{"title":"Summer Sale","description":null,"products":[{"product_id":"directions-to-see-a-ghost","title":"Directions To See A Ghost","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“The Black Angels bring the aura of mid-1966–the drilling guitars of early Velvet Underground shows, the raga inflections of late-show Fillmore jams, the acid-prayer stomp of Austin avatars the 13th Floor Elevators–everywhere they go, including the levitations on their second album, \u003c\/em\u003eDirections To See A Ghost\u003cem\u003e. Mid-Eighties echoes of Spacemen 3 and the Jesus and Mary Chain also roll through the scoured-guitar sustain and Alex Maas’ rocker-monk incantations. But he knows what time it is. ’You say the Beatles stopped the war,” Maas sings in ‘Never\/Ever.’ ‘They might’ve helped to find a cure\/But it’s still not over.’ Even so, this medicine works wonders.\" – \u003cstrong\u003eDavid Fricke, Rolling Stone\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eWhen last we met The Black Angels, they were staring into the desert sun somewhere outside of Austin, Texas. Two years later, night has fallen and the spirits have come out. It’s time for The Black Angels to provide \u003cem\u003eDirections To See A Ghost\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eIf you’re familiar with \u003cem\u003ePassover\u003c\/em\u003e, the band’s 2006 debut, you’ll know that The Black Angels’ music alone is enough to invoke spirits. There’s a name for the band’s sound: \"hypno-drone 'n' roll.\" It’s the sound of long nights on peyote, dreams of a new world order, and half-invented memories of the seamy side of 60s psychedelia.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThe Black Angels formed in Austin, Texas, in 2004, comprised of six people (now five) from very different backgrounds. Singer\/vocalist Christian Bland is the son of a Presbyterian Pastor and was raised in a devoutly religious household. Bassist\/guitarist Nate Ryan was born on a cult compound, and drummer Stephanie Bailey claims she’s a descendent of Davy Crocket. She and Alex Maas (vocals\/guitar) both believe a little girl in a red linen dress haunts the group’s home.\u003c\/p\u003e\n\u003cp\u003e“Civil War battlefields are prime spots for seeing ghosts,” says Bland. “One time at Kennesaw mountain in Georgia, I was climbing the mountain in the middle of June and it must have been close to 100 degrees, but in this one particular spot it was very cold. The hairs on my neck stood up and I knew something strange was happening. Then the wind whispered something like ‘retreat,’ and I did. I later learned that the spot where I was on the battlefield was known as ‘the dead angle,’ the place where the fiercest fighting took place. The confederates ended up retreating from the mountain towards Peachtree Creek.”\u003c\/p\u003e\n\u003cp\u003eThe band released \u003cem\u003ePassover\u003c\/em\u003e in 2006 to critical acclaim for both the album and song sharing the same name, \u003cem\u003eThe First Vietnamese War\u003c\/em\u003e. Most of all, \u003cem\u003ePassover\u003c\/em\u003e established The Black Angels as a band with brains, gusto, and a strong message. And this time around, the message is there to read in a 16-page booklet.\u003c\/p\u003e\n\u003cp\u003e“Our central theme is that people need to open up their minds and let everything come through, and to learn from past mistakes,” says Christian. “Only then will we understand the reality of this world and progress beyond where we are now as humans. We’ve built upon that theme with \u003cem\u003eDirections To See A Ghost\u003c\/em\u003e. We want people to study the booklet we are providing with the album in hopes that they will be able to relate each song to something in their life.”\u003c\/p\u003e\n\u003cp\u003e\"War is Peace.\u003c\/p\u003e\n\u003cp\u003eFreedom is Slavery.\u003c\/p\u003e\n\u003cp\u003eIgnorance is Strength.\u003c\/p\u003e\n\u003cp\u003eKeep Music Evil.\"\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eThe Black Angels’ classic sophomore album\u003c\/li\u003e\n\u003cli\u003ePressed at \u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"caps\"\u003e\u003cspan\u003eTriple LP housed in a Stoughton tri-fold gatefold jacket\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eSpecial color edition pressed on Metallic Silver Wax\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 033[[Artist]]The Black Angels\u003c\/p\u003e","brand":"Light in 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artists. \u003c\/p\u003e\n\u003cp\u003eThe newly expanded 20-page LP booklet—featuring rarely seen photos, liner notes from musician and writer Lenny Kaye, and contributions from Nick Cave and Devendra Banhart—rounds out the package.\u003c\/p\u003e\n\u003cp\u003eThe Oklahoma-raised Karen Dalton (1937-1993) brought a range of influences to her work. As Lenny Kaye writes in the liner notes, one can hear “the jazz of Ella Fitzgerald and Billie Holiday, the immersion of Nina Simone, the Appalachian keen of Jean Ritchie, [and] the R\u0026amp;B and country that had to seep in as she made her way to New York.\"\u003c\/p\u003e\n\u003cp\u003eArmed with a long-necked banjo and a 12-stringed guitar, Dalton set herself apart from her peers with her distinctive, world-weary vocals. In the early 60s, she became a fixture in the Greenwich Village folk scene, interpreting traditional material, blues standards, and the songs of her contemporaries including Tim Hardin, Fred Neil, and Richard Tucker, whom she later married. Bob Dylan, meanwhile, was instantly taken with her artistry. “My favorite singer in the place was Karen Dalton,” he recalled in Chronicles: Volume One (Simon \u0026amp; Schuster, 2004). “Karen had a voice like Billie Holiday and played the guitar like Jimmy Reed.”\u003c\/p\u003e\n\u003cp\u003eThose who knew Dalton understood that she was not interested in bowing to the whims of the record industry. On stage, she rarely interacted with audience members. In the studio, she was equally as uncomfortable with the recording process. Her 1969 debut, It’s So Hard to Tell Who’s Going To Love You The Best, reissued by Light in the Attic in 2009, was captured on the sly when Dalton assumed that she was rehearsing songs. When Woodstock co-promoter Michael Lang approached Dalton about recording a follow-up for his new imprint, Just Sunshine, she was dubious to say the least. The album would have to be made on her own terms, in her own time. That turned out to be a six-month period at Bearsville Studios in Woodstock, NY.\u003c\/p\u003e\n\u003cp\u003eProducing the album was bassist Harvey Brooks, who played alongside Dalton on It’s So Hard to Tell Who’s Going To Love You The Best. Brooks, who prided himself on being “simple, solid and supportive,” understood Dalton’s process but was also willing to offer gentle encouragement and challenge the artist to push her creative bounds. “I tried to present her with a flexible situation,” he told Kaye. “I left the decisions to her, to determine the tempo, feel. She was very quiet, and I brought all of it to her; if she needed more, I’d present options. Everyone was sensitive to her. She was the leader.”\u003c\/p\u003e\n\u003cp\u003eDalton, who rarely performed her own compositions, selected a range of material to interpret—from traditionals like “Katie Cruel” and “Same Old Man” to Paul Butterfield’s “In My Own Dream” and Richard Tucker’s “Are You Leaving For The Country.” She also expanded upon her typical repertoire, peppering in such R\u0026amp;B hits as “When a Man Loves a Woman” and “How Sweet It Is.” In a departure from her previous LP, Dalton’s new recording offered fuller, more pop-forward arrangements, featuring a slew of talented studio musicians.\u003c\/p\u003e\n\u003cp\u003eWhile 70s audiences may not have been ready for Dalton’s music, a new generation was about to discover her work. In the decades following her death, many artists would name Karen Dalton as an influence including Lucinda Williams, Joanna Newsom, Nick Cave, Angel Olsen, Devendra Banhart, Sharon Van Etten, Courtney Barnett, and Adele. In the recently acclaimed film documentary Karen Dalton: In My Own Time, Cave muses on Dalton’s unique appeal: “There’s a sort of demand made upon the listener,” he explains. “Whether you like it or not, you have to enter her world. And it’s a despairing world.” Peter Walker, who also appears in the film, elaborates on this idea: “If she can feel a certain way in her music and play it in such a way that you feel that way, then that’s really the most magical thing [one] can do.” He adds, “She had a deep and profound and loving soul… you can hear it in her music.”\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e2026 edition pressed on Apricot Color Wax at Optimal\u003c\/li\u003e\n\u003cli\u003eExpanded gatefold edition\u003c\/li\u003e\n\u003cli\u003eIncludes 20-pg booklet featuring rare photos and liner notes by Lenny Kaye with contributions from Nick Cave and Devendra Banhart\u003c\/li\u003e\n\u003cli\u003eLP and 8-Track editions include tracks 1-10\u003c\/li\u003e\n\u003cli\u003eDigital release includes tracks 1-19\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 200[[Artist]]Karen Dalton\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"In My Own Time \/ Karen Dalton - MP3\/320 \/ album \/ MP3\/320","offer_id":32230307921999,"sku":"85R\/MP3","price":10.99,"currency_code":"USD","in_stock":true},{"title":"In My Own Time \/ Karen Dalton - FLAC \/ album \/ FLAC","offer_id":32230307954767,"sku":"85R\/FLAC","price":10.99,"currency_code":"USD","in_stock":true},{"title":"In My Own Time \/ Karen Dalton - WAV \/ album \/ WAV","offer_id":32230307987535,"sku":"85R\/WAV","price":10.99,"currency_code":"USD","in_stock":true},{"title":"In My Own Time \/ Vinyl \/ LP Apricot","offer_id":48410284654837,"sku":"LITA200-1-5","price":28.0,"currency_code":"USD","in_stock":true},{"title":"In My Own Time \/ Vinyl \/ LP Silver","offer_id":46191554232565,"sku":"LITA200-1-2","price":28.0,"currency_code":"USD","in_stock":true},{"title":"In My Own Time \/ Vinyl \/ LP Black","offer_id":32237408682063,"sku":"LITA200-1","price":27.0,"currency_code":"USD","in_stock":true},{"title":"In My Own Time \/ Vinyl \/ LP Clear","offer_id":46191551545589,"sku":"LITA200-1-1","price":28.0,"currency_code":"USD","in_stock":true},{"title":"In My Own Time \/ Cassette \/ 8-Track","offer_id":46191549513973,"sku":"LITA200-9","price":20.0,"currency_code":"USD","in_stock":true},{"title":"In My Own Time \/ Cassette \/ Cassette Tape","offer_id":32236498649167,"sku":"LITA203-8","price":15.0,"currency_code":"USD","in_stock":true},{"title":"In My Own Time \/ CD \/ CD","offer_id":32237408649295,"sku":"LITA203-2.2","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1636404315523-p452atftqym-fee1d2a312bf3f91b430c0f0d2442024_2Flita200_203_3000px_983965b4-b69f-490a-81a2-36a5bc2ca106.jpg?v=1734479748"},{"product_id":"u-f-o","title":"U.F.O.","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003eIn March 1975, Jim Sullivan mysteriously disappeared outside Santa Rosa, New Mexico. His VW bug was found abandoned, his motel room untouched. Some think he got lost in the desert. Some think he fell foul of a local family with alleged mafia ties. Some think he was abducted by aliens.\u003c\/p\u003e\n\u003cp\u003eBy coincidence–or perhaps not–Jim’s 1969 debut album was titled \u003cem\u003eU.F.O.\u003c\/em\u003e Originally released in tiny numbers on a private label, \u003cem\u003eU.F.O.\u003c\/em\u003e was truly lost until Light in the Attic begun a years-long quest to give it the full release it always deserved–and to solve the mystery of Sullivan’s disappearance. Only one of those things happened.\u003c\/p\u003e\n\u003cp\u003eFor record collectors, some albums are considered impossible to get hold of, records so rare you could sit on eBay for years and not get a sniff of a copy. \u003cem\u003eU.F.O.\u003c\/em\u003e was one of those albums. A seventh son, Jim Sullivan was a West Coast should-have-been, an Irish-American former high school quarterback whose gift for storytelling earned him cult status in the Malibu bar where he performed nightly. Sullivan was always on the edge of fame: hanging out with movie stars like Harry Dean Stanton, performing on the Jose Feliciano show, even stealing a cameo in the ultimate hippie movie, \u003cem\u003eEasy Rider\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eFriend and actor Al Dobbs thought he could change all that and founded a label– Monnie Records–to release Jim’s album, enlisting the assistance of Phil Spector’s legendary Wrecking Crew to do so. That’s Don Randi, Earl Palmer, and Jimmy Bond you can hear, the latter also acting as producer and arranger.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eU.F.O.\u003c\/em\u003e was a different beast to the one-man-and-his-guitar stuff Jim had been doing on stage; the LP was a fully realized album of scope and imagination, a folk-rock record with its head in the stratosphere. Sullivan’s voice is deep and expressive like Fred Neil with a weathered and worldly Americana sound like Joe South, pop songs that aren’t happy but with filled with despair. The album is punctuated with a string section (that recalls David Axelrod); other times, a Wurlitzer piano provides the driving groove (as if Memphis great Jim Dickinson was running the show).\u003cem\u003e U.F.O.\u003c\/em\u003e is a slice of American pop music filtered from the murky depths of Los Angeles by way of the deep south.\u003c\/p\u003e\n\u003cp\u003eWith no music industry contacts, the record went largely unnoticed, and Jim simply moved on, releasing a further album on the Playboy label in 1972. But by 1975, his marriage breaking up, Jim left for Nashville and the promise of a new life as a sessioneer in the home of C\u0026amp;W. That’s where things get hazy.\u003c\/p\u003e\n\u003cp\u003eWe know he was stopped by cops for swerving on the highway in Santa Rosa some 15 hours after setting off. We know he was taken to a local police station, found to be sober, and told to go to the local La Mesa Motel to get some rest, which he did. Some time later, his car was spotted on a ranch belonging to the local Genetti family, who confronted him about his business there. The next day, his car was found 26 miles down the road, abandoned. His car and his hotel room contained, among other things, his twelve-string guitar, his wallet, his clothes, and several copies of his second album, but no note... and no Jim. It was as if he had simply vanished into thin air.\u003c\/p\u003e\n\u003cp\u003eJim’s family travelled out to join search parties looking for him, the local papers printed missing person stories, but the search proved fruitless. Around the same time, the local sheriff retired and the Genettis moved to Hawaii. Jim’s manager Robert “Buster” Ginter later stated that during the early morning hours of a long evening, Jim and Buster were talking about what one would do if they had to disappear. Jim said he’d walk into the desert and never come back.\u003c\/p\u003e\n\u003cp\u003eTracking down the truth behind Jim’s mystery became an obsession of Light in the Attic’s Matt Sullivan (no relation) when he happened upon a copy of the album and fell in love with it. He embarked on a cross-country pilgrimage in search of master tapes and truth but came back with neither, despite hundreds of phone calls, e-mails, letters, faxes, private detectives, telepathy, palm readings, and meetings with Jim’s wife, son, and producer. Thanks to superb digital mastering techniques, Light in the Attic is still able to present a clean, near perfect copy of Jim’s masterpiece for general consumption for the first time. Enjoy. And remember, beyond the mystery, there’s the music.\u003c\/p\u003e\n\u003cp\u003eThe Jim Sullivan Story on YouTube: \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/WsIouGN0Wr8?si=UHrL6T6D8Bidnaot\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eUltra rare 1969 private press psych-folk-rock masterpiece – featuring the legendary Wrecking Crew (Beach Boys, Phil Spector)\u003c\/li\u003e\n\u003cli\u003eFirst time on CD, first LP reissue\u003c\/li\u003e\n\u003cli\u003eNewly remastered\u003c\/li\u003e\n\u003cli\u003eLacquers cut by John Golden Mastering\u003c\/li\u003e\n\u003cli\u003ePlated at Record Technology Inc. (\u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e)\u003c\/li\u003e\n\u003cli\u003eIncludes deep booklet with liner notes by Andria Lisle, rare photos, archival materials and full lyrics (LP: 16-pgs, CD: 48-pgs)\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 206[[Artist]]Jim Sullivan\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"U.F.O. \/ Jim Sullivan - MP3\/320 \/ album \/ MP3\/320","offer_id":32230310248527,"sku":"91R\/MP3","price":9.99,"currency_code":"USD","in_stock":true},{"title":"U.F.O. \/ Jim Sullivan - FLAC \/ album \/ FLAC","offer_id":32230310314063,"sku":"91R\/FLAC","price":9.99,"currency_code":"USD","in_stock":true},{"title":"U.F.O. \/ Jim Sullivan - WAV \/ album \/ WAV","offer_id":32230310346831,"sku":"91R\/WAV","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Jerome \/ track \/ 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Splatter","offer_id":43942347702517,"sku":"LITA206-1-1","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/JimSullivan.jpg?v=1697032706"},{"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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So goes the story of Texas singer\/songwriter\/poet Blaze Foley, whose vision has been kept alive by legendary artists like Willie Nelson, Merle Haggard, Lucinda Williams and John Prine. It’s in the spirit of this great musical tradition that writer\/director Ethan Hawke and his cast and crew set out to create the first ever “Gonzo Indie Country-Western Opera” film, \u003cem\u003e\u003cspan class=\"caps\"\u003eBLAZE\u003c\/span\u003e\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eHawke, an Austin native, understood the jury he’d likely face in making a film about Texas’ own drunken angels, Blaze Foley and Townes Van Zandt. An able messenger of this story, Hawke brought in the people that loved them most, including Foley’s partner Sybil Rosen (the film is based on her book \u003cem\u003eLiving In The Woods In a Tree…\u003c\/em\u003e), longtime friend and bandmate Gurf Morlix, Charlie Sexton (portraying Van Zandt and overseeing music production). Alia Shawkat and Alynda Segarra (Hurray for the Riff Raff) already knew the words to Foley’s songs and went all in. Finally, songwriter and chef Ben Dickey was pulled out of the kitchen and placed in front of the camera to portray Foley, a performance by this first-time actor that couldn’t have been played by anyone else.\u003c\/p\u003e\n\u003cp\u003eAs the cameras rolled, the actors began to sing and the singers began to act, and in many ways what’s captured in the film is the spirit of music itself. 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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\u003e\u003cem\u003ePacific Breeze\u003c\/em\u003e documents Japan’s blast into the stratosphere. By the 1960s, the nation had achieved a postwar miracle, soaring to become the world’s second largest economy. Thriving tech exports sent The Rising Sun over the moon. Its pocket cassette players, bleeping video games, and gleaming cars boomed worldwide, wooing pleasure points and pumping Japanese pockets full of yen.\u003c\/p\u003e\n\u003cp\u003eJapan’s financial buoyancy also permeated its popular culture, birthing an audio analog called City Pop. This new sound arose in the mid-70s and ruled through the 80s, channeling the country’s contemporary psyche. It was sophisticated music mirroring Japan’s punch-drunk prosperity. City Pop epitomized the era, providing a soundtrack for emerging urbanites. An optimistic spirit buzzed through the music in neon-bathed, gauzy tableaus coated with groove-heavy strokes.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePacific Breeze\u003c\/em\u003e is an expertly compiled collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between. Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features a newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.\u003c\/p\u003e\n\u003cp\u003eMany of the key City Pop players evolved from the Japanese New Music scene of the early 70s, as heard on Light In The Attic’s acclaimed \u003cem\u003eEven a Tree Can Shed Tears: Japanese Folk \u0026amp; Rock 1969-1973\u003c\/em\u003e, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, \u003cem\u003eSayonara Amerika, Sayonara Nippon\u003c\/em\u003e, this music was, “Deconstructing the line between imitation and authenticity.” Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eCover art by famed artist Hiroshi Nagai\u003c\/li\u003e\n\u003cli\u003eExtensive liner notes and bios\u003c\/li\u003e\n\u003cli\u003eCompiled by Andy Cabic (Vetiver), Zach Cowie (DJ \u0026amp; music supervisor) and Mark “Frosty” McNeill (dublab)\u003c\/li\u003e\n\u003cli\u003e2xLP housed in a deluxe wide spine jacket with over sized fold-out booklet, full color printed inner sleeves, and custom die-cut obi card\u003c\/li\u003e\n\u003cli\u003eCD in a UV coated Digipak with oversized fold-out booklet and custom die-cut obi card\u003c\/li\u003e\n\u003cli\u003eRemastered audio\u003c\/li\u003e\n\u003cli\u003eDigital mockups are not an exact representation of the color\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 163[[Artist]]V\/A - Pacific Breeze\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Pacific Breeze: Japanese City Pop, AOR \u0026 Boogie 1976-1986 \/ Vinyl \/ 2LP Red\/Blue\/Yellow Split","offer_id":32374424764495,"sku":"LITA163LP-1","price":36.0,"currency_code":"USD","in_stock":true},{"title":"Pacific Breeze: Japanese City Pop, AOR \u0026 Boogie 1976-1986 \/ Vinyl \/ 2LP Summer Fun","offer_id":32535019814991,"sku":"LITA163-1-1.2","price":36.0,"currency_code":"USD","in_stock":true},{"title":"Pacific Breeze: Japanese City Pop, AOR \u0026 Boogie 1976-1986 \/ Cassette \/ Cassette","offer_id":32374424633423,"sku":"LITA163-8","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Pacific Breeze: Japanese City Pop, AOR \u0026 Boogie 1976-1986 \/ Vinyl \/ 2LP Summer of Fun","offer_id":43348173258997,"sku":"LITA163-1-1","price":40.0,"currency_code":"USD","in_stock":true},{"title":"Pacific Breeze: Japanese City Pop, AOR \u0026 Boogie 1976-1986 \/ Vinyl \/ 2LP Beach Ball","offer_id":43348173357301,"sku":"LITA163-1-4","price":40.0,"currency_code":"USD","in_stock":true},{"title":"Pacific Breeze: Japanese City Pop, AOR \u0026 Boogie 1976-1986 \/ Vinyl \/ 2LP Black","offer_id":32374424797263,"sku":"LITA163-1","price":32.0,"currency_code":"USD","in_stock":true},{"title":"Pacific Breeze: Japanese City Pop, AOR \u0026 Boogie 1976-1986 \/ Vinyl \/ 2LP Pink","offer_id":32535028858959,"sku":"LITA163-1-2.2","price":32.0,"currency_code":"USD","in_stock":true},{"title":"Pacific Breeze: Japanese City Pop, AOR \u0026 Boogie 1976-1986 \/ Cassette \/ Cassette Tape","offer_id":43348173488373,"sku":"LITA163-9","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Pacific Breeze: Japanese City Pop, AOR \u0026 Boogie 1976-1986 \/ CD \/ CD","offer_id":43348173652213,"sku":"LITA163-2","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Pacific Breeze: Japanese City Pop, AOR \u0026 Boogie 1976-1986 \/ Vinyl \/ 2LP Blue","offer_id":43589025530101,"sku":"LITA163-1-5","price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/products\/large_550_tmp_2F1548958036956-h1jtoij0pd7-065adccee812e0f27d47a0492a00122b_2Flita163_cvrs-1.jpg?v=1634288016"},{"product_id":"kankyo-ongaku-japanese-ambient-environmental-new-age-music-1980-1990","title":"Kankyo Ongaku: Japanese Ambient, Environmental \u0026 New Age Music 1980-1990","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/yhB9HIleZW8\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eLight In The Attic’s Japan Archival Series continues with \u003cem\u003eKankyo Ongaku: Japanese Ambient, Environmental \u0026amp; New Age Music 1980-1990\u003c\/em\u003e, an unprecedented overview of the country’s vital minimal, ambient, avant-garde, and New Age music–what can collectively be described as \"kankyo ongaku\" or environmental music. The collection features internationally acclaimed artists such as Haruomi Hosono, Ryuichi Sakamoto, and Joe Hisaishi as well as other pioneers like Hiroshi Yoshimura, Yoshio Ojima, and Satoshi Ashikawa who deserve a place alongside the indisputable giants of these genres.\u003c\/p\u003e\n\u003cp\u003eIn the 1970s, the concepts of Brian Eno’s “ambient” and Erik Satie’s “furniture music” began to take hold in the minds of artists and musicians around Tokyo. Emerging fields like soundscape design and architectural acoustics opened up new ways in which sound and music could be consumed. For artists like Yoshimura, Ojima, and Ashikawa, these ideas became the foundation for their musical works, which were heard not only on records and in live performances but also within public and private spaces where they intermingled with the sounds and environments of everyday life. The bubble economy of 1980s Japan also had a hand in the advancement of kankyo ongaku. In an attempt to cultivate an image of sophisticated lifestyle, corporations with expendable income bankrolled various art and music initiatives, which opened up new and unorthodox ways in which artists could integrate their avant-garde musical forms into everyday life: in-store music for Muji, a promo LP for a Sanyo AC unit, and a Seiko watch advert, among others, can all be heard in this collection.\u003c\/p\u003e\n\u003cp\u003eKankyo Ongaku is expertly compiled by Spencer Doran (Visible Cloaks) who, with a series of revelatory mixtapes as well as his label Empire of Signs (\u003cem\u003eMusic For Nine Postcards\u003c\/em\u003e), has been instrumental in shepherding interest in this music outside of Japan. Together with Light In The Attic’s celebrated anthologies \u003cem\u003eI Am The Center\u003c\/em\u003e and \u003cem\u003eThe Microcosm\u003c\/em\u003e, \u003cem\u003eKankyo Ongaku\u003c\/em\u003e helps to broaden our understanding of this quietly profound music, regardless of the environment in which it’s heard.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWE ARE PRESSING THIS TITLE BASED ON OUR INITIAL WHOLESALE RESPONSE. IT IS UNLIKELY, BUT THERE IS A POSSIBILITY OF THIS BEING CANCELLED - FULL CONFIRMATION WITHIN 2 WEEKS. 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Soon after, he was playing on hits for Lee Dorsey, The Supremes, and The Temptations. As an original member of The Meters, Leo wrote instant classics “Cissy Strut” and “Hey Pocky A–Way,” but his greatest moment on record may be totally unknown, until now…\u003c\/p\u003e\n\u003cp\u003eRecorded at Cosimo Matassa’s Jazz City Studio in New Orleans in the early 70s and then lost to the ages,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAnother Side\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis one of Leo Nocentelli’s most personal and definitive moments ever cut to tape. A mixture of funky folk and rootsy, raw emotion (think Bill Withers and James Taylor meeting Allen Toussaint at Link Wray’s Three Track Shack), this previously unheard album shines like the sun on a spring day at the New Orleans fairgrounds. Backing Nocentelli is an all-star line-up of New Orleans royalty, including Allen Toussaint (piano), James Black (drums), and both George Porter Jr. (bass) and Zigaboo Modeliste (drums) of The Meters. Deeply introspective, the album features nine original songs by Nocentelli, plus a soulful rendition of Elton John’s “Your Song.” Half a century later, these recordings sound just as fresh and engaging as the day they were recorded.\u003c\/p\u003e\n\u003cp\u003eWhat makes\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAnother Side\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eeven more extraordinary, however, is the fact that the album—which could have easily become a classic in the 70s singer-songwriter canon—sat untouched for decades, miraculously surviving the devastating blow of Hurricane Katrina only to be found 2,000 miles away at a Southern California swap meet in 2018 by record collector Mike Nishita.\u003c\/p\u003e\n\u003cp\u003eThe album’s incredible journey is documented in the liner notes by Sam Sweet (\u003cem\u003eNew York Times\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLos Angeles Times\u003c\/em\u003e), who spoke with Nocentelli and Nishita about the recording process and re-discovery of the tapes. Sweet’s full notes appear in the release’s accompanying booklet alongside hand-written lyrics by Leo Nocentelli. The first pressing of the vinyl edition will feature gold-foil treatment on cover and spine. Rounding out the package are original designs and layout by the multi GRAMMY®–winning designer Masaki Koike.\u003c\/p\u003e\n\u003cp\u003eWhile Nocentelli was embedded in New Orleans’ R\u0026amp;B scene, he was also deeply inspired by the late 1960s and early 1970s rising singer-songwriters and soon found himself exploring sounds that were miles away from his band’s hard-edged funk riffs. Whenever he had downtime from session work and shows, Nocentelli spent much of 1971 recording his newly-found, reflective, diaristic songs at Matassa’s Jazz City studio. Backed by longtime Meters bandmate George Porter Jr. on bass, Nocentelli crafted the lineups for his sessions to match the tone of the material. When he needed a pianist, he’d call Toussaint. For percussion on the slower songs, he used drummer Zigaboo Modeliste, but many of the tracks featured James Black—a frequent collaborator of Toussaint’s and a member of Ellis Marsalis’ jazz group, whom Nocentelli recalls as an “unbelievable” musician.\u003c\/p\u003e\n\u003cp\u003eThe recording, which Nocentelli fondly refers to as his “country-and-western-album,” paints a picture of a young man yearning to find a sense of purpose. “I was going through some changes which were reflected in the songs that I wrote during that time,” he tells Sweet. Among them is the mid-tempo “Getting Nowhere,” in which he expresses a sense of frustration, as he watches others find success around him. Similarly, “Till I Get There” details a man who is struggling to persevere in his goals. In the soaring “Tell Me Why,” meanwhile, the singer contemplates the existence of God.\u003c\/p\u003e\n\u003cp\u003eOther songs center around fictional characters. “Pretty Mittie,” for instance, is sung from the perspective of a farmer who longs to give up his arduous life for the city. “You’ve Become a Habit” is about a man who falls for a sex worker named Fancy. “Riverfront” is based on stories that singer Aaron Neville shared about his days working on the New Orleans waterfront. Nocentelli also chose to perform one cover: Elton John’s breakthrough hit, “Your Song.” The guitarist made the recently-released ballad his own—infusing it with a loping, head-nodding cadence, ever so tastefully “funkdafied” in true New Orleans fashion.\u003c\/p\u003e\n\u003cp\u003eBy the time that the album was finished, The Meters were busier than ever. They had just signed a record deal with Warner Brothers and were now the official house band at Toussaint’s studio, Sea-Saint. There, they not only backed artists on Toussaint’s Sehorn label but had also become the go-to session musicians for every major artist that recorded in New Orleans. Rather than focus on a solo career, Nocentelli poured his energies into The Meters’ next album. Eventually, time moved on, as did Nocentelli, and he decided to store his unreleased solo album at Sea-Saint for safekeeping.\u003c\/p\u003e\n\u003cp\u003eIn 2005, when Hurricane Katrina devastated New Orleans, Sea-Saint was among its victims. While Toussaint (who passed away in 2015) had sold the hallowed studio in the mid-90s, hundreds of his archived recordings remained in the building. The new owner salvaged what he could from the flooded building, shipping everything to a storage facility in Southern California. Boxes of tapes sat there for more than a decade before moving to another unit, which foreclosed a year later. The contents were purchased in a blind auction and, days later, sold at a swap meet. The fact that record collector Mike Nishita just happened to be there was pure kismet.\u003c\/p\u003e\n\u003cp\u003eNishita, a DJ and brother to “Money Mark” Nishita (of Beastie Boys fame), recognized the Sea-Saint label on the boxes and purchased all 673 master tapes at the swap meet. He inspected the contents with his friend Mario Caldato Jr., the longtime audio engineer for the Beastie Boys. In addition to masters from Irma Thomas, Dr. John, Lee Dorsey, and Toussaint, there was a quarter-inch reel with Nocentelli’s name on it. As Caldato and Nishita played it back, they knew they had something special.\u003c\/p\u003e\n\u003cp\u003e“There was nothing else like it,” writes Sweet. “An acoustic album by the greatest funk guitarist who ever lived. It was the tape Mike would play for people to show them how special the collection was. The best album in the vault was something nobody knew existed.”\u003c\/p\u003e\n\u003cp\u003eEventually, Nishita and Nocentelli connected. “He was so grateful, so sincere,” recalls Nishita. “I just kept thinking about how this music needs to be heard… Especially when you look at all the things that had to fall into place for these tapes to survive and be discovered this way.” As Nocentelli simply puts it, “Things happen for a reason, man.”\u003c\/p\u003e\n\u003cp\u003eAnd now, Light in the Attic is thrilled to give this remarkable record the spotlight it so rightly deserves. 50 years later, all is not lost.\u003c\/p\u003e\n[[Selling Points]]\n\u003cp\u003e\u003ca href=\"https:\/\/lightintheattic.net\/collections\/leo-nocentelli\"\u003e\u003cstrong\u003e\u003cspan class=\"caps\"\u003eCLICK\u003c\/span\u003e \u003cspan class=\"caps\"\u003eHERE\u003c\/span\u003e \u003cspan class=\"caps\"\u003eFOR\u003c\/span\u003e \u003cspan class=\"caps\"\u003eDELUXE\u003c\/span\u003e \u003cspan class=\"caps\"\u003eBUNDLE\u003c\/span\u003e \u003cspan class=\"caps\"\u003eOPTIONS\u003c\/span\u003e\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLP available on Standard Black Wax plus Special Limited Color Editions\u003c\/li\u003e\n\u003cli\u003eFirst-ever solo album by legendary guitarist Leo Nocentelli of The Meters\u003c\/li\u003e\n\u003cli\u003eAll tracks previously unreleased and never-before-heard in any format\u003c\/li\u003e\n\u003cli\u003eFeaturing Allen Toussaint, James Black and both George Porter Jr. and Zigaboo Modeliste of The Meters\u003c\/li\u003e\n\u003cli\u003eRecorded at Cosimo Matassa’s Jazz City Studio in New Orleans in the early 70s\u003c\/li\u003e\n\u003cli\u003eLiner notes by Sam Sweet with additional contributions by Pesuky Nocentelli, featuring a new interview with Leo Nocentelli\u003c\/li\u003e\n\u003cli\u003eVinyl plated at \u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003eDesign by the multi GRAMMY®–winning designer Masaki Koike\u003c\/li\u003e\n\u003cli\u003eBooklet includes hand-written lyrics by Leo Nocentelli\u003c\/li\u003e\n\u003cli\u003eLP includes 20-page booklet\u003c\/li\u003e\n\u003cli\u003eCD housed in a digipak and featuring a 28-page booklet\u003cbr\u003e \u003cb\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"caps\"\u003eNEW\u003c\/span\u003e \u003cspan class=\"caps\"\u003eORLEANS\u003c\/span\u003e \u003cspan class=\"caps\"\u003eCOLOR\u003c\/span\u003e \u003cspan class=\"caps\"\u003eEDITION\u003c\/span\u003e\u003cbr\u003e Pressed on Purple, Yellow \u0026amp; Green Wax\u003c\/li\u003e\n\u003c\/ul\u003e\n[[Catalog Number]]LITA 191[[Artist]]Leo Nocentelli","brand":"Light in the Attic","offers":[{"title":"Another Side \/ Leo Nocentelli - MP3\/320 \/ album \/ MP3\/320","offer_id":39322598801487,"sku":"150R\/MP3","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Another Side \/ Leo Nocentelli - FLAC \/ album \/ 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Gold","offer_id":39650764816463,"sku":"LITA191-1-1","price":28.0,"currency_code":"USD","in_stock":true},{"title":"Another Side \/ Vinyl \/ LP Tricolor","offer_id":42799723446517,"sku":"LITA191-1-5","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Another Side \/ Vinyl \/ LP Clear","offer_id":39650764849231,"sku":"LITA191-1-2","price":28.0,"currency_code":"USD","in_stock":true},{"title":"Another Side \/ Cassette \/ Cassette Tape","offer_id":39650764914767,"sku":"LITA191-8","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Another Side \/ Vinyl \/ LP Black (Archived)","offer_id":39650764783695,"sku":"LITA191-1","price":26.0,"currency_code":"USD","in_stock":true},{"title":"Another Side \/ CD \/ CD","offer_id":39650764881999,"sku":"LITA191-2.3","price":10.5,"currency_code":"USD","in_stock":true},{"title":"Another Side \/ Vinyl \/ LP Black","offer_id":44468641857781,"sku":"LITA191-1.3","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1632506928281-mckyjrqwo3n-af84ecd0e830c9a749f70150a77cbeaf_2FLITA_2B191_2B-_2BLeo_2BNocentelli_2B-_2BAnother_2BSide_2B-_2BHi_2BRes_2BCover.jpg?v=1696119902"},{"product_id":"betty-davis","title":"Betty Davis","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]] \u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/KVmq0dWRKoY?si=YikpyYa_YVeTOUJT\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eIn 1973, Betty Davis would finally kick off her cosmic career with an amazingly progressive hard funk, sweet soul, self-titled debut. Davis showcased her fiercely unique talent and features such gems as “If I’m In Luck I Might Get Picked Up” and “Game Is My Middle Name.” \u003cem\u003eBetty Davis\u003c\/em\u003e was recorded with Sly \u0026amp; The Family Stone’s rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eBetty’s classic full-length debut!\u003c\/li\u003e\n\u003cli\u003eLP available on Standard Black Wax and Coke Bottle Clear Wax\u003c\/li\u003e\n\u003cli\u003eExpanded vinyl edition featuring 20-page booklet including rare photos, lyrics and new 2022 liner notes by Danielle Maggio interviewing Betty\u003c\/li\u003e\n\u003cli\u003eVinyl pressed at \u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003eCD housed in a digipak and featuring expanded booklet\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 026[[Artist]]Betty Davis\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Betty Davis \/ Betty Davis - MP3\/320 \/ album \/ MP3\/320","offer_id":42600420901109,"sku":"47R\/MP3","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Betty Davis \/ Betty Davis - FLAC \/ album \/ FLAC","offer_id":42600420933877,"sku":"47R\/FLAC","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Betty Davis \/ Betty Davis - WAV \/ album \/ WAV","offer_id":42600420966645,"sku":"47R\/WAV","price":9.99,"currency_code":"USD","in_stock":true},{"title":"If I'm In Luck I Might Get Picked Up \/ track \/ MP3\/320","offer_id":42600420999413,"sku":"629T\/MP3","price":1.29,"currency_code":"USD","in_stock":true},{"title":"If I'm In Luck I Might Get Picked Up \/ track \/ FLAC","offer_id":42600421032181,"sku":"629T\/FLAC","price":1.29,"currency_code":"USD","in_stock":true},{"title":"If I'm In Luck I Might Get Picked Up \/ track \/ WAV","offer_id":42600421064949,"sku":"629T\/WAV","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Walkin Up the Road \/ track \/ MP3\/320","offer_id":42600421097717,"sku":"630T\/MP3","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Walkin Up the Road \/ track \/ FLAC","offer_id":42600421130485,"sku":"630T\/FLAC","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Walkin Up the Road \/ track \/ WAV","offer_id":42600421163253,"sku":"630T\/WAV","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Anti Love Song \/ track \/ MP3\/320","offer_id":42600421196021,"sku":"631T\/MP3","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Anti Love Song \/ track \/ FLAC","offer_id":42600421228789,"sku":"631T\/FLAC","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Anti Love Song \/ track \/ WAV","offer_id":42600421261557,"sku":"631T\/WAV","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Your Man My Man \/ track \/ MP3\/320","offer_id":42600421294325,"sku":"632T\/MP3","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Your Man My Man \/ track \/ FLAC","offer_id":42600421327093,"sku":"632T\/FLAC","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Your Man My Man \/ track \/ WAV","offer_id":42600421359861,"sku":"632T\/WAV","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Ooh Yeah \/ track \/ MP3\/320","offer_id":42600421392629,"sku":"633T\/MP3","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Ooh Yeah \/ track \/ FLAC","offer_id":42600421425397,"sku":"633T\/FLAC","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Ooh Yeah \/ track \/ WAV","offer_id":42600421458165,"sku":"633T\/WAV","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Steppin In Her I. 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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":"boot-outline-patch","title":"Boot Outline Patch","description":"[[Release Detail]][[Release Description]]\n\u003cp\u003e\"Nancy\" in Boot Outline Embroidered Patch. 3\" tall by 1 5\/8\" wide.\u003c\/p\u003e\n[[Selling Points]]\n\u003cul\u003e\n\u003cli\u003e3\" tall by 1 5\/8\" wide\u003c\/li\u003e\n\u003c\/ul\u003e\n[[Catalog Number]]LITA198-4-28[[Artist]]Nancy Sinatra and Lee Hazlewood","brand":"Light in the Attic","offers":[{"title":"Patch","offer_id":43348263305461,"sku":"LITA198-4-28","price":11.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1649881991465-qlcx6nspb0p-be155ac207e3c66f980c9dcf56b3b416_2Fnancy_boots_patch_mockup.jpg?v=1696119893"},{"product_id":"karen-dalton-screen-print-poster-by-sophy-hollington","title":"Karen Dalton Screen Print Poster by Sophy Hollington","description":"[[Release Detail]][[Release Description]]\n\u003cp\u003eIn celebration of the 50th anniversary of Karen Dalton’s masterpiece, \u003cem\u003eIn My Own Time\u003c\/em\u003e, Light in the Attic presents an 18″×24″ hand-numbered, screen-printed poster by Brighton, U.K.-based illustrator and artist Sophy Hollington. Poster printed on 100LB Cover French Paper.\u003c\/p\u003e\n[[Selling Points]]\n\u003cul\u003e\n\u003cli\u003eHand-numbered, screen-printed poster\u003c\/li\u003e\n\u003cli\u003eOriginal artwork by acclaimed UK-based artist and illustrator Sophy Hollington\u003c\/li\u003e\n\u003cli\u003ePrinted on 100LB Cover French Paper\u003c\/li\u003e\n\u003cli\u003eLimited run, 300\u003c\/li\u003e\n\u003c\/ul\u003e\n[[Catalog Number]]LITA 200-4-2[[Artist]]Karen Dalton","brand":"Light in the Attic","offers":[{"title":"Poster","offer_id":43348263403765,"sku":"LITA200-4-2","price":37.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1636415354599-2uoo0g61l3u-e133b92d92b87c7dda33a343da96807e_2Fkdalton.jpg?v=1696119889"},{"product_id":"light-in-the-attic-logo-pullover-hoodie","title":"Light in the Attic Logo Pullover Hoodie","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eHave you ever wanted to wear a pullover hoodie that tells the world “I \u003cspan class=\"caps\"\u003eKNOW\u003c\/span\u003e AT \u003cspan class=\"caps\"\u003eLEAST\u003c\/span\u003e \u003cspan class=\"caps\"\u003eONE\u003c\/span\u003e \u003cspan class=\"caps\"\u003eREISSUE\u003c\/span\u003e \u003cspan class=\"caps\"\u003eLABEL\u003c\/span\u003e!” Well, then you’re in luck because that exact hoodie is available now! Featuring the \u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e script logo on both sides of an Independent Trading Co. midweight Black Pullover hoodie, this bad boy is as cool as it is comfy!\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ePrinted on Independent Trading Co Black Pullover Hoodies\u003c\/li\u003e\n\u003cli\u003ePrinted by Night Owls Print Shop in Houston, TX\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA-MA1004-4-32[[Artist]]Various Artists\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Small","offer_id":43348264091893,"sku":"LITA-MA1004-4-32-S","price":45.0,"currency_code":"USD","in_stock":true},{"title":"Medium","offer_id":43348264157429,"sku":"LITA-MA1004-4-32-M","price":45.0,"currency_code":"USD","in_stock":true},{"title":"Large","offer_id":43348264190197,"sku":"LITA-MA1004-4-32-L","price":60.0,"currency_code":"USD","in_stock":true},{"title":"X-Large","offer_id":43348264222965,"sku":"LITA-MA1004-4-32-XL","price":60.0,"currency_code":"USD","in_stock":true},{"title":"XX-Large","offer_id":43348264255733,"sku":"LITA-MA1004-4-32-XXL","price":60.0,"currency_code":"USD","in_stock":true},{"title":"XXX-Large","offer_id":46175205884149,"sku":"LITA-MA1004-4-32-XXXL","price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1650492082255-wfs1t0e9yp-a4faec34a451325d26b3e597ec38f4ee_2Fpullover.jpg?v=1696119902"},{"product_id":"light-in-the-attic-official-pocket-tee-black","title":"Light in the Attic - Official Pocket Tee (Black)","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eScreen printed by Night Owls print shop in Houston, TX, these shirts are as comfy as they are stylish! Folks will stop you all day to ask, “Hey is that a Light in the Attic Pocket Tee printed on ultra-soft Comfort Colors?” and you will be able to answer confidently “yes it is.”\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eOfficial \u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e t-shirt, featuring Light in the Attic in hand-drawn script on the front pocket and back\u003c\/li\u003e\n\u003cli\u003ePrinted on Comfort Colors\u003c\/li\u003e\n\u003cli\u003eDesigned by Hannah Nance Parlow\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA-MA1001[[Artist]]Various Artists\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Small","offer_id":43348361019637,"sku":"LITA-MA1001-4-1-S","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Medium","offer_id":43348361052405,"sku":"LITA-MA1001-4-1-M","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Large","offer_id":43348361085173,"sku":"LITA-MA1001-4-1-L","price":25.0,"currency_code":"USD","in_stock":true},{"title":"X-Large","offer_id":43348361117941,"sku":"LITA-MA1001-4-1-XL","price":25.0,"currency_code":"USD","in_stock":true},{"title":"XX-Large","offer_id":43348361150709,"sku":"LITA-MA1001-4-1-2XL","price":25.0,"currency_code":"USD","in_stock":true},{"title":"XXX-Large","offer_id":43348361183477,"sku":"LITA-MA1001-4-1-3XL","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/products\/tmp_2F1602790442853-q17n8fphhc-68a87507d3b1a8e1c1e2d234440265eb_2FLITA_2BScript_2BFront.jpg?v=1665595945"},{"product_id":"karen-dalton-sweatshirt-by-jess-rotter","title":"Karen Dalton Sweatshirt by Jess Rotter","description":"[[Release Detail]][[Release Description]]\n\u003cp\u003eIn celebration of the 50th anniversary of Karen Dalton’s masterpiece \u003cem\u003eIn My Own Time\u003c\/em\u003e, Light in the Attic presents a new sweatshirt by acclaimed artist Jess Rotter.\u003c\/p\u003e\n[[Selling Points]][[Catalog Number]][[Artist]]Karen Dalton","brand":"Light in the Attic","offers":[{"title":"Small","offer_id":43348361740533,"sku":"LITA200-4-14-S","price":50.0,"currency_code":"USD","in_stock":true},{"title":"Medium","offer_id":43348361773301,"sku":"LITA200-4-14-M","price":50.0,"currency_code":"USD","in_stock":true},{"title":"Large","offer_id":43348361806069,"sku":"LITA200-4-14-L","price":50.0,"currency_code":"USD","in_stock":true},{"title":"X-Large","offer_id":43348361838837,"sku":"LITA200-4-14-XL","price":50.0,"currency_code":"USD","in_stock":true},{"title":"XX-Large","offer_id":43348361871605,"sku":"LITA200-4-14-XXL","price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/products\/tmp_2F1636415717191-ubs4nkp0s5i-d3fea7569b92c4ea6da88dfacee246c3_2Fkaren_2Brotter_2B4_2Bcolor.jpg?v=1665595946"},{"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"},{"product_id":"crashin-from-passion","title":"Crashin' From Passion","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eIn the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music – a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic and in full control, Betty paved the way for generations of future artists who said “funk you” to the music industry and social norms.\u003c\/p\u003e\n\u003cp\u003eIn 1979, when Davis entered an L.A. studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, \u003cem\u003eIs It Love Or Desire\u003c\/em\u003e, Davis was dropped from her label and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project.\u003c\/p\u003e\n\u003cp\u003eWith renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce “Choc’let” Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin’ From Passion, was her most musically diverse, blending elements of reggae and calypso (“I’ve Danced Before”), jazz (“Hangin’ Out in Hollywood,” “Tell Me a Few Things”), dark synth-pop (“She’s a Woman”), and even disco (“All I Do Is Think of You”). Equally exploratory are Davis’ vocals, as she trades in her signature sass and snarls for more nuanced stylings.\u003c\/p\u003e\n\u003cp\u003eAmong the album’s few funk tracks is “Quintessence of Hip,” in which Davis hails musicians like Bob Dylan, Billie Holiday, Stevie Wonder, and John Coltrane, while deftly integrating elements of their work. The song also offers a moment of stark vulnerability, as she sings, “Isn’t rich? Isn’t it queer? Losing my timing so late in my career.” It would prove to be a prophetic line in the months to follow.\u003c\/p\u003e\n\u003cp\u003eThe mixing process was mired by artistic differences and then cut short, amid the death of Davis’ beloved father. Bereft and exasperated, Davis returned home for the funeral, setting into motion her retirement from the music industry. \u003cem\u003eCrashin’ From Passion\u003c\/em\u003e, meanwhile, would be shelved for 15 years and licensed for a CD-only release, without Davis’ consent, in the ‘90s. This 2023 edition of the album, made with Davis’ full approval and cooperation, marks its first official release and first time ever on vinyl. The package was designed by GRAMMY®-winning artist, Masaki Koike, while the album cover features an incredible shot of Betty captured in London in the mid-1970s by renowned photographer Kate Simon.\u003c\/p\u003e\n\u003cp\u003eCrashin’ From Passion was remastered by Grammy nominated engineer Dave Cooley at Elysian Masters and pressed on vinyl at Record Technology, Inc. (\u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e). The accompanying booklet includes a treasure trove of rare photos from the era, plus lyrics, and new liner notes by writer, ethnomusicologist, and Betty’s close friend, Danielle Maggio, who integrates interviews that she conducted with Davis, marking her last ever interviews.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFirst time on vinyl\u003c\/li\u003e\n\u003cli\u003eNewly remastered\u003c\/li\u003e\n\u003cli\u003eFeaturing Herbie Hancock, Martha Reeves, Alphonse Mouzon, Chuck Rainey, Patryce “Choc’let” Banks, Carlos Morales, and members of The Pointer Sisters\u003c\/li\u003e\n\u003cli\u003eLP \u0026amp; CD Booklet features new liner notes by Danielle Maggio interviewing Betty, plus unseen photos and lyrics\u003c\/li\u003e\n\u003cli\u003eVinyl pressed at \u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003eLP housed in a gatefold jacket\u003c\/li\u003e\n\n\u003cstrong\u003eSpecial Vinyl Color Editions are available including:\u003c\/strong\u003e\n\u003cli\u003eClear Purple Crush Wax Edition\u003c\/li\u003e\n\u003cli\u003eTransparent Red Wax Edition (\u003cspan class=\"caps\"\u003eRETAIL\u003c\/span\u003e \u003cspan class=\"caps\"\u003eONLY\u003c\/span\u003e)\u003c\/li\u003e\n\u003cli\u003eTransparent Blue Wax Edition (U.K. \u003cspan class=\"caps\"\u003eRETAIL\u003c\/span\u003e \u003cspan class=\"caps\"\u003eONLY\u003c\/span\u003e)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 196[[Artist]]Betty Davis\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Crashin' From Passion \/ Vinyl \/ LP Black","offer_id":43942307496181,"sku":"LITA196-1","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Crashin' From Passion \/ Vinyl \/ LP Purple","offer_id":43942307528949,"sku":"LITA196-1-1","price":23.25,"currency_code":"USD","in_stock":true},{"title":"Crashin' From Passion \/ CD \/ CD","offer_id":43942307561717,"sku":"LITA196-2","price":14.0,"currency_code":"USD","in_stock":true},{"title":"Crashin' From Passion \/ Vinyl \/ LP Red","offer_id":44065416675573,"sku":"LITA196-1-2","price":15.75,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1687281665395-1fx9z19jcng-bcfe3d9b2c1bd6941a85c5e7ee02384c_2FLITA_2B196-Hi_2BRes_2BAlbum_2BCover.jpg?v=1696119906"},{"product_id":"dreamin-wild-lathe-picturedisc-w-signed-photo","title":"Dreamin' Wild Picture Disc with Autographed Photograph","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/mbK8QOgr7_8\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003ePacific Northwest isolation mixed with wide-eyed ambition, a strong sense of family, and the gift of music proved to be quite the combination for teenage brothers Donnie and Joe Emerson. Originally released in 1979,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDreamin’ Wild\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis the sonic vision of the talented Emerson boys, recorded in a family-built home studio in rural Washington State. Situated in the unlikely blink-and-you-missed-it town of Fruitland and far removed from the late 1970s punk movement and the larger disco boom, Donnie and Joe tilled their own musical soil, channeling bedroom pop jams, raw funk, and yacht rock.\u003c\/p\u003e\n\u003cp\u003eSpurred on by their high school’s music program, Donnie and Joe received a further push from their lifelong farmer father, who drew up a contract stating that he’d support his sons lofty ambitions with their very own recording studio as long as they focused on original material, sage advice for a man with zero experience in the music business. After taking out a second mortgage to help cover costs, Don Sr. also built his children a 300-capacity concert hall (dubbed Camp Jammin’) replete with ticket booth, stage, and fully functioning snack bar. The only problem was that the projected audience never quite materialized, despite a prime time TV profile entitled “The Rock And Roll Farmers” from nearby Spokane, Washington. Even the Emerson brothers' school pals were nonplussed at their privately pressed long player; hand distributed to local music stores, but not quite so far as Seattle, five hours away from their rural home. Somewhat dejected by the muted response but never surrendering, both Donnie and Joe continued down a musical path and are still active as performers today.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLathe Cut Picture Disc by Red Spade Records\u003c\/li\u003e\n\u003cli\u003eSide A features Dreamin’ Wild album cover\u003c\/li\u003e\n\u003cli\u003eSide B features Donnie OR Joe\u003c\/li\u003e\n\u003cli\u003eIncludes a Donnie \u0026amp; Joe Autographed 8×10 Photograph\u003cbr\u003e\n\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 Picture Disc \/ Vinyl \/ LP Picture + Autographed Photo","offer_id":45693406019829,"sku":"LITA082-1-10-DLX","price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1676402437806-ttj3aqqq8jb-f60a8fa5ff750531436d01b673dfe0f7_2Flita082_picDisc_front_mockup_v1.jpg?v=1696119905"},{"product_id":"howlin-wolf-muddy-waters-and-bo-diddley","title":"Howlin' Wolf, Muddy Waters, and Bo Diddley","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eSuper Super Blues Band started out merely as Super Blues, a conglomerate of blues pillars Bo Diddley, Muddy Waters and Little Walter. When Little Walter bowed out and was replaced by Howlin’ Wolf, they rightfully threw another Super on the name, and went on to release this burning, irreverent and even sometimes hilarious set of drunken, wild-eyed electric blues. Long form jams roll on in a trance as the trio of blues legends flex egos, talking shit to each other, trading off leads and ducking blasts of unexpected wah-wah guitar lines. Songs are peppered with an incredible level of banter between the trio of bandleaders that predicts the call and response sing- talking of early hip hop, laced with random screams in the background that teeter between celebration and danger.\u003c\/p\u003e\n\u003cp\u003eThat these three ever got into the same room together is a miracle, and that they produced something so intense, energetic and weird is another almost unbelievable feat. The record is special enough as a stand-alone document of this meeting\/melting of the minds before you find out the backing band consists of Hubert Sumlin, Otis Spann and freaking Buddy Guy. Lordy. Might have needed one more “super” in there.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFeatures Howlin’ Wolf, Muddy Waters \u0026amp; Bo Diddley together\u003c\/li\u003e\n\u003cli\u003eOrignal Artwork w\/ liner notes by Richard Meltzer\u003c\/li\u003e\n\u003cli\u003eElectric Chicago Blues – at it’s finest\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]JPR033[[Artist]]Super Super Blues Band\u003c\/p\u003e","brand":"Jackpot Records","offers":[{"title":"Howlin' Wolf, Muddy Waters, and Bo Diddley \/ Vinyl \/ LP Black","offer_id":43959616078069,"sku":"JPR033","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1467991797615-pr4138n5iss-0a0f14279cee9fa0de3d26b48b253481_2F602547763037.png?v=1690523577"},{"product_id":"the-dark-crystal-the-1982-original-soundtrack","title":"The Dark Crystal: The 1982 Original Soundtrack","description":"[[Release Detail]]\u003cp\u003eThe Dark Crystal: The Original Soundtrack features Trevor Jones’ musical score written for the film, arranged specifically for an album listening experience. The album was recorded by the London Symphony Orchestra at the legendary Abby road studios in 1982. The album has been reissued on CD in various countries throughout the last 35 years, but this is the first vinyl reissue since the film’s original release.\u003c\/p\u003e[[Release Description]]\u003cp\u003eThe Dark Crystal: The Original Soundtrack features Trevor Jones’ musical score written for the film, arranged specifically for an album listening experience. The album was recorded by the London Symphony Orchestra at the legendary Abby road studios in 1982. The album has been reissued on CD in various countries throughout the last 35 years, but this is the first vinyl reissue since the film’s original release.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003ePressed on 140 gram “Purple with Smoke” vinyl\u003c\/li\u003e\n\t\u003cli\u003eRichard Amsel designed poster used as vinyl album cover\u003c\/li\u003e\n\t\u003cli\u003eLimited Edition color variant of 500 copies\u003c\/li\u003e\n\t\u003cli\u003eUpgraded 400gsm thick Lp Jacket with black inner sleeve\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]ETT011[[Artist]]Trevor Jones","brand":"Enjoy The Ride","offers":[{"title":"The Dark Crystal: The 1982 Original Soundtrack \/ Vinyl \/ LP Black","offer_id":43959623811317,"sku":"ETT011","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1487797592354-rbpo3z8rpihvbz6a-974ef5dbc35ba31a87dd7f761ed204d6_2F616892458647.jpg?v=1690523914"},{"product_id":"lonely-woman","title":"Lonely Woman","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003eHaving sponsored Ornette Coleman at the School of Jazz near Lennox, MA, pianist and composer John Lewis helped launch the controversial career of one of the last great innovators in jazz. Lewis’ support of the ragtag Texas native was somewhat unique in jazz circles at the time and even surprising, especially considering the gulf between the classical jazz formality of his group the Modern Jazz Quartet and Coleman’s radical notions of free improvisation. Nevertheless, Lewis not only saw in Coleman the first jazz genius since bebop’s Parker, Gillespie, and Monk, but put pay to the praise with the MJQ’s 1962 rendition of one of Coleman’s most famous numbers, “Lonely Woman.” (Along with Art Pepper’s 1960 version of “Tears Inside,” this was one of the earliest of Coleman covers done.)\u003c\/p\u003e\n\u003cp\u003eThe 1962 Atlantic album of the same name turns out to be one of the band’s best efforts. Lewis and fellow \u003cspan class=\"caps\"\u003eMJQ\u003c\/span\u003e members Milt Jackson, Percy Heath, and Connie Kaye capitalize on the dramatic theme of “Lonely Woman” while adding a bit of chamber music complexity to the mix. The quartet doesn’t take Coleman’s free form harmolodic theory to heart with a round of quixotic solos, but the group does spotlight the often overlooked strength of his compositional ideas. And while the \u003cspan class=\"caps\"\u003eMJQ\u003c\/span\u003e further plies its knack for involved pieces on Lewis originals like “Fugato” and “Trieste,” the group also balances out the set with looser material more in tune with Jackson’s blues and swing sensibilities.\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eHaving sponsored Ornette Coleman at the School of Jazz near Lennox, MA, pianist and composer John Lewis helped launch the controversial career of one of the last great innovators in jazz. Lewis’ support of the ragtag Texas native was somewhat unique in jazz circles at the time and even surprising, especially considering the gulf between the classical jazz formality of his group the Modern Jazz Quartet and Coleman’s radical notions of free improvisation. Nevertheless, Lewis not only saw in Coleman the first jazz genius since bebop’s Parker, Gillespie, and Monk, but put pay to the praise with the MJQ’s 1962 rendition of one of Coleman’s most famous numbers, “Lonely Woman.” (Along with Art Pepper’s 1960 version of “Tears Inside,” this was one of the earliest of Coleman covers done.)\u003c\/p\u003e\n\u003cp\u003eThe 1962 Atlantic album of the same name turns out to be one of the band’s best efforts. Lewis and fellow \u003cspan class=\"caps\"\u003eMJQ\u003c\/span\u003e members Milt Jackson, Percy Heath, and Connie Kaye capitalize on the dramatic theme of “Lonely Woman” while adding a bit of chamber music complexity to the mix. The quartet doesn’t take Coleman’s free form harmolodic theory to heart with a round of quixotic solos, but the group does spotlight the often overlooked strength of his compositional ideas. And while the \u003cspan class=\"caps\"\u003eMJQ\u003c\/span\u003e further plies its knack for involved pieces on Lewis originals like “Fugato” and “Trieste,” the group also balances out the set with looser material more in tune with Jackson’s blues and swing sensibilities.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLP pressed on black vinyl\u003c\/li\u003e\n\u003cli\u003eOriginally released on Atlantic Records (1962)\u003c\/li\u003e\n\u003cli\u003ePressed on 180 gram vinyl\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPANSD1381[[Artist]]Modern Jazz Quartet\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Lonely Woman \/ Vinyl \/ LP Black","offer_id":43959633051893,"sku":"PPANSD1381","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/LonelyWomancover.jpg?v=1782328341"},{"product_id":"happy-trails","title":"Happy Trails","description":"[[Release Detail]]\u003cp\u003eWithout question, this follow-up to Quicksilver Messenger Service’s self-titled debut release is the most accurate in portraying the band on vinyl in the same light as the group’s critically and enthusiastically acclaimed live performances. The album is essentially centered around the extended reworkings of Bo Diddley’s “Who Do You Love?” and “Mona,” as well as the lesser lauded — yet no less intense — contribution of Gary Duncan’s (guitar\/vocals) “Calvary.” This album is the last to feature the original quartet incarnation of \u003cspan class=\"caps\"\u003eQMS\u003c\/span\u003e. The collective efforts of John Cipollina (guitar\/vocals), Greg Elmore (percussion), David Freiberg (bass\/vocals), and the aforementioned Duncan retain the uncanny ability to perform with a psychedelic looseness of spirit, without becoming boring or in the least bit pretentious. The side-long epic “Who Do You Love?” suite is split into an ensemble introduction and coda as well as four distinct sections for the respective bandmembers. The perpetually inventive chops of \u003cspan class=\"caps\"\u003eQMS\u003c\/span\u003e are what is truly on display here. The musicians’ unmitigated instrumental prowess and practically psychic interaction allow them to seamlessly weave into and back out of the main theme. Yet all the while, each player takes center stage for uncompromising solos. “Mona” and its companion, “Calvary,” continue in much the same fashion.\u003c\/p\u003e\n\u003cp\u003eHere the members of \u003cspan class=\"caps\"\u003eQMS\u003c\/span\u003e play off each other to form a cohesive unit. This track also contains some of Cipollina’s finest and most memorable fretwork. He is able to summon sonic spirits from his guitar in a way that is unlike any of his Bay Area contemporaries. A prime example of his individuality is the frenetic “Maiden of the Cancer Moon” — ascending from the remnants of “Mona.” The angst and energy in Cipollina’s guitar work and line upon line of technical phrasing could easily be considered the equal of a Frank Zappa guitar solo. The brief title track, a cover of Roy Rogers and Dale Evans’ “Happy Trails,” seems almost insignificant in the wake of such virtuoso playing. It clears the sonic palette and also bids adieu to this particular fab foursome of psychedelia.\u003c\/p\u003e[[Release Description]]\u003cp\u003eWithout question, this follow-up to Quicksilver Messenger Service’s self-titled debut release is the most accurate in portraying the band on vinyl in the same light as the group’s critically and enthusiastically acclaimed live performances. The album is essentially centered around the extended reworkings of Bo Diddley’s “Who Do You Love?” and “Mona,” as well as the lesser lauded — yet no less intense — contribution of Gary Duncan’s (guitar\/vocals) “Calvary.” This album is the last to feature the original quartet incarnation of \u003cspan class=\"caps\"\u003eQMS\u003c\/span\u003e. The collective efforts of John Cipollina (guitar\/vocals), Greg Elmore (percussion), David Freiberg (bass\/vocals), and the aforementioned Duncan retain the uncanny ability to perform with a psychedelic looseness of spirit, without becoming boring or in the least bit pretentious. The side-long epic “Who Do You Love?” suite is split into an ensemble introduction and coda as well as four distinct sections for the respective bandmembers. The perpetually inventive chops of \u003cspan class=\"caps\"\u003eQMS\u003c\/span\u003e are what is truly on display here. The musicians’ unmitigated instrumental prowess and practically psychic interaction allow them to seamlessly weave into and back out of the main theme. Yet all the while, each player takes center stage for uncompromising solos. “Mona” and its companion, “Calvary,” continue in much the same fashion.\u003c\/p\u003e\n\u003cp\u003eHere the members of \u003cspan class=\"caps\"\u003eQMS\u003c\/span\u003e play off each other to form a cohesive unit. This track also contains some of Cipollina’s finest and most memorable fretwork. He is able to summon sonic spirits from his guitar in a way that is unlike any of his Bay Area contemporaries. A prime example of his individuality is the frenetic “Maiden of the Cancer Moon” — ascending from the remnants of “Mona.” The angst and energy in Cipollina’s guitar work and line upon line of technical phrasing could easily be considered the equal of a Frank Zappa guitar solo. The brief title track, a cover of Roy Rogers and Dale Evans’ “Happy Trails,” seems almost insignificant in the wake of such virtuoso playing. It clears the sonic palette and also bids adieu to this particular fab foursome of psychedelia.\u003c\/p\u003e\n\n  [[Selling Points]]\n\u003cul\u003e\n\u003cli\u003eThe last record to feature the original quartet incarnation of QMS\u003c\/li\u003e\n  \u003cli\u003eMost accurate recording to the band's critically and enthusiastically acclaimed live performances\u003c\/li\u003e\n  \u003cli\u003eIncludes the side-long epic “Who Do You Love?”\u003c\/li\u003e\n\u003c\/ul\u003e  \n  [[Catalog Number]]PPAN ST120[[Artist]]Quicksilver Messenger Service","brand":"Pure Pleasure","offers":[{"title":"Happy Trails \/ Vinyl \/ LP Black","offer_id":43959633215733,"sku":"PPAN ST120","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/happytrails.jpg?v=1782326368"},{"product_id":"nutcracker-suite","title":"Nutcracker Suite","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003eIn 1960, Duke Ellington and Billy Strayhorn arranged their own virtuosic adaptation of Pyotr Ilyich Tchaikovsky’s “The Nutcracker Suite” for the Duke Ellington Orchestra. Featuring nine cleverly arranged movements (boasting equally smart titles like “Toot Toot Tootie Toot” and “Sugar Rum Cherry”), it’s the quintessential Ellington blend of wit and sophistication.\u003c\/p\u003e\n\u003cp\u003eIt’s amazing how swinging and sexy the Nutcracker Suite can sound.\u003c\/p\u003e\n\u003cp\u003eStop a second and put on your thinking cap. Duke Ellington plays Tchaikovsky. I play this at my Christmas party every year and you should see my guests groove out to this. It’s amazing how swinging and sexy the Nutcracker Suite can sound. “Sugar Rum Cherry” (Dance of the Sugar Plum Fairy) sounds like strip tease music. I was down to my boxer shorts before my mother walked into the living room. In fact I play this long after the holidays have passed.\u003c\/p\u003e\n\u003cp\u003eA Real Gem! Johnny Zhivago\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eIn 1960, Duke Ellington and Billy Strayhorn arranged their own virtuosic adaptation of Pyotr Ilyich Tchaikovsky’s “The Nutcracker Suite” for the Duke Ellington Orchestra. Featuring nine cleverly arranged movements (boasting equally smart titles like “Toot Toot Tootie Toot” and “Sugar Rum Cherry”), it’s the quintessential Ellington blend of wit and sophistication.\u003c\/p\u003e\n\u003cp\u003eIt’s amazing how swinging and sexy the Nutcracker Suite can sound.\u003c\/p\u003e\n\u003cp\u003eStop a second and put on your thinking cap. Duke Ellington plays Tchaikovsky. I play this at my Christmas party every year and you should see my guests groove out to this. It’s amazing how swinging and sexy the Nutcracker Suite can sound. “Sugar Rum Cherry” (Dance of the Sugar Plum Fairy) sounds like strip tease music. I was down to my boxer shorts before my mother walked into the living room. In fact I play this long after the holidays have passed.\u003c\/p\u003e\n\u003cp\u003eA Real Gem! Johnny Zhivago\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRecorded in: Los Angeles, June 1960\u003c\/li\u003e\n\u003cli\u003eRemastering by Kevin Gray \u0026amp; Steve Hoffman\u003c\/li\u003e\n\u003cli\u003eDuke Ellington and Billy Strayhorn's adaptation of Pyotr Ilyich Tchaikovsky’s “The Nutcracker Suite” for the Duke Ellington Orchestra\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN CS8341[[Artist]]Duke Ellington \u0026amp; His Orchestra\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Nutcracker Suite \/ Vinyl \/ LP Black","offer_id":43959633346805,"sku":"PPAN CS8341","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1500061839965-3o0habjehqc-a57bd21ba62f8cb2f50ed46774323e96_2F61HjP3twQgL.jpg?v=1690524354"},{"product_id":"keb-mo","title":"Keb Mo","description":"[[Release Detail]]\u003cp\u003eKeb’ Mo’s self-titled debut is an edgy, ambitious collection of gritty country blues. Keb’ Mo’ pushes into new directions, trying to incorporate some of the sensibilites of the slacker revolution without losing touch of the tradition that makes the blues the breathing, vital art form it is. His attempts aren’t always successful, but his gutsy guitar playing and impassioned vocals, as well as his surprisingly accomplished songwriting, make Keb’ Mo’ a debut to cherish.\u003c\/p\u003e\n\u003cp\u003eThom Owens\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e[[Release Description]]\u003cp\u003eKeb’ Mo’s self-titled debut is an edgy, ambitious collection of gritty country blues. Keb’ Mo’ pushes into new directions, trying to incorporate some of the sensibilites of the slacker revolution without losing touch of the tradition that makes the blues the breathing, vital art form it is. His attempts aren’t always successful, but his gutsy guitar playing and impassioned vocals, as well as his surprisingly accomplished songwriting, make Keb’ Mo’ a debut to cherish.\u003c\/p\u003e\n\u003cp\u003eThom Owens\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e[[Selling Points]]\n\u003cul\u003e\n\u003cli\u003eProduced by John Porter\u003c\/li\u003e\n\u003cli\u003eRecorded \u0026amp; mixed by Joe McGrath at Red Zone Studios in Burbank, CA\u003c\/li\u003e\n\u003cli\u003eRemastered by Ray Staff\u003c\/li\u003e\n\u003c\/ul\u003e\n\n  [[Catalog Number]]PPAN57863[[Artist]]Keb Mo","brand":"Pure Pleasure","offers":[{"title":"Keb Mo \/ Vinyl \/ LP Black","offer_id":43959633445109,"sku":"PPAN57863","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1500069397619-jga7o0irsik-56a7813f9248ed88e7572cbb7bc28fd5_2F0000146601.jpg?v=1690524360"},{"product_id":"going-back-to-acoustic","title":"Going Back to Acoustic","description":"[[Release Detail]]\u003cp\u003eOriginally issued in France on Isabel Records under the title ‘Going Back’ this LP presents one of the best duos in the history of the blues, guitarist Buddy Guy and harmonica player Junior Wells. Over the years they made many recordings together but this one is unique. Recorded whilst on a 1981 tour of Europe, Guy and Wells took a break from their backing musicians and amps to cut this spontaneous, all acoustic set.\u003c\/p\u003e\n\u003cp\u003eThe results stand in start contrast to the steamy Chicago blues the duo is best known for. Instead these recordings are relaxed and personal, with an intimate, back porch feel. Guy switches between six and twelve string gjuitars, and lays down rootsy acoustic rhythms for Well’s tasteful harmonical lines. The two share vocal duties on the performances as they pay home to the rual, country nlues roots these modern bluesmen share.\u003c\/p\u003e[[Release Description]]\u003cp\u003eOriginally issued in France on Isabel Records 900.510 under the title ‘Going Back’ this LP presents one of the best duos in the history of the blues, guitarist Buddy Guy and harmonica player Junior Wells. Over the years they made many recordings together but this one is unique. Recorded whilst on a 1981 tour of Europe, Guy and Wells took a break from their backing musicians and amps to cut this spontaneous, all acoustic set.\u003c\/p\u003e\n\u003cp\u003eThe results stand in start contrast to the steamy Chicago blues the duo is best known for. Instead these recordings are relaxed and personal, with an intimate, back porch feel. Guy switches between six and twelve string gjuitars, and lays down rootsy acoustic rhythms for Well’s tasteful harmonical lines. The two share vocal duties on the performances as they pay home to the rual, country nlues roots these modern bluesmen share.\u003c\/p\u003e[[Selling Points]]\n\u003cul\u003e\n\u003cli\u003e180g audiophile vinyl\u003c\/li\u003e\n\u003cli\u003ePressed at Pallas in Germany\u003c\/li\u003e\n  \u003cli\u003eOriginally issued in France on Isabel Records\u003c\/li\u003e\n\u003c\/ul\u003e\n  \n  \n  [[Catalog Number]]PPAN001[[Artist]]Buddy Guy \u0026amp; Junior Wells","brand":"Pure Pleasure","offers":[{"title":"Going Back to Acoustic \/ Vinyl \/ LP Black","offer_id":43959633477877,"sku":"PPAN001","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/GoingBacktoAcoustic.jpg?v=1782327778"},{"product_id":"the-divine-one","title":"The Divine One","description":"[[Release Detail]]\u003cp\u003eRecorded just after Sarah Vaughan joined the Roulette label in 1960, The Divine One found her in exactly the right circumstances to suit her excellent talents. Arranged by Jimmy Jones, who also sits in on piano, the setting was a small group that included one strong voice to accentuate hers — and no less a strong and clear voice than trumpeter Harry “Sweets” Edison (the perfect accompaniment for Vaughan).\u003c\/p\u003e\n\u003cp\u003eThe Divine One is mostly a ballads collection, and it includes a few songs that were new to her repertoire — good choices like “Have You Met Miss Jones?” (aka “Old Jones”), “When Your Lover Has Gone,” “Wrap Your Troubles in Dreams,” and “Jump for Joy.” One great left-field choice is “Ain’t No Use,” the R\u0026amp;B song taken as a slow torch song that Big Maybelle had first recorded (Nina Simonedidn’t record it until several years later). Roulette would soon push Vaughan in many different directions — releasing over a dozen LPs in just a few short years — but this small-group date is a gem.. by John Bush\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e[[Release Description]]\u003cp\u003eRecorded just after Sarah Vaughan joined the Roulette label in 1960, The Divine One found her in exactly the right circumstances to suit her excellent talents. Arranged by Jimmy Jones, who also sits in on piano, the setting was a small group that included one strong voice to accentuate hers — and no less a strong and clear voice than trumpeter Harry “Sweets” Edison (the perfect accompaniment for Vaughan).\u003c\/p\u003e\n\u003cp\u003eThe Divine One is mostly a ballads collection, and it includes a few songs that were new to her repertoire — good choices like “Have You Met Miss Jones?” (aka “Old Jones”), “When Your Lover Has Gone,” “Wrap Your Troubles in Dreams,” and “Jump for Joy.” One great left-field choice is “Ain’t No Use,” the R\u0026amp;B song taken as a slow torch song that Big Maybelle had first recorded (Nina Simonedidn’t record it until several years later). Roulette would soon push Vaughan in many different directions — releasing over a dozen LPs in just a few short years — but this small-group date is a gem.. by John Bush\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e[[Selling Points]]\n\u003cul\u003e\n  \u003cli\u003eRemastered by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\u003cli\u003eRecorded October 1960\u003c\/li\u003e\n\u003cli\u003eProduced \u0026amp; arranged by Jimmy Jones\u003c\/li\u003e\n\u003c\/ul\u003e\n  \n  [[Catalog Number]]PPAN SR52060[[Artist]]Sarah Vaughan","brand":"Pure Pleasure","offers":[{"title":"The Divine One \/ Vinyl \/ LP Black","offer_id":43959633576181,"sku":"PPAN SR52060","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1500073427765-1nc2afyrhbf-84c847f06c46decd841d02a180c97cea_2F6f0d8a982d6dc06690c2bdf4a73ac4b1.1000x995x1.jpg?v=1690524366"},{"product_id":"undercurrent","title":"Undercurrent","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003eThis is the first of two superb albums recorded by Bill Evans, and guitarist Jim Hall, and it was recorded over two sessions in April and May 1962. Arrangements simply for piano and guitar are rare in Jazz, and it is even more seldom that the results are truly inspiring and as musically worthwhile as in this case. It is usual for intuitive musical relationships to develop over a number of years, but here we find two musicians who clearly shared an immediate understanding. Both men are on absolute top form here – Bill Evans was on fire throughout the early and mid sixties, and after the tragic death of his previous musical partner, virtuoso bass player Scott Le Faro (at the age of 23), he was searching for new directions.\u003c\/p\u003e\n\u003cp\u003eJim Hall is a guitarist of tremendous skill and powerful technique, with a highly developed rhythmic and harmonic sense that shines through on this album. What is so special about the performances here is an almost telepathic anticipation of where the music is heading – both musicians contribute equally, and there is a constant exchange of ideas, each reacting to the other with apparent ease, whatever the mood.\u003c\/p\u003e\n\u003cp\u003eThis is a brilliant jazz album, of great depth and tremendous atmosphere, and both players express some exceptional ideas. Highly recommended. Dominic L Brown\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eThis is the first of two superb albums recorded by Bill Evans, and guitarist Jim Hall, and it was recorded over two sessions in April and May 1962. Arrangements simply for piano and guitar are rare in Jazz, and it is even more seldom that the results are truly inspiring and as musically worthwhile as in this case. It is usual for intuitive musical relationships to develop over a number of years, but here we find two musicians who clearly shared an immediate understanding. Both men are on absolute top form here – Bill Evans was on fire throughout the early and mid sixties, and after the tragic death of his previous musical partner, virtuoso bass player Scott Le Faro (at the age of 23), he was searching for new directions.\u003c\/p\u003e\n\u003cp\u003eJim Hall is a guitarist of tremendous skill and powerful technique, with a highly developed rhythmic and harmonic sense that shines through on this album. What is so special about the performances here is an almost telepathic anticipation of where the music is heading – both musicians contribute equally, and there is a constant exchange of ideas, each reacting to the other with apparent ease, whatever the mood.\u003c\/p\u003e\n\u003cp\u003eThis is a brilliant jazz album, of great depth and tremendous atmosphere, and both players express some exceptional ideas. Highly recommended. Dominic L Brown\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRemastered by Ron McMaster at Capitol Studios\u003c\/li\u003e\n\u003cli\u003eRecorded at Sound Makers, NYC May 14, 1962\u003c\/li\u003e\n\u003cli\u003eThe first of two superb albums recorded by Bill Evans and guitarist Jim Hall\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN UAJS15003[[Artist]]Bill Evans \u0026amp; Jim Hall\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Undercurrent \/ Vinyl \/ LP Black","offer_id":43959633641717,"sku":"PPAN UAJS15003","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1500074681231-a4qcyidzlj-337bb56932b26bd2c98d56ca890dbfac_2FScreen_2BShot_2B2017-07-14_2Bat_2B7.23.55_2BPM.png?v=1690524367"},{"product_id":"concierto","title":"Concierto","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003eJim Hall’s Concierto was arguably the greatest LP in the history of \u003cspan class=\"caps\"\u003eCTI\u003c\/span\u003e and possibly a masterpiece. With two legendary players in the frontline, trumpeter Chet Baker and Paul Desmond, Hall interprets standards and engaging originals. A master of melody who never wastes notes, the centerpiece for this release is Hall’s interpretation of one movement from Rodrigo’s “Guitar Concerto,” arranged by Don Sebesky.\u003c\/p\u003e\n\u003cp\u003eNew tracks include alternate takes of “You’d Be So Nice to Come Home To” and “Rock Skippin’,” plus “Unfinished Business,” an incomplete track that fades following Desmond’s solo just as Hall starts to play (This song is actually “La Paloma Azul,” a Mexican folk tune played by Paul Desmond while with the Dave Brubeck Quartet about a decade earlier, also known as “The Blue Dove”). Ken Dryden\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eJim Hall’s Concierto was arguably the greatest LP in the history of \u003cspan class=\"caps\"\u003eCTI\u003c\/span\u003e and possibly a masterpiece. With two legendary players in the frontline, trumpeter Chet Baker and Paul Desmond, Hall interprets standards and engaging originals. A master of melody who never wastes notes, the centerpiece for this release is Hall’s interpretation of one movement from Rodrigo’s “Guitar Concerto,” arranged by Don Sebesky.\u003c\/p\u003e\n\u003cp\u003eNew tracks include alternate takes of “You’d Be So Nice to Come Home To” and “Rock Skippin’,” plus “Unfinished Business,” an incomplete track that fades following Desmond’s solo just as Hall starts to play (This song is actually “La Paloma Azul,” a Mexican folk tune played by Paul Desmond while with the Dave Brubeck Quartet about a decade earlier, also known as “The Blue Dove”). Ken Dryden\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRecorded at Van Gelder Studios 16th \u0026amp; 23rd April 1975\u003c\/li\u003e\n\u003cli\u003eRecording engineer: Rudy Van Gelder\u003c\/li\u003e\n\u003cli\u003eProduced by Creed Taylor\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN 6060[[Artist]]Jim Hall\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Concierto \/ Vinyl \/ 2LP Black","offer_id":43959634100469,"sku":"PPAN 6060","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1500414711740-f0nlj5g32gk-7b2bd05babb983c079d8910540aca86e_2Fconcierto-522b533611778.jpg?v=1690524389"},{"product_id":"hooker-n-heat","title":"Hooker 'N Heat","description":"[[Release Detail]]\u003cp\u003eWhen this two-LP set was initially released in January 1971, Canned Heat was back to its R\u0026amp;B roots. Sporting a slightly revised personnel with the return of Henry “Sunflower” Vestine and the incorporation of Antonio “Tony” de la Barreda on bass, a highly skilled constituent of Aldolfo de la Parra on drums. Sadly, it would also be the final effort to include co-founder Alan “Blind Owl” Wilson, who passed away in September 1970. Hooker ’n Heat (1971) is a low-key affair split between unaccompanied solo John Lee Hooker tunes, collaborations between Hooker and Wilson, as well as five full-blown confabs between Hooker and Heat.\u003c\/p\u003e\n\u003cp\u003eThe full-fledged collaborations shine as both parties unleash some of their finest respective work. While Canned Heat get top bill — probably as it was the group’s record company that sprung for Hooker ’n Heat — make no mistake, as Hooker steers the combo with the same gritty and percussive guitar leads that have become his trademark. The epic “Boogie Chillen No. 2” stretches over 11-and-a-half minutes and is full of the same swagger as the original, with the support of Canned Heat igniting the verses and simmering on the subsequent instrumental breaks with all killer and no filler.\u003c\/p\u003e\n\u003cp\u003eCanned Heat are hands down the best back-up band John Lee Hooker has recorded. And despite the cover billing, they are very much a back-up group, for this is really a John Lee Hooker album, and one of his best in a long while.\u003c\/p\u003e[[Release Description]]\u003cp\u003eWhen this two-LP set was initially released in January 1971, Canned Heat was back to its R\u0026amp;B roots. Sporting a slightly revised personnel with the return of Henry “Sunflower” Vestine and the incorporation of Antonio “Tony” de la Barreda on bass, a highly skilled constituent of Aldolfo de la Parra on drums. Sadly, it would also be the final effort to include co-founder Alan “Blind Owl” Wilson, who passed away in September 1970. Hooker ’n Heat (1971) is a low-key affair split between unaccompanied solo John Lee Hooker tunes, collaborations between Hooker and Wilson, as well as five full-blown confabs between Hooker and Heat.\u003c\/p\u003e\n\u003cp\u003eThe full-fledged collaborations shine as both parties unleash some of their finest respective work. While Canned Heat get top bill — probably as it was the group’s record company that sprung for Hooker ’n Heat — make no mistake, as Hooker steers the combo with the same gritty and percussive guitar leads that have become his trademark. The epic “Boogie Chillen No. 2” stretches over 11-and-a-half minutes and is full of the same swagger as the original, with the support of Canned Heat igniting the verses and simmering on the subsequent instrumental breaks with all killer and no filler.\u003c\/p\u003e\n\u003cp\u003eCanned Heat are hands down the best back-up band John Lee Hooker has recorded. And despite the cover billing, they are very much a back-up group, for this is really a John Lee Hooker album, and one of his best in a long while.\u003c\/p\u003e[[Selling Points]]\n\u003cul\u003e\n  \u003cli\u003e2LP in a gatefold sleeve\u003c\/li\u003e\n\u003cli\u003eProduced by Skip Taylor \u0026amp; Robert Hite Jr.\u003c\/li\u003e\n\u003cli\u003eRecorded at Liberty Studios, Los Angeles in May 1970\u003c\/li\u003e\n\u003cli\u003eRemastered by Sean Magee at Abbey Road Studios\u003c\/li\u003e\n\u003c\/ul\u003e\n  [[Catalog Number]]PPAN ST35002[[Artist]]John Lee Hooker \u0026amp; Canned Heat","brand":"Pure Pleasure","offers":[{"title":"Hooker 'N Heat \/ Vinyl \/ 2LP Black","offer_id":43959634198773,"sku":"PPAN ST35002","price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/hookernheat.jpg?v=1782327181"},{"product_id":"the-best-of-jim-henson-s-fraggle-rock","title":"The Best of Jim Henson's Fraggle Rock","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003eEnjoy The Toons Records is proud to bring to you the very first digital and colored vinyl pressing from “Jim Henson’s Fraggle Rock.”\u003c\/p\u003e\n\u003cp\u003eThe album consists of 24 tracks from the iconic 1980s Hit TV Series.\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eEnjoy The Toons Records is proud to bring to you the very first digital and colored vinyl pressing from “Jim Henson’s Fraggle Rock.”\u003c\/p\u003e\n\u003cp\u003eThe album consists of 24 tracks from the iconic 1980s Hit TV Series.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ePressed on black vinyl\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003e24 tracks from the iconic 1980s Hit TV Series\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]ETT003[[Artist]]Fraggle Rock\u003c\/p\u003e","brand":"Enjoy The Ride","offers":[{"title":"The Best of Jim Henson's Fraggle Rock \/ Vinyl \/ LP Black","offer_id":43959635640565,"sku":"ETT003","price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1503697773222-69b6esc422k-0bcc5d697d44c499fadfaf449ffc6dd4_2F616892529644.jpg?v=1690524462"},{"product_id":"the-show-must-go-on","title":"The Show Must Go On","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003eThe best R\u0026amp;B songwriter and soul singer that most people have never heard of, Sam Dees has written songs for countless artists, including Gladys Knight, Aretha Franklin, Whitney Houston, George Benson, the Temptations, Teddy Pendergrass, Millie Jackson, Jackie Wilson, the Manhattans, Regina Belle, KC \u0026amp; the Sunshine Band, Willie Clayton, and many others. He’s also a pretty fine singer, having recorded for the Chess, Atlantic, Polydor, and \u003cspan class=\"caps\"\u003eSSS\u003c\/span\u003e labels, and he had a nice string of his own hits in the 1970s. His 1975 Atlantic album The Show Must Go On has long been regarded by Southern soul aficionados as one of the best of the genre. Sounding a bit like a deeper-voiced Curtis Mayfield (in both style and theme), Dees sings with assurance, wisdom, passion, and a whole lot of soul here. Songs like “Child of the Streets”, “Troubled Child,” \u0026amp; “What’s It Gonna Be,” share Mayfield’s commitment to social commentary, and Dees knows his way around a love song, too. It’s absolutely essential.\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eThe best R\u0026amp;B songwriter and soul singer that most people have never heard of, Sam Dees has written songs for countless artists, including Gladys Knight, Aretha Franklin, Whitney Houston, George Benson, the Temptations, Teddy Pendergrass, Millie Jackson, Jackie Wilson, the Manhattans, Regina Belle, KC \u0026amp; the Sunshine Band, Willie Clayton, and many others. He’s also a pretty fine singer, having recorded for the Chess, Atlantic, Polydor, and \u003cspan class=\"caps\"\u003eSSS\u003c\/span\u003e labels, and he had a nice string of his own hits in the 1970s. His 1975 Atlantic album The Show Must Go On has long been regarded by Southern soul aficionados as one of the best of the genre. Sounding a bit like a deeper-voiced Curtis Mayfield (in both style and theme), Dees sings with assurance, wisdom, passion, and a whole lot of soul here. Songs like “Child of the Streets”, “Troubled Child,” \u0026amp; “What’s It Gonna Be,” share Mayfield’s commitment to social commentary, and Dees knows his way around a love song, too. It’s absolutely essential.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ePressed on black vinyl\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eThe best R\u0026amp;B songwriter and soul singer that most people have never heard of\u003c\/li\u003e\n\u003cli\u003eRegarded by Southern soul aficionados as one of the best of the genre\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPANSD18134[[Artist]]Sam Dees\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"The Show Must Go On \/ Vinyl \/ LP Black","offer_id":43959639703797,"sku":"PPANSD18134","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622216.jpg?v=1751327813"},{"product_id":"jazz-waltz","title":"Jazz Waltz","description":"\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eShorty Rogers’ Jazz Waltz is exactly that, an exploration of ten compositions played in waltz settings. Only these big-band charts are hardly the waltzes heard on Lawrence Welk’s long-running television series. Rogers kicks off with a swinging number (“I’m Gonna Go Fishin’”) written by Duke Ellington for the soundtrack to the film Anatomy of a Murder and featuring the leader’s rich flügelhorn. The lyrical take of the centuries-old folk melody “Greensleeves” alternates between the tense rhythm section and Bud Shank’s gorgeous flute solo. Rogers’ delightful “Be as Children” almost sounds as if it was adapted from a gospel song. The brisk treatment of Ellington’s “Echoes of Harlem,” featuring Paul Horn on flute, is refreshing. Only Bobby Scott’s “A Taste of Honey” is the least bit disappointing, simply because this arrangement isn’t quite as adventurous as the rest of the album. Originally issued by Reprise in 1962 and out of print for decades.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eOriginally issued by Reprise in 1962\u003c\/li\u003e\n\u003cli\u003eOut of press for decades\u003c\/li\u003e\n\u003cli\u003ePressed on 180g vinyl\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPANR9-6060[[Artist]]Shorty Rogers \u0026amp; His Giants\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Jazz Waltz \/ Vinyl \/ LP Black","offer_id":43959639834869,"sku":"PPANR9-6060","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622629_ba5e6c4e-38de-4600-bf5d-4902ad48e2cb.jpg?v=1754688372"},{"product_id":"house-in-the-tall-grass","title":"House in the Tall Grass","description":"[[Release Detail]][[Release Description]]\n\u003cp\u003eLike a long journey this record unfolds itself through many layers.\u003c\/p\u003e\n\n\u003cp\u003eFans of Kikagaku Moyo will be comforted by the soft vocals harmonies and warm Sitar but what sets this release apart is the refinement of the band’s songwriting and their delicate execution.\u003c\/p\u003e\n\n\u003cp\u003eSide A begins with a pair of travelling songs where the interplay between the vocals, guitar, and sitar lift and suspend you on an unexpected journey.\u003c\/p\u003e\n\n\u003cp\u003eThe patient listener is rewarded by tracks like “Trad” and “Silver Owl” that demonstrate the masterful balance the band has between soft and loud; chaos and order, or being both cold and tender at the same time.\u003c\/p\u003e\n\n\u003cp\u003e“House in the Tall Grass” takes the listener by the hand on a comfortable quest through destinations both familiar and unknown.\u003c\/p\u003e\n\n\u003cp\u003eIt is a natural step forward for the band and perhaps the most refined example of their style to date.\u003c\/p\u003e\n\n\u003cp\u003eThe original Continental version of the album now fetch around $2000. Our definitive re-issue is an exact replica of the gatefold original LP and the source master is taken from the Continental tapes, re-mastered in 2012 under Arthur’s supervision.\u003c\/p\u003e\n\n[[Selling Points]]\n\u003cul\u003e\n\u003cli\u003eElements of classical Indian music, krautrock, traditional folk, and 70s rock.\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eRecorded at Studio Somil, Rio De Janeiro in 1972\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eProduced, arranged, and directed by Arthur Verocai\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]GGB-008[[Artist]]Kikagaku Moyo\u003c\/p\u003e","brand":"Guruguru Brain","offers":[{"title":"House in the Tall Grass \/ Vinyl \/ LP Black","offer_id":43959644455157,"sku":"GGB-008-2","price":29.0,"currency_code":"USD","in_stock":true},{"title":"House in the Tall Grass \/ CD \/ CD","offer_id":43959644487925,"sku":"GGB-008CD","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1648839254099-6xbs1u4zzg5-86bcd1c8046f1824041d039475737d4d_2FaDNJIzqg.jpg?v=1690524841"},{"product_id":"kikagaku-moyo","title":"Kikagaku Moyo","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eKikagaku Moyo's debut album exerts an elemental power. Enlivening their sound with sitars, percussive drums, theremins, wind instruments and ethereal vocals, the band manages to sound powerfully spacious and lazily serene all at once. Their songs can be light as air, or heavy as earth. Many evolve out of intense experiences of engagement with the natural world. The album’s first track, “Can You Imagine Nothing?” was written over a night spent jamming on a suspended footbridge in remote mountains. As the song progressed the bridge began to sway, making band members feel as though they were floating weightless in midair.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eKikagaku Moyo's first self-titled album reissue\u003c\/li\u003e\n\u003cli\u003eOriginally released by Cosmic Eye Records in Sep 2013\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eElements of classical Indian music, krautrock, traditional folk, and 70s rock\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]GGB-013[[Artist]]Kikagaku Moyo\/幾何学模様\u003c\/p\u003e","brand":"Guruguru Brain","offers":[{"title":"Kikagaku Moyo \/ Vinyl \/ LP Black","offer_id":43959644520693,"sku":"GGB-013","price":29.0,"currency_code":"USD","in_stock":true},{"title":"Kikagaku Moyo \/ CD \/ CD","offer_id":43959644553461,"sku":"GGB-13CD","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1519070593368-k6wx3poxqe-e09cfade6d7f78ef1e6a3539dca09f71_2Fa0389363479_10.jpg?v=1690524841"},{"product_id":"inside-hifi","title":"Inside HiFi","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eThis excellent recording features altoist Lee Konitz with two separate quartets during 1956. Either guitarist Billy Bauer or pianist Sal Mosca are the main supporting voices in groups also including either Arnold Fishkind or Peter Ind on bass and Dick Scott on drums. The most unusual aspect to the set is that on the four selections with Mosca, Konitz switches to tenor, playing quite effectively in a recognizable cool style. The overall highlights of this enjoyable album are “Everything Happens to Me,” “All of Me,” and “Star Eyes,” but all eight performances are well played and swinging. Scott Yannow\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe introduction of Konitz’s tenor during this period is emblematic of this. His premiere tenor recordings on ’56’s Lee Konitz Inside Hi-Fi document how Konitz first translated the refinements of his alto conception to the larger horn, even on would-be barn burners as “Indiana” (which also features an excellent solo by pianist Sal Mosca), and began to apply the tenor’s capacity for broader, bolder strokes to such fine alto performances as the bluesy “Cork ‘N’ Bib.” The contrasts between Konitz’s alto and tenor are well-represented on “Kary’s Trance,” which includes choruses on both horns; the track is also one of guitarist Billy Bauer’s finest.\u003cbr\u003eBill Shoemaker\u003c\/p\u003e\n\u003cp\u003eA recent convert to Lee Konitz, the more I hear the more I like. Though he went on to record right up to the present day, the 50’s recordings are remarkably fresh, with his alto’s long fluid lines and swinging turns in direction. His alto has a refreshing lightness and his opening alto duet here with guitarist Billy Bauer on “Kary’s Trance” is a surprising sheer delight. Unusually, Konitz also picks up the tenor sax on several tracks for the first time, yielding a record with an additional layer of interest. The selling point for me, however, was the cover. For any audiophiles out there (yes you Guy! ) the artifice of Konitz, photographed through capacitors, valves and wires in Rudy Van Gelder’s recording studio, is the ultimate Jazz Audiophile image.\u003cbr\u003eLondonJazzCollector\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLP pressed on black vinyl\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eFeatures altoist Lee Konitz with two separate quartets during 1956\u003c\/li\u003e\n\u003cli\u003eIncludes performances of \u003cmeta charset=\"utf-8\"\u003e“Everything Happens to Me,” “All of Me,” and “Star Eyes\"\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN-SD1258[[Artist]]Lee Konitz\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Inside HiFi \/ Vinyl \/ LP Black","offer_id":43959646814453,"sku":"PPAN-SD1258","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622735.jpg?v=1755042631"},{"product_id":"love-from-the-sun","title":"Love From The Sun","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eThis jazz recording is considered as the ‘magnum opus’ of master \"drummer extraordinaire’’, composer, arranger, producer, and leader Norman Connor’s in a career that has spanned 4 decades. This recording is what many will consider the debut of the legendary vocalist Dee Dee Bridgewater who has since gone on to a brilliant career. Connor’s put together an all-star group with Herbie Hancock and Onaje Allan Gumbs on piano and Fender Rhodes, Dr. Eddie Henderson on trumpet\/flugelhorn, Carlos Garnett on tenor\/soprano saxes, Gary Bartz on alto\/soprano saxes, Buster Williams on bass, drummer\/vocalist Bill Summers and Kenneth Nash on percussion, and effective, crucial cameos by master flautist Hubert Laws. On the song, “Love From the Sun’”, Connors added Nathan Rubin on violin and Terry Adams on cello.\u003c\/p\u003e\n\u003cp\u003eThe ‘best of the best’ begins with the exotic theme of Hancock’s “Revelation”, doubled wordlessly and beautifully by Ms. Bridgewater over Williams bouncing ostinato bass pattern with flights of fancy from Hubert Laws on flute, and superb, luminous solos from Henderson’s exotic trumpet, Garnett on soprano, and Hancock on Fender Rhodes. Garnett’s “Carlos II” is another great composition with remarkable solos. Connors’ own “Drums Around The Worlds’” is influenced by African and latin rhythms with emotional vocals from Summers and a drum-only section that builds in intensity. One of the high points of the album is Dee Dee Bridgewater’s awesome, glorious vocalizing on Richard Clay’s lovely “Love From The Sun”, in one of the greatest performances in her career, arranged by Gumbs. Elmer Gibson’s “Kumakucha” (The Sun Has Risen) is a blazing display of uptempo musicianship by Connor’s driving drums, the propulsive congas of Summers and Nash, and exciting solos from Bartz, Henderson on trumpet, and Hancock’s furious piano solo. The set ends with a marvelous “Holy Waters” composed and arranged by Garnett in a scorching performance by Bridgewater on vocals, Garnett unleashing one of the greatest solos in his storied career, followed by Gumbs’ astute solo.\u003c\/p\u003e\n\u003cp\u003eMy Highest Recommendation. \u003cbr\u003eBy John Braswell\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eConsidered the ‘magnum opus’ of master \"drummer extraordinaire’’, composer, arranger, producer, and leader Norman Connor’s in a career that has spanned 4 decades\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eDebut of the legendary vocalist Dee Dee Bridgewater\u003c\/li\u003e\n\u003cli\u003eRemastered by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN-BDS5142[[Artist]]Norman Connors\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Love From The Sun \/ Vinyl \/ LP Black","offer_id":43959646879989,"sku":"PPAN-BDS5142","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622698.jpg?v=1755042596"},{"product_id":"try-your-best","title":"Try Your Best","description":"[[Release Detail]][[Release Description]]\u003cp\u003eThe Seattle band Mommy Long Legs has been around for a bit now, amassing a tape, an EP, and a 7″ since they started releasing music in 2015. Now, they’re announcing their debut album, Try Your Best.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eRepress on blue colored vinyl\u003c\/li\u003e\n\t\u003cli\u003eOriginally released in 2018\u003c\/li\u003e\n\t\u003cli\u003eDebut album\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]YRR 020[[Artist]]Mommy Long Legs","brand":"Youth Riot Records","offers":[{"title":"Try Your Best \/ Vinyl \/ LP Blue","offer_id":43959649599733,"sku":"YRR 020","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1528138211273-ewlui4ijih-356e2dadef7a762c77bf23a81c2b03c8_2FMommy_2BLong_2BLegs-Try-Your-Best.jpg?v=1690525070"},{"product_id":"masana-temples","title":"Masana Temples","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eThe shifting dimensions of Masana Temples, fourth album from psychedelic explorers Kikagaku Moyo,are informed by various experiences the band had with traveling through life together, ranging from the months spent on tour to making a pilgrimage to Lisbon to record the album with jazz musician Bruno Pernadas. The band sought out Pernadas both out of admiration for his music and in an intentional move to work with a producer who came from a wildly different background. With Masana Temples, the band wanted to challenge their own concepts of what psychedelic music could be. Elements of both the attentive folk and wild-eyed rocking sides of the band are still intact throughout, but they’re sharper and more defined.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eMore than the literal interpretation of being on a journey, the album’s always changing sonic panorama reflects the spiritual connection of the band moving through this all together. Life for a traveling band is a series of constant metamorphoses, with languages, cultures, climates and vibes changing with each new town. The only constant for Kikagaku Moyo throughout their travels were the five band members always together moving through it all, but each of them taking everything in from very different perspectives. Inspecting the harmonies and disparities between these perspectives, the group reflects the emotional impact of their nomadic paths. The music is the product of time spent in motion and all of the bending mindsets that come with it.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eKikagaku Moyo's fourth full-length studio album\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eRecorded with jazz musician Bruno Pernadas\u003c\/li\u003e\n\u003cli\u003ePressed on black vinyl\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]GGB-017LP-2[[Artist]]Kikagaku Moyo\u003c\/p\u003e","brand":"Guruguru Brain","offers":[{"title":"Masana Temples \/ Vinyl \/ LP Black","offer_id":43959652221173,"sku":"GGB-017LP-2","price":29.0,"currency_code":"USD","in_stock":true},{"title":"Masana Temples \/ CD \/ CD","offer_id":43959652253941,"sku":"GGB-017CD","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1648839260622-qzjil5tnl5-7237878d4b4818c3f5104b74c334e734_2FDKjUJGNw.jpg?v=1690525172"},{"product_id":"love-in","title":"Love-In","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eFour-and-a-half decades after the event, saxophonist Charles Lloyd’s Love-In, recorded live at San Francisco’s Fillmore Auditorium in 1967, the counterculture’s West Coast music hub, endures as much as an archaeological artifact as a musical document. From sleeve designer Stanislaw Zagorski’s treatment of Rolling Stone photographer Jim Marshall’s cover shot, through the album title and some of the track titles (“Tribal Dance,” “Temple Bells”), and the inclusion of John Lennon and Paul McCartney’s “Here There and Everywhere,” Love-In’s semiology reeks of the acid-drenched zeitgeist of the mid 1960s, a time when creative music flourished, and rock fans were prepared to embrace jazz, provided the musicians did not come on like their parents: juicers dressed in sharp suits exuding cynicism.\u003c\/p\u003e\n\u003cp\u003eIt is likely that more joints were rolled on Love-In’s cover than that of any other jazz LP of the era, with the possible exception of saxophonists John Coltrane’s A Love Supreme (Impulse!, 1965) and Pharoah Sanders’s Tauhid (Impulse!, 1967). Chet Helms, a key mover and shaker in the West Coast counterculture, spoke for many when he hailed the Lloyd quartet as “the first psychedelic jazz group.”\u003c\/p\u003e\n\u003cp\u003eIt is to Lloyd’s credit that, at least in the early stages of his adoption by the counterculture, he resisted dumbing down his music. The adoption stemmed from Lloyd’s espoused attitude to society, his media savvy, his sartorial style and his sheer nerve in playing jazz in the temples of rock culture. He took the quartet into the Fillmore West three years before trumpeter Miles Davis took his into the Fillmore East—as documented on Live at the Fillmore East, March 6 1970: It’s About That Time (Columbia)—by which time his pianist, Keith Jarrett, and drummer, Jack DeJohnette, were members of Davis’ band (although Jarrett didn’t appear at the 1970 gig).\u003c\/p\u003e\n\u003cp\u003eSo Love-In comes with a load of baggage, some of it less than fragrant. But as 45 minutes of music, it still has legs. Lloyd’s vocalized tenor (and flute on two tracks) has Coltrane-derived muscle; the young Jarrett’s lyrical and funky solos, particularly on his 07:55 showcase, the gospel-ish “Sunday Morning,” his two featured originals (“Sunday Morning” and the soul jazz-ish “Is It Really the Same?”), and his playing the strings of the piano directly with his hands, all remain compelling; McClure and DeJohnette are solid and inventive.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLP pressed on black vinyl\u003c\/li\u003e\n\u003cli\u003eRecorded live at San Francisco’s Fillmore Auditorium in 1967\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eHailed as “the first psychedelic jazz group\"\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e[[Catalog Number]]PPAN-SD11481[[Artist]]Charles Lloyd\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Love-In \/ Vinyl \/ LP Black","offer_id":43959653761269,"sku":"PPAN-SD11481","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622834.jpg?v=1754688691"},{"product_id":"vibes-from-the-tribe-trcd4008","title":"Vibes from the Tribe","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003ePhil Ranelin was a session trombonist recording with the likes of Steve Wonder before setting up the Tribe label with Wendell Harrison in Detroit.\u003c\/p\u003e\n\u003cp\u003eLike other contemporary artist run labels like Strata East and Black Jazz, Tribe releases were characterised by a heady mix of post Coltrane free jazz, soul and funk, all informed by a strong political conscience.\u003c\/p\u003e\n\u003cp\u003eVibes From the Tribe is a fine record. The title track is lusciously, greasily funky and stands in pretty stark contrast to the kind of airbrushed fusion that was in vogue at the time. “Sounds from the Village” is even better (and dirtier), showcasing Ranelin’s oily trombone gymnastics and a viciously fuzzed guitar solo. “Wife” features Phil’s singing and is oddly reminiscent of Frank Zappa’s writing on Sleep Dirt; an affecting, snaking melody topped off with a beautiful solo from the leader, whose playing here has the grace of Bob Brookmeyer coupled with the agility of George Lewis.\u003c\/p\u003e\n\u003cp\u003e“He The One We All Knew” is the obligatory Coltrane tribute and is a trip into the kind of groove based free playing typical of Pharoah Sanders, though only really picks up when the band launch into post bop swing mode in the last six minutes or so, provoking another fine Ranelin solo. Bassist Ralph Armstrong is particularly strong here; his brief solo passages are a wonder of agility and tough lyricism that make me wonder why he’s not better known. Other highlights come from the mellifluous flute of Wendell Harrison. Beautiful stuff, and it’s good to know that Ranelin is still at work even now. Essential.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eCharacterised by a heady mix of post Coltrane free jazz, soul and funk, all informed by a strong political conscience\u003c\/li\u003e\n\u003cli\u003eFeatures \u003cmeta charset=\"utf-8\"\u003eColtrane tribute, performance of \u003cmeta charset=\"utf-8\"\u003e“He The One We All Knew”\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003ePhil Ranelin, leader of Detroit jazz label Tribe Records and session trombonist for Steve Wonder\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]TRCD4008[[Artist]]Phil Ranelin\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Vibes from the Tribe \/ Vinyl \/ LP Black","offer_id":43959653859573,"sku":"TRCD4008","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622803.jpg?v=1755042615"},{"product_id":"castle-in-the-sky-image-album","title":"Castle In The Sky: Image Album","description":"[[Release Detail]][[Release Description]]\u003cp\u003eThis album was created before the soundtrack, and is based on the image of Laputa given to Joe Hisaishi from director Hayao Miyazaki and producer Isao Takahata.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eJapanese import\u003c\/li\u003e\n\t\u003cli\u003eJacket image is designed with a cutout of the main characters, Pazu and Sheeta, from the theater poster\u003c\/li\u003e\n\t\u003cli\u003eDouble jacket with duplicate cel of Pazu and Sheeta\u003c\/li\u003e\n\t\u003cli\u003eHoused in a gatefold jacket with an \u003cspan class=\"caps\"\u003eOBI\u003c\/span\u003e strip\u003c\/li\u003e\n\t\u003cli\u003eLimited pressing\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]TJJA-10011[[Artist]]Joe Hisaishi","brand":"Tokuma Japan Communications","offers":[{"title":"Castle In The Sky: Image Album \/ Vinyl \/ LP Black","offer_id":43959654875381,"sku":"TJJA-10011","price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1535746830071-kvtm903nw2-393e21091362e5d060c94a5b7ad2fb9b_2Fimage_2Balbum_2B.jpg?v=1690525286"},{"product_id":"castle-in-the-sky-soundtrack-tjja-10012-legacy","title":"Castle In The Sky: Soundtrack","description":"[[Release Detail]][[Release Description]]\n\u003cp\u003eSoundtrack includes the insert song ‘’Kimi o Nosete.’’ Jacket image is the Tiger Moth, the airship of the Doras the air pirates, which appeared in ’’Castle In The Sky.\"\u003c\/p\u003e\n[[Selling Points]]\n\u003cul\u003e\n\u003cli\u003eJapanese import\u003c\/li\u003e\n\u003cli\u003ePressed on Black Vinyl\u003c\/li\u003e\n\u003cli\u003eHoused in a gatefold jacket with an \u003cspan class=\"caps\"\u003eOBI\u003c\/span\u003e strip\u003c\/li\u003e\n\u003c\/ul\u003e\n[[Catalog Number]]TJJA-10012[[Artist]]Joe Hisaishi","brand":"Tokuma Japan Communications","offers":[{"title":"Castle In The Sky: Soundtrack \/ LP \/ LP Black","offer_id":43959654908149,"sku":"TJJA-10012","price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/4988008085815.jpg?v=1747851897"},{"product_id":"castle-in-the-sky-symphony-version","title":"Castle In The Sky: Symphony Version","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eSymphony version of the image album ‘’Sora kara Futtekita Shoujo’’ performed by an orchestra of 60 players. Performance: Tokyo City Philharmonic Orchestra. Conductor: Katsuaki Nakatani.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eJapanese Import\u003c\/li\u003e\n\u003cli\u003eIncludes 4 pages of illustrations plus an \u003cspan class=\"caps\"\u003eOBI\u003c\/span\u003e strip\u003c\/li\u003e\n\u003cli\u003eLimited\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]TJJA-10013[[Artist]]Joe Hisaishi\u003c\/p\u003e","brand":"Tokuma Japan Communications","offers":[{"title":"Castle In The Sky: Symphony Version \/ LP \/ LP Black","offer_id":43959654940917,"sku":"TJJA-10013","price":42.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/4988008085914.jpg?v=1747852102"},{"product_id":"my-neighbor-totoro-image-album","title":"My Neighbor Totoro: Image Album","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eImage album created with the concept of ‘’making songs which children really want and can sing out loud with their mouths widely opened.’’\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eJapanese import\u003c\/li\u003e\n\u003cli\u003e16-page booklet\u003c\/li\u003e\n\u003cli\u003eLimited edition with \u003cspan class=\"caps\"\u003eOBI\u003c\/span\u003e strip\u003c\/li\u003e\n\u003cli\u003eIncludes 10 songs + 1 instrumental\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]TJJA-10014[[Artist]]Joe Hisaishi\u003c\/p\u003e","brand":"Tokuma Japan Communications","offers":[{"title":"My Neighbor Totoro: Image Album (Restock) \/ LP \/ LP Black (Restock)","offer_id":46450311659765,"sku":"TJJA-10014","price":42.0,"currency_code":"USD","in_stock":true},{"title":"My Neighbor Totoro: Image Album (2025 Restock) \/ Vinyl \/ LP Black","offer_id":43959654973685,"sku":"TJJA-10014-2","price":42.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/4988008086010.jpg?v=1747852370"},{"product_id":"my-neighbor-totoro-soundtrack","title":"My Neighbor Totoro: Soundtrack","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eSoundtrack in which you can feel warmth and enjoy Joe Hisaishi’s music to your heart’s content. Includes ’’Sanpo’’ and ‘’My Neighbor Totoro.’’\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eJapanese import\u003c\/li\u003e\n\u003cli\u003eIncludes 4 pages of illustrations\u003c\/li\u003e\n\u003cli\u003eLimited edition with \u003cspan class=\"caps\"\u003eOBI\u003c\/span\u003e strip\u003c\/li\u003e\n\u003cli\u003ePressed on Black Vinyl\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]TJJA-10015[[Artist]]Joe Hisaishi\u003c\/p\u003e","brand":"Tokuma Japan Communications","offers":[{"title":"My Neighbor Totoro: Soundtrack (Restock) \/ Vinyl \/ LP Black","offer_id":43959655039221,"sku":"TJJA-10015","price":42.0,"currency_code":"USD","in_stock":true},{"title":"My Neighbor Totoro: Soundtrack \/ Vinyl \/ LP Color","offer_id":43959655071989,"sku":"TJJA-10015-C","price":49.0,"currency_code":"USD","in_stock":true},{"title":"My Neighbor Totoro: Soundtrack \/ Vinyl \/ LP Black","offer_id":44467671662837,"sku":"TJJA-10015","price":42.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/4988008086119.jpg?v=1747852030"},{"product_id":"nausicaa-of-the-valley-of-wind-image-album","title":"Nausicaa Of The Valley Of Wind: Image Album","description":"[[Release Detail]][[Release Description]]\u003cp\u003eA collection of works which are considered the origin of film music in Nausicaa, created even before the film’s production and based on the image in the original comics. Jacket image is a ‘’Torumakian Soldier’’ illustrated by director Hayao Miyazaki for appendix poster for Animage.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eJapanese import\u003c\/li\u003e\n\t\u003cli\u003eLimited edition with \u003cspan class=\"caps\"\u003eOBI\u003c\/span\u003e strip\u003c\/li\u003e\n\t\u003cli\u003eIncludes 4 pages of illustrations\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]TJJA-10008-2[[Artist]]Joe Hisaishi","brand":"Tokuma Japan Communications","offers":[{"title":"Nausicaa Of The Valley Of Wind: Image Album \/ Vinyl \/ LP Black","offer_id":43959655137525,"sku":"TJJA-10008","price":42.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/4988008085419.jpg?v=1747851875"},{"product_id":"nausicaa-of-the-valley-of-wind-symphony-version","title":"Nausicaa Of The Valley Of Wind: Symphony Version","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eMasterpieces of ’’Nausicaa’’ reproduced by an orchestra of 50 players. Fully arranged and produced by composer Joe Hisaishi himself. Jacket image is Nausicaa departing for a journey.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eJapanese import\u003c\/li\u003e\n\u003cli\u003e4 pages of illustrations\u003c\/li\u003e\n\u003cli\u003eHouses in double gatefold jacket with \u003cspan class=\"caps\"\u003eOBI\u003c\/span\u003e strip\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]TJJA-10010[[Artist]]Joe Hisaishi\u003c\/p\u003e","brand":"Tokuma Japan Communications","offers":[{"title":"Nausicaa Of The Valley Of Wind: Symphony Version \/ Vinyl \/ LP Black","offer_id":43959655203061,"sku":"TJJA-10010","price":42.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/4988008085617.jpg?v=1748478051"},{"product_id":"cosmic-vortex-justice-divine","title":"Cosmic Vortex (Justice Divine)","description":"[[Release Detail]][[Release Description]]\u003cp\u003eAfter two visionary LPs for his own tiny Nodlew label, Weldon Irvine signed to \u003cspan class=\"caps\"\u003eRCA\u003c\/span\u003e for Cosmic Vortex (Justice Divine), exploring the deeply spiritual and political terrain of his previous efforts on the kind of grand musical scale that major-label funding accommodates. This is a big, bold record by any measure, with a startlingly pronounced focus on lyrics and vocals. At the same time, however, the melodies spread out like tentacles, informed by the improvisational sensibilities of jazz and the deep-groove spirit of funk.           Jason Ankeny\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eRe-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\t\u003cli\u003eRecording Engineer and Mixed By – Jim Crotty\u003c\/li\u003e\n\t\u003cli\u003eProducer, Arranged By, Conductor, Composed By – Weldon J. Irvine, Jr.\u003c\/li\u003e\n\t\u003cli\u003eRecorded in RCA’s Studio ‘D’, New York City, 1974\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]PPAN APL1-0703[[Artist]]Weldon Irvine","brand":"Pure Pleasure","offers":[{"title":"Cosmic Vortex (Justice Divine) \/ Vinyl \/ LP Black","offer_id":43959659725045,"sku":"PPAN APL1-0703","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622841.jpg?v=1755042755"},{"product_id":"night-of-the-living-dead","title":"Night Of the Living Dead","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eWaxwork Records is honored to present the Original Motion Picture Soundtrack to George A. Romero’s horror classic, NIGHT OF THE LIVING DEAD. Written, filmed, and released in 1968 by a rag tag group of Pittsburgh based misfits, NIGHT OF THE LIVING DEAD is an American independent horror film that follows the story of seven people trapped in a rural farmhouse that is besieged by a large and growing group of living dead ghouls. The film is regarded as a cult classic by critics, film scholars, and fans and has garnered critical acclaim. The film has been selected by the Library Of Congress for preservation in the National Film Registry and is deemed “culturally, historically, and aesthetically significant”.\u003c\/p\u003e\n\u003cp\u003eFilmed and released on a shoestring budget, NIGHT OF THE LIVING DEAD became a smashing success earning over 250 times its budget. The film is a first of its kind and ushered in a new way of writing, directing, and filming horror films. The overused script of romantic, fantastical tales of otherworldly monsters and creatures was completely flipped and tossed aside by visionary George A. Romero. As the film’s writer and director, Romero created a new, obvious threat, and one that is universally recognizable - Our very own neighbors. Due to an unseen force beyond man’s control, the recently deceased arise from the dead in seek of living human victims. These ghouls kill and feast upon the flesh of their victims, and the only way of stopping them is by destroying their brains.\u003c\/p\u003e\n\u003cp\u003eFrom 2015 to 2018, Waxwork Records worked closely with the remaining members of the independent production company that made NIGHT OF THE LIVING DEAD, Image Ten, in an effort to produce a definitive soundtrack album featuring all music from the film. Much of the film’s music was thought to be lost or destroyed, but was located in its entirety and faithfully restored and re-mastered for vinyl.\u003c\/p\u003e\n\u003cp\u003eThis special 50th Anniversary Original Motion Picture Soundtrack release of NIGHT OF THE LIVING DEAD features the complete soundtrack for the very first time in any format, 180 gram double LP “Ghoul Green \u0026amp; Blue” hand pour colored vinyl, artwork by Robert Sammelin, a booklet featuring never before seen production photos, liner notes by Daniel Kraus (co-author of THE SHAPE OF WATER with Guillermo Del Toro), liner notes by Night Of The Living Dead’s dialogue recorder and sound engineer, Gary Streiner, and deluxe packaging.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eThe Complete Soundtrack Available For The Very First Time\u003c\/li\u003e\n\u003cli\u003e180 Gram 2xLP “Ghoul Green \u0026amp; Blue” Hand Pour Colored Vinyl\u003c\/li\u003e\n\u003cli\u003eArtwork By Robert Sammelin\u003c\/li\u003e\n\u003cli\u003e11” x 11” Booklet Featuring Never Before Seen Production Photos\u003c\/li\u003e\n\u003cli\u003eLiner Notes By Daniel Kraus and Gary Streiner\u003c\/li\u003e\n\u003cli\u003eDeluxe Packaging\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]WW050[[Artist]]Various Artists\u003c\/p\u003e","brand":"Waxwork","offers":[{"title":"Night of the Living Dead \/ Album \/ 2LP \"Ghoul\" Green and Blue Handpour","offer_id":47475665731829,"sku":"WW050-HP","price":40.0,"currency_code":"USD","in_stock":true},{"title":"Night of the Living Dead \/ Album \/ 2LP Color","offer_id":43959660347637,"sku":"WW050","price":40.0,"currency_code":"USD","in_stock":true},{"title":"Night of the Living Dead \/ Album \/ 2LP Green Swirl (LITA Exclusive Variant)","offer_id":45803265556725,"sku":"WW050-LITA","price":38.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1541193804778-dpjix2tw7rg-774c3c4273d38ae04a55b0daa4628807_2FNOTLD_Cover_web.jpg?v=1690525524"},{"product_id":"beverly-hills-cop","title":"Beverly Hills Cop","description":"[[Release Detail]][[Release Description]]\u003cp\u003eEnjoy The Ride Records, in conjunction with Paramount Pictures is proud to present the score to Beverly Hills Cop, available for the first time on vinyl. Composed by Grammy Award winner Harold Faltermeyer (Top Gun, Fletch, Midnight Express), the 80’s synth-pop sound is nostalgic and iconic. The protege of musical mastermind Giorgio Moroder got to show the world what he could do with this infectious compositions and fan favorite, “Axel F,” which is strewn throughout various tracks of the score. Fun fact: Faltermeyer refers to Axel F as the “banana theme,” as it was originally written for the scene where Axel Foley gives a pair of Beverly Hills police officers the slip by shoving bananas up their exhaust pipe, causing their car to stall when they try and tail him.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003e1986 Grammy award winning score\u003c\/li\u003e\n\t\u003cli\u003e140 gram Limited Edition Vinyl (500 copies)\u003c\/li\u003e\n\t\u003cli\u003ePressed on Cop Car Light Swirl Vinyl (Red, White \u0026amp; Blue)\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]ETR084[[Artist]]Harold Faltermeyer","brand":"Enjoy The Ride","offers":[{"title":"Beverly Hills Cop \/ Vinyl \/ LP Cop Car Light Swirl","offer_id":43959660577013,"sku":"ETR084-SWIRL","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Beverly Hills Cop \/ Vinyl \/ LP Color","offer_id":43959660544245,"sku":"ETR084","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/843563161999.jpg?v=1760393144"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/collections\/sale_header.png?v=1786733952","url":"https:\/\/lightintheattic.net\/collections\/summer-sale.oembed?page=2","provider":"Light in the Attic","version":"1.0","type":"link"}