{"title":"Pop","description":"\u003cp\u003eCollection of pop hits on vinyl at Light in the Attic\u003c\/p\u003e\n\u003c!----\u003e","products":[{"product_id":"cowboy-in-sweden-original-motion-picture-soundtrack","title":"Cowboy In Sweden","description":"[[Release Detail]]\u003cp\u003eLee Hazlewood spent a good part of the late 1960s traveling the globe, cutting records and inking business deals. A string of hits with Nancy Sinatra enabled Lee to build a mini media empire Lee Hazlewood Industries and afforded him nearly unlimited resources…for a time. By the end of the decade \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e Records had burned piles of cash, gone through a half dozen distributors and failed to achieve the kind of chart success “Boots\" had promised.\u003c\/p\u003e\n\u003cp\u003eFortunately for Lee there was a land where he was still on the top of the charts, a place where women flowed like Brannvin…Sweden was calling.\u003c\/p\u003e\n\u003cp\u003eWhile on an \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e promotional tour in Stockholm, Lee crossed paths with Swedish director Torbjörn Axelman. “I met Lee through my script girl, in Stockholm in 1969,” remembers Axelman. \"We noticed we had very many similarities, interests, and the same backgrounds. It led to many productions during our 38 years of close partnership and friendship.” The partnership showed Lee the way forward and allowed him an easy exit strategy from the \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e house of cards that was crumbling in Los Angeles.\u003c\/p\u003e\n\u003cp\u003eLight In The Attic records is proud to continue its Lee Hazlewood series with this expanded reissue of \u003cem\u003eCowboy in Sweden\u003c\/em\u003e. Released as the last \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e LP, Cowboy in Sweden was a soundtrack to the 1970 cult classic film of the same name starring Lee Hazlewood. The film was a surreal psychedelic account of Lee’s journey to his new homeland, while the soundtrack was a perfect compilation of Hazlewood’s strongest songs recorded over a prolific globe trotting three year period. The production scope of the album was the most ambitious of his career, recorded in Paris, London, Los Angeles and Stockholm with a slew of talented session musicians, producers and arrangers.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCowboy in Sweden\u003c\/em\u003e is quite possibly the purest distillation of the Hazlewood sound; lush melancholy country pop with a pinch of humor (“Pray Them Bars Away”), a dash of bummer (“Cold Hard Times”), some beautiful ladies to sing with (“Leather \u0026amp; Lace” \u0026amp; “Hey Cowboy”) and even a couple anti-war protest songs to be topical (”No Train to Stockholm” \u0026amp; “For A Day Like Today”). The David “Bitter Sweet Symphony” Whitaker arranged orchestral pop of “What’s More I Don’t Need Her” and the stone cold Hazlewood classic “The Night Before” cement the album as Lee’s peak on \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e records and ironically the label’s swan song.\u003c\/p\u003e[[Release Description]]\u003cp\u003eLee Hazlewood spent a good part of the late 1960s traveling the globe, cutting records and inking business deals. A string of hits with Nancy Sinatra enabled Lee to build a mini media empire Lee Hazlewood Industries and afforded him nearly unlimited resources…for a time. By the end of the decade \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e Records had burned piles of cash, gone through a half dozen distributors and failed to achieve the kind of chart success “Boots\" had promised.\u003c\/p\u003e\n\u003cp\u003eFortunately for Lee there was a land where he was still on the top of the charts, a place where women flowed like Brannvin…Sweden was calling.\u003c\/p\u003e\n\u003cp\u003eWhile on an \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e promotional tour in Stockholm, Lee crossed paths with Swedish director Torbjörn Axelman. “I met Lee through my script girl, in Stockholm in 1969,” remembers Axelman. \"We noticed we had very many similarities, interests, and the same backgrounds. It led to many productions during our 38 years of close partnership and friendship.” The partnership showed Lee the way forward and allowed him an easy exit strategy from the \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e house of cards that was crumbling in Los Angeles.\u003c\/p\u003e\n\u003cp\u003eLight In The Attic Records is proud to continue its Lee Hazlewood Archival Series with this expanded reissue of \u003cem\u003eCowboy in Sweden\u003c\/em\u003e. Released as the last \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e LP, Cowboy in Sweden was a soundtrack to the 1970 cult classic film of the same name starring Lee Hazlewood. The film was a surreal psychedelic account of Lee’s journey to his new homeland, while the soundtrack was a perfect compilation of Hazlewood’s strongest songs recorded over a prolific globe trotting three year period. The production scope of the album was the most ambitious of his career, recorded in Paris, London, Los Angeles and Stockholm with a slew of talented session musicians, producers and arrangers.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCowboy in Sweden\u003c\/em\u003e is quite possibly the purest distillation of the Hazlewood sound; lush melancholy country pop with a pinch of humor (“Pray Them Bars Away”), a dash of bummer (“Cold Hard Times”), some beautiful ladies to sing with (“Leather \u0026amp; Lace” \u0026amp; “Hey Cowboy”) and even a couple anti-war protest songs to be topical (”No Train to Stockholm” \u0026amp; “For A Day Like Today”). The David “Bitter Sweet Symphony” Whitaker arranged orchestral pop of “What’s More I Don’t Need Her” and the stone cold Hazlewood classic “The Night Before” cement the album as Lee’s peak on \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e Records and ironically the label’s swan song.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eRemastered from pristine original \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e master tapes\u003c\/li\u003e\n\t\u003cli\u003eIncludes previously unheard versions of “Pray Them Bars Away” \u0026amp; “Easy \u0026amp; Me\"\u003c\/li\u003e\n\t\u003cli\u003eLiner notes by Hunter Lea including interviews with Torbjörn Axelman, Suzi Jane Hokom, Nina Lizell, Don Randi, Hal Blaine and Shel Talmy\u003c\/li\u003e\n\t\u003cli\u003eRare film production photos from the Torbjörn Axelman archive\u003c\/li\u003e\n\t\u003cli\u003eLP housed in a deluxe gatefold Stoughton tip-on jacket\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog 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He said, ‘No, I want you to do it and I want to just be a singer.’ So I said okay.” -Shel Talmy\u003c\/p\u003e\n\u003cp\u003eOriginally titled Will The Real Lee Hazlewood Please Stand Up?, Forty was a different kind of Hazlewood album, one in which Lee just focused on being a performer. In 1969 on the eve of his fortieth birthday, Lee flew to England and enlisted Shel Talmy (The Kinks, The Who, Chad \u0026amp; Jeremy, Bert Jansch) to produce an album and hand pick the songs. Shel picked some incredible songs for Lee to sing and even wrote him a song that should’ve been a hit, “Bye Babe.” Recorded at famed \u003cspan class=\"caps\"\u003eIBC\u003c\/span\u003e recording studio with cream of the crop British session musicians and arrangers, no expense was spared.\u003c\/p\u003e\n\u003cp\u003eNicky Hopkins piano\/organ work on “The Bed” and “The Night Before” evoke his then recent work with the Rolling Stones on Beggar’s Banquet and Let It Bleed. Arranger David Whitaker’s (Serge Gainsbourg, Vashti Bunyan, Air, “Bittersweet Symphony”) wizardry creates a lush, sophisticated orchestral sound.\u003c\/p\u003e\n\u003cp\u003e“He was one of the more unique arrangers I’ve ever run into. I think “It Was A Very Good Year” is one of the best arrangements of that song ever.” – Shel Talmy\u003c\/p\u003e\n\u003cp\u003eForty begins with the boozy suite “It Was A Very Good Year”, a swingin’ shapeshifter that could’ve been a James Bond theme. The album traverses many styles from melancholy baroque orchestral pop(“What’s More I Don’t Need Her” “Bye Babe” \u0026amp; “The Night Before”) to country funk (“The Bed” \u0026amp; “Let’s Burn Down the Cornfield.”)\u003c\/p\u003e\n\u003cp\u003eLight in the Attic Records is proud to continue its Lee Hazlewood Archival series with an expanded reissue of Forty. Every track Shel and Lee recorded for Forty are included here for the first time, including the outtake “For Once in My Life” and the previously unreleased backing track “Send Out Love.”\u003c\/p\u003e\n\u003cp\u003eIn exchange for piles of money from major labels, Lee and \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e made promises to produce an amount of recorded material that wasn’t humanly possible for one man and a small label. The logistics didn’t matter to Lee; once the check was cashed, he would do his damnedest to deliver the herculean output. Forty was one of those records, but what a beautiful way to meet a quota.\u003c\/p\u003e\n\u003cp\u003eLee liked his work with Shel so much that tracks from Forty were included on subsequent Hazlewood albums Cowboy in Sweden (1970) and Movin’ On (1977).\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eAlbum remastered from pristine \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e master tapes\u003c\/li\u003e\n\u003cli\u003eIncludes session outtake “For Once in My Life” and previously unreleased backing track “Send Out Love”\u003c\/li\u003e\n\u003cli\u003eLiner notes by Hunter Lea including an interview with Shel Talmy\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 161[[Artist]]Lee Hazlewood\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Forty \/ Lee Hazlewood - MP3\/320 \/ album \/ 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You could tell by the look in his eyes, that the half-dozen shots of Chivas Regal had put his ego to rest, and he was ready to sing with the “Lady.” They Sang for three nights – the “Cowboy” and the “Lady”, and the Gods were kind, and their album was finished on time. Herein, lie the results…some good, some bad and some more. -Lee Hazlewood\u003c\/p\u003e\n\u003cp\u003e“He had that wonderful, raw sense of humor and that good ol’ boy accent. He certainly could turn a phrase.” -Ann-Margret\u003c\/p\u003e\n\u003cp\u003eIn 1969 Lee Hazlewood’s personal record label \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e Records was flush with major label cash and Lee wanted to make Ann-Margret his next big star. In the quest for a hit, the pair recorded fuzzed out acid rock (“It’s A Nice World To Visit (But Not To Live In)” \u0026amp; “You Turned My Head Around,”) orchestral pop (“Sleep in the Grass” \u0026amp; “Chico”) and a genuine country album cut in Nashville.\u003c\/p\u003e\n\u003cp\u003eLight in the Attic Records is proud to continue it’s Lee Hazlewood archival series with an expanded reissue of Lee \u0026amp; Ann-Margret’s The Cowboy \u0026amp; The Lady. The album is Hazlewood’s truest country album and a perfect example of the genre hopping he was afforded at \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e with unlimited creative freedom and money to burn. Recorded over a weekend in Nashville with the help of Charlie McCoy and some Nashville session musicians.\u003c\/p\u003e\n\u003cp\u003e“That was 47 years and about 5000 sessions ago.” – Charlie McCoy\u003c\/p\u003e\n\u003cp\u003eWith improvised lines like “Look at her standing there with chili all over her dress \/ If I knew her better, I’d give her a puppy,” the sessions were loose and fun, with most tracks cut in one or two takes.\u003c\/p\u003e\n\u003cp\u003e“I had done things in Nashville before. I worked with The Jordanaires in ’62 or ’63. We did a lot of things. I had worked with Charlie McCoy, Floyd Cramer, and Chet Atkins. I love the feeling of Nashville.” – Ann-Margret\u003c\/p\u003e\n\u003cp\u003eA whirlwind year of lear jet promo tours, magazine photo shoots, television specials and cutting records for \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e wasn’t able to bring the success that Lee and Ann-Margret pushed for. A second \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e album with Ann-Margret was planned but never recorded. Within a year of making the trip to Nashville, Lee would be living in Sweden full-time and Ann-Margret would focus on her acting career for the better part of a decade. Nothing exemplifies Lee’s “throw it against the wall and see if it sticks” record production of the \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e era like his work with Ann-Margret. Though it didn’t stick, and it didn’t sell, Lee’s adventure with Ann-Margret is an extravagant tangent that has since grown a cult following…\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eAlbum remastered from pristine \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e master tapes\u003c\/li\u003e\n\u003cli\u003eIncludes non-album \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e singles as bonus tracks\u003c\/li\u003e\n\u003cli\u003eLiner notes by Hunter Lea including interviews with Ann-Margret \u0026amp; Suzi Jane Hokom\u003c\/li\u003e\n\u003cli\u003eEssay by Lydia Hyslop\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 160[[Artist]]Lee Hazlewood \u0026amp; Ann-Margret\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"The Cowboy \u0026 The Lady \/ Ann-Margret \u0026 Lee Hazlewood  - MP3\/320 \/ album \/ 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Color","offer_id":44065414578421,"sku":"LITA160LP-COLOR","price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1505941827357-4f1g42bjhx8-bc3619e570ec4fa63439ebf8572703ba_2FLITA160_Cover.jpg?v=1696119870"},{"product_id":"rose-colored-corner","title":"Rose Colored Corner","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/vgQvE62Ebag\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003eThough most of the world may not know the songs of Lynn Castle, she is an artist whose work stretches across seven decades. She has created a diverse and vast (albeit mostly unreleased) discography of pop, folk, country, gothic, rock, punk, blues, and children’s songs. Light In The Attic Records is very excited to continue its Lee Hazlewood Archive Series with \u003cem\u003eRose Colored Corner\u003c\/em\u003e, a collection of intimate recordings Lynn Castle made with Jack Nitzsche in 1966 and her complete recorded output with Lee Hazlewood on \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e Records. For the first time ever Lynn is sharing recordings from her personal archive and telling her story.\u003c\/p\u003e\n\u003cp\u003eIn the 1960s Lynn became the first lady barber in LA just as long hair on men became hip. By day she was styling The Monkees, Boyce and Hart, Del Shannon, Sonny \u0026amp; Cher, the Byrds and countless others…by night she was writing songs. Despite lacking the desire to self promote and a crippling insecurity that made it hard to sing in front of anyone, her songs managed to bend the ears of such industry heavyweights as Phil Spector, Jack Nitzsche and Lee Hazlewood. “It was so hard to get me to sing,” explained Castle. “I had buried it so low, I didn’t think I was good at all. Lee heard my songs and thought I was fabulous. He said, ‘Oh my god, you’re really good! Let’s cut a record.’\u003c\/p\u003e\n\u003cp\u003eHer sole 1967 45 “The Lady Barber\" b\/w \"Rose Colored Corner,” released on Lee Hazlewood Industries is a slice of psychedelic pop heaven. A full length album was never completed, but her sparse demos with Jack Nitzsche give the listener a peek of what one might have sounded like. If you are familiar with Nitzsche’s mid-60s work with Tim Buckley, Bob Lind, and Buffalo Springfield…you can squint your ears and imagine her songs bejeweled with lush strings, finger cymbals, and delicate harpsichord. Instead, the songs remained unheard until now.\u003c\/p\u003e\n\u003cp\u003eJust because her songs weren’t recognized at the time doesn’t diminish their magic. This music is meant to be found and heard. Though commercial success may remain elusive, sometimes strange premonitions are realized… “When I was young, making music in the ‘60s, I had this strange thought that one day I would be this old woman, and young people would come find me and tell me that my music meant something to them.” – Lynn Castle\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRemastered from pristine original master tapes\u003c\/li\u003e\n\u003cli\u003e10 previously unreleased songs recorded with Jack Nitzsche\u003c\/li\u003e\n\u003cli\u003eIncludes Lynn’s sole \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e 45 produced by Lee Hazlewood\u003c\/li\u003e\n\u003cli\u003eLiner notes by Hunter Lea with Lynn Castle interview\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 157[[Artist]]Lynn Castle\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Rose Colored Corner \/ Lynn Castle - MP3\/320 \/ album \/ 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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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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\u003eWe are pleased to announce that Light In The Attic \u0026amp; Third Man Records are joining forces to show impressional, young minds the virtues of good music and vinyl records…\u003c\/p\u003e\n\u003cp\u003eWe are pleased to announce that Light In The Attic \u0026amp; Third Man Records are joining forces to show impressionable, young minds the virtues of good music and vinyl records with our exclusive children’s compilation, \u003ci\u003eThis Record Belongs To______\u003c\/i\u003e available November 6th on LP, CD \u0026amp; digitally accompanied by Third Man Record’s new portable light-weight children’s turntable with built in speakers and a \u003cspan class=\"caps\"\u003eUSB\u003c\/span\u003e port for converting vinyl records to digital. Parents everywhere rejoice!\u003c\/p\u003e\n\u003cp\u003eWhat if your favorite children’s book were not only a timeless story but came with a soundtrack of tunes that kids and grown-ups alike would love? Hold onto your boots… it’s here! \u003ci\u003eThis Record Belongs To______\u003c\/i\u003e is the antidote to your standard kids compilations. You won’t find boy bands, princesses, or purple dinosaurs here. Instead the record consists of two halves–an upbeat side for daytime dancin’ and a mellow side for bedtime lullabies. Among the many gems featured include songs from Carole King, Woody Guthrie, Donovan, Harry Nilsson, Jerry Garcia, Nina Simone, Kermit The Frog and more.\u003c\/p\u003e\n\u003cp\u003eInspired by the classic Little Golden Books Series and Sesame Street’s In Harmony albums, \u003ci\u003eThis Record Belongs To ______\u003c\/i\u003e stems from a love of music, reading, and a passion for teaching future generations the interactive experience of holding an album in your hands, putting needle to groove, and immersing yourself in the pages of a record’s sleeve as the music plays. The compilation was compiled and sequenced by DJ and friend, Zach Cowie, who is as dear to our hearts as this collection of songs (previously passed around as a gift between friends) and is the soundtrack for many \u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e \u0026amp; \u003cspan class=\"caps\"\u003eTMR\u003c\/span\u003e offspring. These kiddos now all have undeniably excellent taste in tunes.\u003c\/p\u003e\n\u003cp\u003eThe record is accompanied by an original, full-color storybook illustrated by acclaimed artist, Jess Rotter, which tells the tale of five forest pals who find a mysterious object–a round, flat disc that they proceed to investigate. The animal friends finally solve the mystery and learn how to play a record and let their bodies move to the groove (within the grooves).\u003c\/p\u003e\n\u003cp\u003eHow can you fully introduce your children to the magic of vinyl records without letting them interact with the record player a bit themselves? Third Man Records realizes your high end turntable might not be kid-friendly, so they are co-releasing a portable, suitcase record player just for the kids. The new Third Man Records children’s turntable made by Jensen is compact and portable, featuring images of Manny, the Third Man mascot. 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Green","offer_id":44065413005557,"sku":"LITA145LP-GREEN","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1441738856699-djje1jyeox14te29-13138b275c823852951b1d5fddb283dc_2FLITA145_MainSquare.jpg?v=1696119839"},{"product_id":"13-lee-hazlewood","title":"13 (Lee Hazlewood)","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e13\u003c\/em\u003e was never supposed to be a Lee Hazlewood album. It is perhaps the strangest record in one of the most varied discographies in music. The bombastic brass heavy funk, deep blues and soul paired with Hazlewood’s subterranean baritone would be best enjoyed with a tall Chivas in an off-strip seedy Vegas lounge. It also features one of Hazlewood’s greatest lines ever “One week in San Francisco, existing on Nabisco, cookies and bad dreams, sad scenes and dodging paranoia.”\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“Pimps… whores… pushers… dopers… gangsters… and bottom of the human chain shit-heels. Now you’re probably thinking I’m writing about major record companies and their unscrupulous executives… and lawyers. You could be right… but this time… YOU’RE \u003cspan class=\"caps\"\u003eWRONG\u003c\/span\u003e!\u003c\/em\u003e \u003cem\u003eI’m describing the characters in my album ‘13’\u003c\/em\u003e \u003cem\u003e…Some I knew… some I invented … some are true… some are false… some I liked… some I didn’t. But they all had a story to tell and I told it…none of ‘em seem to care… and I don’t either… have fun…\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e- Lee Hazlewood\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“He took my voice off the album and put his voice on the album. Now don’t forget these were in my keys, it was my charts, it was my everything. Lee Hazlewood was not even remotely going to be considered as an artist for this album and that’s the way he wanted it.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e- Larry Marks\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e13\u003c\/em\u003e was never supposed to be a Lee Hazlewood album. It is perhaps the strangest record in one of the most varied discographies in music. The bombastic brass-heavy funk, deep blues and soul paired with Hazlewood’s subterranean baritone would be best enjoyed with a tall Chivas in an off-strip seedy Vegas lounge. 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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\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\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFirst ever LP reissue, first time on CD \u0026amp; Digital\u003c\/li\u003e\n\u003cli\u003eAll tracks newly re-mastered\u003c\/li\u003e\n\u003cli\u003eLiner notes by Jack D. Fleischer\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 123[[Artist]]Lewis\u003c\/p\u003e","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":"lamour","title":"L'Amour","description":"\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eIn 1983, a man named Lewis recorded an album named \u003cem\u003eL’Amour\u003c\/em\u003e, which was released on the unknown label R.A.W. And that’s about all we know.\u003c\/p\u003e\n\u003cp\u003eThe record itself is a delicate, whispered album, reflecting the way the artist himself – spectral, movie star-like – almost disappears into the grey of the cover. It should come as no surprise that it failed to shout loudly enough to be noticed, another private press album that sank without trace.\u003c\/p\u003e\n\u003cp\u003eThe ingredients are simple: smooth synthesizers, feather-light piano, ethereal, occasionally inaudible vocals and the gentle plucking of acoustic guitars. But the effects are arresting: a spine-tingling, sombre album that echoes Springsteen’s Nebraska or Angelo Badalamenti’s atmospheric soundtracks. Later, Arthur Russell would grasp for something similar on the epochal \u003cem\u003eWorld Of Echo\u003c\/em\u003e LP.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eL’Amour\u003c\/em\u003e is a true discovery of the blog age, uncovered in an Edmonton flea-market by collector Jon Murphy, passed on to private press fanatic Aaron Levin, shared on the internet and speculated over by lovers of curious LPs. There’s almost no information about Lewis or the album on the internet. There’s precious little on the sleeve: a dedication to Sports Illustrated supermodel Christie Brinkley, a photo credit for Ed Colver, the noted L.A. punk rock photographer, and credits for engineer Bob Kinsey and synth player Philip Lees. All that was known of Lewis is conjecture: a rumor that he was a con artist who fled after not paying for \u003cem\u003eL’Amour’s\u003c\/em\u003e photo-shoot and a dubious theory that he was not actually of this earth.\u003c\/p\u003e\n\u003cp\u003eWhen Light In The Attic looked to release the album, they set out to investigate the mystery. They found some answers, but more intrigue too. Colver was able to fill in some blanks. Firstly, Lewis is a pseudonym. The man the photographer met was named Randall Wulff. He stayed in the Beverley Hills Hotel, drove a white convertible Mercedes and dated a girl who looked like a model. He paid for his photo session with Colver with a $250 check, which bounced.\u003c\/p\u003e\n\u003cp\u003eEventually, the trail led to Alberta, Canada, where that first LP had been found. Liner notes writer Jack Fleischer along with master detective Markus Armstrong found Randall’s nephew, who remembered Randall as a stockbroker. His vague recollections include a visit to Randall’s apartment, with all-white furniture and that beautiful girlfriend \u003cem\u003ein situ\u003c\/em\u003e. Crucially, he offered another name – another of Randall’s pseudonyms – which led to a Vancouver studio and the revelation that Lewis had recorded three or four albums of “soft religious music” there. Alas, even the new nom de plume led only to dead ends.\u003c\/p\u003e\n\u003cp\u003eLewis remains a ghost, a total mystery, but the music will be heard. The album is being pressed for the first time in more than 30 years, and widely distributed for the first time ever. Lewis’s royalties will be placed in escrow until he makes himself known. Perhaps you know Lewis. Perhaps Lewis is you. The only certainty is this: Lewis is about to find a whole bunch of new fans.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFirst ever LP reissue, first time on CD \u0026amp; Digital\u003c\/li\u003e\n\u003cli\u003eAll tracks newly re-mastered\u003c\/li\u003e\n\u003cli\u003eNew liner notes by Jack D. 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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":"\u003cp\u003e[[Release Detail]]\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 width=\"325\" height=\"183\" src=\"https:\/\/www.youtube.com\/embed\/gOklbYMPfGM?rel=0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"320\" height=\"180\" src=\"https:\/\/www.youtube.com\/embed\/0OUdkC0QGTQ\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/V8_RUf82I1Y\" height=\"180\" width=\"320\"\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\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFirst ever release\u003c\/li\u003e\n\u003cli\u003eAll tracks newly re-mastered from original tapes\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eLiner notes by Jack D. Fleischer, interviewing Donnie \u0026amp; Joe\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 115[[Artist]]Donnie \u0026amp; Joe Emerson\u003c\/p\u003e","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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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":"\u003cp\u003e[[Release Detail]]\u003cbr\u003e[[Release Description]]\u003c\/p\u003e\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\"\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\u003cp\u003e[[Catalog Number]]LITA 082[[Artist]]Donnie \u0026amp; Joe Emerson\u003c\/p\u003e","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. 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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). Randle himself describes his long-forgotten efforts as, “my bitter and twisted Simon \u0026amp; Garfunkel songs,” and though the lyrical content is indeed weighty,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSongs\u003c\/em\u003e’ backing tracks successfully merge swinging sunshine pop and atmospheric orchestrations with a groovy backbeat performed by the cream of Toronto’s heralded studio scene (Moe Koffman, Peter Appleyard, Rob McConnell, and Guido Basso to name a few).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIt’s an album like you’ve never heard and one under the radar of even the most dedicated crate diggers.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]][[Catalog Number]]LITA 034[[Artist]]Doug Randle\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Songs For the New Industrial State \/ CD \/ CD","offer_id":32237407993935,"sku":"LITA034CD","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1590793752635-sbvxem73g5e-86de5462b6e5f8ff8e1a7df602ad0f65_2FDoug_2BRandle.jpg?v=1696119788"},{"product_id":"our-lives-are-shaped-by-what-we-love-motown-s-mowest-story-1971-73","title":"Our Lives Are Shaped By What We Love: Motown's Mowest Story 1971-73","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eYou know the old saying, “Go west, young man”? 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. Though the label released over forty singles and close to a dozen albums from up and comers like \u003cstrong\u003eOdyssey\u003c\/strong\u003e to established veterans \u003cstrong\u003eFrankie Valli \u0026amp; The Four Seasons\u003c\/strong\u003e, the expected hits never materialized and the imprint quietly folded in 1973. 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":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\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\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\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\u003cli\u003eDesign by Henry Owings, Chunklet Graphic Control.\u003c\/li\u003e\n\u003cli\u003eArtist illustrations by Drew Christie.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 45-024[[Artist]]Gold Leaves \/ Lee Hazlewood\u003c\/p\u003e","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":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\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\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\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\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\u003cli\u003eDesign by Henry Owings, Chunklet Graphic Control.\u003c\/li\u003e\n\u003cli\u003eArtist illustrations by Drew Christie.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 45-023[[Artist]]Ariel Pink's Haunted Graffiti \u0026amp; Dâm-Funk\u003c\/p\u003e","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":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\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\n\u003cp\u003eIn 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\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRestored to the original mono mixes\u003c\/li\u003e\n\u003cli\u003eExclusive interview with Françoise Hardy\u003c\/li\u003e\n\u003cli\u003eLiner Notes by Kieron Tyler\u003c\/li\u003e\n\u003cli\u003eNewly expanded gatefold edition housed in a deluxe Stoughton jacket\u003c\/li\u003e\n\u003cli\u003e180-gram vinyl\u003c\/li\u003e\n\u003cli\u003eFirst time available on CD in the US\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]FDR 614[[Artist]]Francoise Hardy\u003c\/p\u003e","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":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\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\n\u003cp\u003e[[Catalog Number]]FDR 613[[Artist]]The Family Of Apostolic\u003c\/p\u003e","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":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\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\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cli\u003eFirst time available in the US\u003c\/li\u003e\n\u003cli\u003eRestored to the original mono mixes\u003c\/li\u003e\n\u003cli\u003eExclusive interview with Françoise Hardy\u003c\/li\u003e\n\u003cli\u003eLiner Notes by Kieron Tyler\u003c\/li\u003e\n\n[[Catalog Number]]FDR 615[[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":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\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\n\u003cp\u003e[[Catalog Number]]FDR 616[[Artist]]Francoise Hardy\u003c\/p\u003e","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":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\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\n\u003cp\u003e[[Catalog Number]]FDR 617[[Artist]]Francoise Hardy\u003c\/p\u003e","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":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\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\n\u003cp\u003e[[Catalog Number]]FDR 618[[Artist]]Francoise Hardy\u003c\/p\u003e","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":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\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\n\u003cp\u003eHe 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\n\u003cp\u003e[[Catalog Number]]LITA 133[[Artist]]Lee Hazlewood\u003c\/p\u003e","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]]\u003cmeta charset=\"utf-8\"\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.\u003cbr\u003e\u003c\/p\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":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\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.\u003c\/p\u003e\n\u003cp\u003eShe’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.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e[[Catalog Number]]LITA 139[[Artist]]Lizzy Mercier Descloux\u003c\/p\u003e","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":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\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\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…\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e[[Catalog Number]]LITA 137[[Artist]]Lizzy Mercier Descloux\u003c\/p\u003e","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":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\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\n\u003cp\u003eWhen 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\n\u003cp\u003e[[Catalog Number]]LITA 140[[Artist]]Lizzy Mercier Descloux\u003c\/p\u003e","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]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\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\u003cul\u003e\u003c\/ul\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]]\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[[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":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\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\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\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\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRemastered from the original tapes\u003c\/li\u003e\n\u003cli\u003eTracklist is the same as the original 1989 UK Edition\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]MCR 914[[Artist]]Stone Roses\u003c\/p\u003e","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":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\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\n\u003cp\u003eIts 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\n\u003cp\u003e[[Catalog Number]]LITA 131[[Artist]]Lee Hazlewood\u003c\/p\u003e","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":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\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\n\u003cp\u003e[[Catalog Number]]MCR 915[[Artist]]Stone Roses\u003c\/p\u003e","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 Number]]LITA 005[[Artist]]The Free Design\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Heaven \/earth \/ The Free Design - 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He takes Greyhound bus trips to Los Angeles to pitch songs, only to be rejected each time. Undeterred, Lee starts a record label called Viv Records. Running the label out of his house, Lee finds the artists, writes the songs, produces the sessions, arranges the pressings of the records and handles distribution. Recently discovered tapes in the Viv Records archive yielded an unbelievable find, the earliest known recordings of Hazlewood singing his songs…Lee’s first demo! The mysterious and bountiful tapes featured Lee singing early unheard compositions and a complete first draft of his \u003cem\u003eTrouble Is A Lonesome Town\u003c\/em\u003e song cycle that would become his first official solo album in 1963.\u003c\/p\u003e\n\u003cp\u003eLight in the Attic Records is proud to continue it’s Lee Hazlewood archival series with \u003cem\u003e400 Miles From L.A. 1955-56\u003c\/em\u003e, a collection of previously unknown intimate recordings, never intended for release. Lee sings, plays guitar and even presses the record button on the tape machine. These are rural sketches and small town dreams, captured in an innocent time before the path ahead was clear.\u003c\/p\u003e\n\u003cp\u003eThese songs rewrite Lee’s recorded history, adding a new first chapter to his saga. For Hazlewood addicts, hearing these early tracks and the embryonic version of \u003cem\u003eTrouble Is A Lonesome Town\u003c\/em\u003e is akin to finding an early draft of the Old Testament.\u003c\/p\u003e\n\u003cp\u003e“That’s beauty of Lee’s songwriting. It lives on. People will hear it for the first time, even though it’s fifty years old or whatever, if it’s good enough and strong enough, they’ll accept and like it as much as if it was just created. That’s the wonderful legacy that Lee has. It’s wonderful to look back and make all this early work available. To put “Boots” and all those other \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e songs into perspective. That it all started somewhere and this is where.” – Arizona Music Historian and record producer, John Dixon.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/tnAlNilp48E\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eTracks mastered from original Viv Records analog tapes\u003c\/li\u003e\n\u003cli\u003eFeaturing many previously unreleased compositions and an early draft of Trouble Is A Lonesome Town\u003c\/li\u003e\n\u003cli\u003eLiner notes by Hunter Lea with an interview from John Dixon\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 176[[Artist]]Lee Hazlewood\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"400 Miles From L.A. 1955-56 \/ Lee Hazlewood - MP3\/320 \/ album \/ MP3\/320","offer_id":43213695025397,"sku":"249R\/MP3","price":11.99,"currency_code":"USD","in_stock":true},{"title":"400 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is a Lonesome Town \/ track \/ FLAC","offer_id":43213698302197,"sku":"2765T\/FLAC","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Trouble is a Lonesome Town \/ track \/ WAV","offer_id":43213698334965,"sku":"2765T\/WAV","price":1.29,"currency_code":"USD","in_stock":true},{"title":"400 Miles From L.A. 1955-56 \/ Vinyl \/ 2LP Color","offer_id":44065414709493,"sku":"LITA176 ONLINE BUNDLE","price":72.0,"currency_code":"USD","in_stock":true},{"title":"400 Miles From L.A. 1955-56 \/ Vinyl \/ 2LP Black","offer_id":44065414742261,"sku":"LITA176LP","price":28.0,"currency_code":"USD","in_stock":true},{"title":"400 Miles From L.A. 1955-56 \/ CD \/ CD","offer_id":44065414775029,"sku":"LITA176CD","price":16.0,"currency_code":"USD","in_stock":true},{"title":"400 Miles From L.A. 1955-56 \/ Vinyl \/ 2LP Gold","offer_id":44065414807797,"sku":"LITA176LP-1","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1556745633251-7lkhjx45cly-8fed12e99d3e2c0ebceed9f35bed43e6_2FLITA176_LeeHazlewood_400Miles_300DPI_Cover.jpg?v=1696119874"},{"product_id":"some-velvet-morning-b-w-tired-of-waiting-for-you","title":"Some Velvet Morning b\/w Tired Of Waiting For You","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\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\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e2020 Record Store Day \/ Black Friday Exclusive Release\u003cbr\u003e\n\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”\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 45-052[[Artist]]Nancy Sinatra\u003c\/p\u003e","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=\"https:\/\/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=\"https:\/\/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=\"https:\/\/vimeo.com\/user11029346\"\u003eLight In The Attic Records\u003c\/a\u003e on \u003ca href=\"https:\/\/vimeo.com\"\u003eVimeo\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe height=\"183\" width=\"325\" src=\"https:\/\/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\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"}],"url":"https:\/\/lightintheattic.net\/collections\/pop.oembed?page=21","provider":"Light in the Attic","version":"1.0","type":"link"}