario Bros.. Their crooning style was clearly pop-ready, but undeniably reverent: the pair first met when Eddie noticed Charles carrying a vinyl copy of Marvin Gaye’s \"Trouble Man” on a New York subway train.\u003c\/p\u003e\n\u003cp\u003eBy that time, Chacon had already been navigating music in interesting ways, all the way back to his teen garage rock band with the late Cliff Burton (Metallica) and Mike Bordin (Faith No More). In the late ’80s, he released a full-length on Uncle Luke from 2 Live Crew’s label and signed to Columbia as a solo act. He was a working artist, always popping up in unexpected places: through the course of his career, Chacon would write, sing, or produce ten Top 40 hits around the globe.\u003c\/p\u003e\n\u003cp\u003eIn the words of Mac DeMarco: “Eddie Chacon is planet earth’s number one musician. Yesterday, today, and forever.”\u003c\/p\u003e\n\u003cp\u003eYears ago, Chacon retired from music for a second calling as a fashion photographer and creative director. In an interview at the time, he said, “I was fortunate to have a 35-year music career and felt that there wasn’t that much more for me to say or achieve.” Very thankfully, that’s no longer the case. Private experiments, far from the major-label center he once frequented, began to feel urgent and new. “There’s nothing more exciting for me than getting to start from the beginning again,” he says today.\u003c\/p\u003e\n\u003cp\u003e“Pleasure, Joy and Happiness” will be available July of 2020 on the boutique Los Angeles-based label Day End Records. This is a thoughtfully considered album of quiet, confident R\u0026amp;B: it doesn’t jump out at you, but rather gets in you. Produced by John Carroll Kirby, the like-minded artist and collaborator with Frank Ocean and Solange Knowles, it features restrained percussion from Kanye West’s Sunday Service drummer Lamar Carter. Celestial soul as a break from chaos, these are quietly challenging songs as timeless as they are contemporary.\u003c\/p\u003e\n\u003cp\u003e“What a rare and cool challenge it was for me to help Eddie re-emerge after a long hiatus,” says John Carroll Kirby. “I was excited to produce a record for him that captured the chill, laid-back wisdom and easy vocal mastery he has that you don’t see that much these days.”\u003c\/p\u003e\n\u003cp\u003eLead single “My Mind Is Out of Its Mind” finds a deep groove to try and contain spiraling heartbreak, while the sweet and wobbly “Trouble” balances the delightful near whisper of the title track “Pleasure, Joy and Happiness.” But even the project’s lightest moments feel sincere and mature. Altogether: a truly unifying release, coming from a man who’s earned the right to share such a regal, romantic sound.\u003c\/p\u003e\n\u003cp\u003e“I used to think to myself,” Chacon says, “if I ever make a record again, I’d want it to be a record you’d have to be my age to make.”\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eLimited to 1,000\u003c\/li\u003e\n\t\u003cli\u003eArt by Jusin Sloane (Total Luxury Spa)\u003c\/li\u003e\n\t\u003cli\u003eProduced by John Carroll Kirby\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]DE002[[Artist]]Eddie Chacon","brand":"Day End Records","offers":[{"title":"Pleasure, Joy and Happiness \/ Vinyl \/ LP Black","offer_id":43959751344373,"sku":"DE002","price":18.0,"currency_code":"USD","in_stock":true},{"title":"Pleasure, Joy and Happiness \/ Vinyl \/ LP Blue","offer_id":43959751377141,"sku":"DE002B-2","price":28.0,"currency_code":"USD","in_stock":true},{"title":"Pleasure, Joy and Happiness \/ CD \/ CD","offer_id":43959751409909,"sku":"DE002CD","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1590777907988-c5sv2g4ty6a-081e7f0fe1f34a7619fa67c82edbbf18_2FEC_COVER.jpg?v=1690528451"},{"product_id":"the-vinyl-collection","title":"The Vinyl Collection","description":"[[Release Detail]][[Release Description]]\u003cp\u003eBest known for their participation in the 1983 Eurovision Song Contest, Belgian synth pop band Pas De Deux present their complete collection. These songs were made in 1982 and 1983, including the cult hits ‘Cardiocleptomanie’, ‘Mani Meme’ and various versions of ‘Rendez-Vous’. These songs were never together on one album. Some of them were only released as a single or on some special compilations made in Spain and Germany after their much discussed participation to the Eurovision Song Contest (\u003cspan class=\"caps\"\u003eESC\u003c\/span\u003e) in 1983.\u003c\/p\u003e\n\u003cp\u003eThe 2LP vinyl compilation is a tangible thing, a must-have for the fans with some new photos from the band’s first video and all the info, credits and lyrics of the songs. Remastered \u0026amp; compiled on this deluxe 2LP with a special etched D side. The inner sleeves include some reactions triggered in the national printed press at that time. Are we lucky that it was before the social media took over?\u003c\/p\u003e\n\u003cp\u003eHighlights of the release:\u003c\/p\u003e\n\u003cp\u003e“\u003cspan class=\"caps\"\u003eRENDEZ\u003c\/span\u003e-\u003cspan class=\"caps\"\u003eVOUS\u003c\/span\u003e IN MÜNCHEN”, for the first time on vinyl!\u003c\/p\u003e\n\u003cp\u003e“At the \u003cspan class=\"caps\"\u003eESC\u003c\/span\u003e we performed Rendez-Vous, a ‘minimalistic synth-pop song’, accompanied by the Dieter Reith Orchestra, directed by Freddy Sunder, on a backing track with synthesizers and drum machines. Apart from the Eurovision broadcast on 23 April 1983, this (mono!) recording was never released before. We’ve put it on this compilation, together with 4 other alternative versions of the original song.”\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"caps\"\u003eCARDIOCLEPTOMANIE\u003c\/span\u003e, \u003cspan class=\"caps\"\u003eMANI\u003c\/span\u003e \u003cspan class=\"caps\"\u003eMEME\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“Cardiocleptomanie was part of the compilation ‘The Hidden Tapes’ by Minimal Wave in 2011. It was also the title of a personal compilation of our songs by Veronica Vasicka of Minimal Wave (sold out vinyl). It became our N°1 digital track (thank you Lieven De Ridder).”\u003c\/p\u003e\n\u003cp\u003e“On our mini-LP Des Tailles (Parsley, 1982) we covered Mani Meme, an unreleased song by DE \u003cspan class=\"caps\"\u003eNOTA\u003c\/span\u003e. To our happy surprise, the song was chosen by the \u003cspan class=\"caps\"\u003eGUCCI\u003c\/span\u003e Epilogue collection 2020 for their campaign video. It boosted our audience internationally.”\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eBest known for their participation in the 1983 Eurovision Song Contest, Belgian synth pop band Pas De Deux are Dett Peyskens, Hilde Van Roy, and Walter Verdin\u003c\/li\u003e\n\t\u003cli\u003eincluding the hits ‘Cardiocleptomania’, ‘Mani Meme’, 4 alternative versions of ‘Rendez-Vous’ + the Eurovision broadcast version with the live orchestra (mono!) recording never released before.\u003c\/li\u003e\n\t\u003cli\u003eRemastered \u0026amp; compiled on a deluxe 2LP gatefold cover with extra info, new pictures \u0026amp; Lyrics + special etched D side\u003c\/li\u003e\n\t\u003cli\u003e‘Cardiocleptomanie’ was part of the compilation ‘The Hidden Tapes’ by Minimal Wave in 2011.\u003c\/li\u003e\n\t\u003cli\u003e\n\u003cspan class=\"caps\"\u003eRENDEZ\u003c\/span\u003e-\u003cspan class=\"caps\"\u003eVOUS\u003c\/span\u003e IN MÜNCHEN, for the first time on vinyl!\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]PDD2102[[Artist]]Pas de Deux","brand":"Musique Pour La Danse","offers":[{"title":"The Vinyl Collection \/ Vinyl \/ 2LP Black","offer_id":43959821631733,"sku":"PDD2102","price":35.0,"currency_code":"USD","in_stock":true},{"title":"The Vinyl Collection \/ CD \/ CD","offer_id":43959821664501,"sku":"PDD2102CD","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1648850393189-ivqr9e3k4f-49e26c8f8571cd801f6c7658b01bb639_2FPDD2102CD.jpg?v=1690530636"},{"product_id":"white-island","title":"White Island","description":"[[Release Detail]][[Release Description]]\u003cp\u003eI have never heard before of the Jurchen culture from the Chinese and later East Russian Northlands and as well not of the Nanai People who have risen from the scattered remains of the Jurchen culture wiped out by furiously attacking Mongolian steppe armies some 850 years back. The Great Khans did not leave much variety after sweeping through the taiga towards Western Europe in the 12th and 13th centuries. So the Nanai people came to exist and had their songs and instruments. Some of them were used by composer Alexander Lavrov and singer Kola Beldy who is of Nanian descent in their music on this, Kola Beldy’s fourth album. Just as all his records from the 1980s, this is extremely rare and originals in good shape can cost a small fortune. Just in case they ever turn up somewhere outside the vast Russian country. Now for the very outstanding music that as mentiond above is based on centuries old folk tunes of the Nanai and Jurchen cultures which get slightly updated in the sense of 1989 state oft he art pop and rock and that even in a slightly progressive way. Kola Beldy, already 60 years of age by then, was a long time active folk and pop singer in the Soviet Union who unfortunately passed away only 64 years old in 1993. He owns a full, warm mid ranged voice and chants the ancient melodies in a mystifying way. The instrumentation behind him shows a good variety of old and modern instruments. While the opening track is based mostly on percussion and drum patterns with an eerie grinding sound and later on a jew’s harp added upon which Beldy lays down a melody with a typical far eastern approach in what seems to be Russian language, further tracks contain synthesizer lines and even an electric guitar. Still the overall atmosphere is mostly mystical, solemn and spiritual. I definitely have not heard anything alike before. The more rock oriented tunes could bring back memories of Italian movie soundtracks by \u003cspan class=\"caps\"\u003eGOBLIN\u003c\/span\u003e, based on progressive rock and jazz to the mind of the listener, just with these awesome vocals. Italian 90s progressive rockers \u003cspan class=\"caps\"\u003ePRESENCE\u003c\/span\u003e also had a similar approach. The keyboards, organ, very modern singing bass guitar head towards a very progressive direction here. Art pop, if you want to call it that. Based on ancient Nanian tunes but made timeless and even in 2021 fresh sounding by a very talented band. So, Kola Beldy’s fourth album may not be a mainstream favorite, fans of progressive pop like that of early 80s \u003cspan class=\"caps\"\u003eGOBLIN\u003c\/span\u003e, \u003cspan class=\"caps\"\u003ePRESENCE\u003c\/span\u003e from the early 90s and good ol‘ Peter Gabriel, not for the voice itself but for the songs, will find pleasure in this nifty obscurity which gets reissued now for the first time on vinyl in 32 years.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eUnique progressive Ethno Art Pop from Nanaian\/Jurchen\/Manchurian ancient culture\u003c\/li\u003e\n\t\u003cli\u003eKola Baldy is the most popular Russian singer of Nanaian descent\u003c\/li\u003e\n\t\u003cli\u003eMany ancient Nanaian instruments unusual in modern pop music can be heard here\u003c\/li\u003e\n\t\u003cli\u003eFirst reissue ever on vinyl since the album came out in 1989\u003c\/li\u003e\n\t\u003cli\u003eBeldy’s music is so unique, there’s actually nothing to compare with. Let’s carefully say: fans of Peter Gabriel, Goblin, Enya and Wardruna will love it\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]Everland Psych 014 LP[[Artist]]Kola Beldy","brand":"Everland Music","offers":[{"title":"White Island \/ Vinyl \/ LP Black","offer_id":43959828250869,"sku":"Everland Psych 014 LP","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1654712789214-oh7d4y5syfm-862815987bbd0ca72db027c0b8ad3d11_2Fa1351306865_10.jpg?v=1690530851"},{"product_id":"first-love","title":"First Love","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/o1sUaVJUeB0\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eOriginally released 1999 on CD only and now on vinyl. First Love is the debut Japanese-language studio album (second overall) by Japanese-American recording artist Hikaru Utada, released on 10 March 1999 by Toshiba-\u003cspan class=\"caps\"\u003eEMI\u003c\/span\u003e. An R\u0026amp;B and dance-pop album, First Love centres on the theme of love and relationships. Songs like “Automatic” and “First Love” are prime examples of these themes. Since its release, First Love remains the highest selling Japanese album. It has sold over eleven million units worldwide. Utada promoted the album by releasing four singles: “Automatic”, “Time Will Tell”, “Movin’ on Without You” and “First Love”, all which were accompanied by a short music video.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e2025 Edition\u003c\/li\u003e\n\u003cli\u003eDouble LP pressed on black vinyl\u003c\/li\u003e\n\u003cli\u003eComes in gatefold packaging\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eIncludes Bonus Track First Love - John Luongo Remix\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]UPJY-9202-3[[Artist]]Hikaru Utada\u003c\/p\u003e","brand":"Universal Music Japan","offers":[{"title":"First Love \/ Vinyl \/ 2LP Black","offer_id":43959837098229,"sku":"UPJY-9202-3","price":55.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1662059604306-2uda3962fnh-4eea2d97c6d85fc8847bf6d3bce8cdb0_2F4988031460023.jpg?v=1690531179"}],"url":"https:\/\/lightintheattic.net\/collections\/pop.oembed?page=17","provider":"Light in the Attic","version":"1.0","type":"link"}