1960s Vinyl LP 168 Items

Bobby Darin's Atco albums, original copies of which were pressed with yellow 'harp' labels, are collector's items today. He remained with the Label until switching to Capitol in 1962, by which time he had released no fewer than 13 long-players including 'At The Copa', 'Two Of A Kind' (with Johnny Mercer), the dance themed 'Twist With Bobby Darin' and 'Bobby Darin Sings Ray Charles'. This compilation picks the best from those albums. Enjoy the fabulous musical fruits of the multi-talented Bobby Darin.

Few debut singles have made such an impact, or left such a mark, as the Zombies’ 1964 She’s Not There. Hard to believe that the group had only been together a year when they came to record this timeless classic. Long after its release, many fans believe the Zombies’ album recorded at Abbey Road worthy of comparison to Sgt. Pepper… Released in April 1968, Odessey & Oracle was largely ignored on its release – though today original copies sell for £500. Odessey & Oracle is widely hailed as one of the key albums of the late 60s - and was ranked No.80 in the Rolling Stone poll for the Greatest Albums Of All Time.

Originally released in February 1973 on the ABC Dunhill Record label, in the US, and on the UK Philips label in May 1973, Cameo is one of Dusty’s most overlooked albums, featuring some of her greatest vocal performances of the era on material written by major songwriters including David Gates, Ashford & Simpson and Van Morrison. Classic Dusty LP, unavailable on vinyl since 1973! For its 50th anniversary, a special edition replicating the original US gatefold edition with enhanced artwork. Pressed on heavyweight Blue vinyl.

Record Store Day 2021 Release.
Limitation: 1500 copies.

This exclusive vinyl release is taken from the recently released Deluxe Edition of The Selecter’s‘Too Much Pressure’ debut album.This previously unreleased concert was part of the original 2Tone Tour and has been newly mixed from the original tapes.This version is pressed on clear vinyl.

“‘Please Stay’, by The Cryin’ Shames, was the last song by producer Joe Meek to enter the UK Top 40, peaking at No. 26. Released on 18 February 1966, the song should have reached the top, but its progress was held back by the fact that the Decca record label had not pressed enough copies to meet demand. The collaboration should have been long and successful for both of them, but the Cryin’ Shames story is cursed with bad luck and, sadly, within a year of the success of ‘Please Stay’ the band broke up and Joe Meek died. This compilation brings together a first part of the material collected by Cherry Red on the double CD ‘The Tea Chest Tapes’ . The group began as The Bumblies, formed in Liverpool in 1963 by bassist George Robinson and singer Joey Kneen who had previously been in a band called The Calderstones, that included Tom Evans, who later went on to form the group Badfinger. The Bumblies’ name was taken from a television series of the same name featuring Michael Bentine. The rest of the line-up included Charlie Crane (vocals, harmonica), John Bennett (guitar), Phil Roberts (keyboards) and Charlie Gallagher (drums). Charlie Crane would be known in addition as ‘Carl’ or ‘Paul’ to avoid confusion with the other Charlie in the group. Joe Meek didn’t like the band’s choice of name so they changed it to The Cryin’ Shames. Ritchie Routledge replaced Bennett (guitar) after the recording of their debut single ‘Please Stay’. Derek Cleary (bass/guitar) replaced Robinson in time to play on their second single ‘Nobody Waved Goodbye’. After the original Cryin’ Shames fell apart, Routledge and Crane formed a group known as Paul And Ritchie And The Crying Shames with new members Brian Norris (bass), Mike Espie (guitar), Pete Byrne (organ) and Paul Commerford (drums). They released one single, ‘September In The Rain’. The group (as The Bumblies) auditioned for Joe Meek in late October or early November 1965 - the exact date cannot be ascertained because Meek’s tapes contain very little information, and only one or two of the more than seven hundred tapes actually bear a recording date...” (liner notes extracted from the Cherry Red’s booklet made by Mr. Craig Newton)

The movie directed by Baz Luhrmann is just out, so why don’t you pick up on this ? Included on this set are Elvis’ greatest hits from the period 1955-62, among them all of his King singles that reached number one on the U.S. pop charts between 1956 and 1962. Among other smash hits, this release includes both sides of the single “Hound Dog”/“Don’t Be Cruel” (the most successful Elvis single release, with 11 weeks on the charts), Elvis’ second RCA single, “I Want You, I Need You, I Love You,” and the classic rocker “Heartbreak Hotel” (which peaked at number one and remained on the charts for eight weeks after extensive television exposure following its release).

The punk rock treat that tricked its way into the heart of punk rock fans everywhere in 2017 returns with a brand new volume of Halloween-themed songs recorded by modern and legacy bands! Features brand new studio recordings by legendary punk bands such as The Vandals, Down By Law, The Casualties, Reagan Youth, The Members, The Vibrators, MDC, Tsunami Bomb, The Queers and lots more! Get the FUN SIZE version on Halloween ORANGE colored vinyl!

Comprising soaring big beat ballads, the occasional guitar-driven nugget and other feminine pop gems of the stylish Italian variety, this much-anticipated follow-up to “Ciao Bella!” (one of Ace Records’ best sellers of 2015) offers further proof that there is musical life beyond the shores of English-speaking countries.

“Bellissima! More 1960s She-Pop From Italy” comprises an equal mix of superstars and obscure artists, performing songs of both Italian and overseas origin. Living legend Mina sings ‘Cartoline’, one of several numbers custom-composed by maestro Bruno Canfora to show off her fantastic vocal technique, and her arch rival Milva delivers the stomping ‘Tamburino, Ciao…’, another top-tier Italian original, while highlights of the selections by lesser-known vocalists include ‘È Proprio Inutile’ by Meri Marabini and ‘Il Beat... Cos’è?’ by La Ragazza 77, groovy covers of the Hollies’ ‘You Know He Did’ and Sonny & Cher’s ‘The Beat Goes On’ respectively.

The 12-track Colored Vinyl LP format opens with Brunetta’s prized dancefloor-filler ‘Baluba Shake’ and closes with ‘Pà Diglielo A Mà’, a dramatic ballad by big-voiced Nada. The prolific Mina - queen bee of Italy’s female singers - gets two tracks: folk rock nugget ‘No’ and ‘Se Telefonando’, a sophisto-pop epic courtesy of maestro Ennio Morricone.

Other highlights include the sitar-embellished ‘Il Mio Posto Qual’È’ by Ornella Vanoni, a convincing cover of ‘Baby Please Don’t Go’ by beat girl Caterina Caselli, the pounding ‘Il Geghegè’ by petite dynamo Rita Pavone and breathy-voiced actress Catherine Spaak’s bossa-imbued ‘La Notte È Fatta Per Rubare’.

Definitive reissue of Nancy’s debut album Includes the bonus tracks, “The City Never Sleeps At Night” and the previously unreleased “For Some”. Newly remastered from the original analog tapes by GRAMMY®–nominated engineer John Baldwin. Vinyl pressed at RTI Q&A with Nancy and GRAMMY®–nominated reissue co-producer Hunter Lea. Never–before–seen photos from Nancy’s personal archive Beautifully packaged and expanded gatefold LP featuring a 20–page booklet.

“Dumb stuff, as Lee used to call it. Dumb doesn’t mean stupid. It means human and understandable. It was the sound of three guitars, drums, and bass. It was simple, very, very simple. I can still see the room, the studio. With Carol Kaye, Glen Campbell, Donnie Owens… I can still see them all sitting there and chunking away. I guess simple was the best way to explain it, uncomplicated.” – Nancy Sinatra

The 1966 debut million-selling debut LP, introduced the sassy, blonde, go-go booted icon. Built around her Lee Hazlewood-penned hits, “These Boots Are Made for Walkin’” and “So Long, Babe,” the folk-rock era milestone album features songs by The Beatles, The Rolling Stones, Bob Dylan, Hazlewood and more. The catchy and jangly pop hooks performed by the famed Los Angeles session musicians, The Wrecking Crew and Billy Strange’s innovative arrangements provided the perfect sound to help Nancy capture the attention of the world. The new reissue includes two bonus tracks recorded during the album sessions, the non-album b-side “The City Never Sleeps At Night” and the previously unreleased “For Some.”

Definitive reissue of Nancy’s debut album Includes the bonus tracks, “The City Never Sleeps At Night” and the previously unreleased “For Some” Newly remastered from the original analog tapes by GRAMMY®–nominated engineer John Baldwin Vinyl pressed at RTI Q&A with Nancy and GRAMMY®–nominated reissue co-producer Hunter Lea Never–before–seen photos from Nancy’s personal archive Beautifully packaged and expanded gatefold LP featuring a 20–page booklet CD housed in a digipak and featuring a 28-page booklet Release to be supported by worldwide press campaign in cooperation with Nancy Sinatra “Dumb stuff, as Lee used to call it. Dumb doesn’t mean stupid. It means human and understandable. It was the sound of three guitars, drums, and bass. It was simple, very, very simple. I can still see the room, the studio. With Carol Kaye, Glen Campbell, Donnie Owens… I can still see them all sitting there and chunking away. I guess simple was the best way to explain it, uncomplicated.” – Nancy Sinatra

Light in the Attic is proud to present the next installment of the Nancy Sinatra Archival Series with a deluxe reissue of Nancy’s first album, Boots.

The 1966 debut million-selling debut LP, introduced the sassy, blonde, go-go booted icon. Built around her Lee Hazlewood-penned hits, “These Boots Are Made for Walkin’” and “So Long, Babe,” the folk-rock era milestone album features songs by The Beatles, The Rolling Stones, Bob Dylan, Hazlewood and more. The catchy and jangly pop hooks performed by the famed Los Angeles session musicians, The Wrecking Crew and Billy Strange’s innovative arrangements provided the perfect sound to help Nancy capture the attention of the world. The new reissue includes two bonus tracks recorded during the album sessions, the non-album b-side “The City Never Sleeps At Night” and the previously unreleased “For Some.”

Remastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin, the reissue is complemented by a new Q&A interview with Nancy and GRAMMY®-nominated reissue co-producer Hunter Lea.

The CD edition is housed in a digipak and features a 28-page booklet, while each vinyl set is presented in an expanded gatefold jacket (featuring a 20-page booklet), with special color editions available exclusively at NancySinatra.com, LightInTheAttic.net, and independent record stores.

In that enticing, enthralling school of 1960s “girls with guitars”, Goldie & the Gingerbreads are top of the class. Self-contained and accomplished as instrumentalists, with an eminently soulful vocal prowess, the Gingerbreads remain true pioneers of women in rock’n’roll, and with a fascinating history to boot.

Born in the discotheques of Gotham, Goldie & the Gingerbreads were a popular club act with a handful of recordings under their belt when an admiring Animals caught them on a NYC visit in late 1964. “Imported” into the UK, the group scored a hit with ‘Can’t You Hear My Heartbeat’ and went on to tour with the Rolling Stones, Kinks and others, as well as maintaining a high visibility in the UK on their own. They made several more worthy if unsuccessful discs with producer Shel Talmy before splitting in 1967.

“Thinking About The Good Times” is the first-ever Goldie & the Gingerbreads collection, and it’s a fine testament to their undoubted abilities. Gathering together their sessions for Scepter, Decca and Atlantic, the versatility of the group is quite apparent on tracks that range from chunky beat and R&B (‘Look For Me Baby’, ‘Think About The Good Times’) through dramatic soul balladry (‘That’s Why I Love You’, ‘Little Boy’) to classic girl group sounds (‘Sailor Boy’, ‘Something Beautiful’).

Experience the hip sounds of 1960s France with “Toujours Chic!”, the latest in our series of groovy Gallic girl-pop. The collection is available on 24-track CD and 12-track LP formats.

Star of the show is series debutante Laura Ulmer, who graces the cover of the CD version and contributes three pure pop tracks in the France Gall mode. Fabienne, Zouzou, Charlotte Walters, Stone, are all also new to the series.
This LP version, features a gorgeous cover photo of Françoise Hardy, is pressed on 180g lavender vinyl and comes with a fully illustrated inner bag.

“If you know the 1968 Eurovision song, or the TV kids cartoons tunes which Claude Lombard sang, it will be hard to believe what's happening there...Beautiful pop songs sung in French by this Belgian maverick (who worked with Luciano Berio) swirling upon wonderful 60's abstract-expressionism orchestrations: chimes and ondes Martenots among lovely dream bass lines and organ drifting, with dreamy use of echoes, reverbs and sometimes electronics.
There are incredibly beautiful songs here, and probably one of the unique example of French songs with really gorgeous, untypical sound work, closer to some UK and US proto-psychedelic orchestration in pop world. It was by the time a complete commercial flop… A shame of course considering the quality of compositions offered here by Claude Lombard herself, who have no shame to feel if one compare the elegance of her work to an inspired and electronic version of Michel Legrand...
Any serious fan of Broadcast or Stereolab will fall in love forever with this true secret gem, to say the least...And no need to mention the kaleidoscopic design of the cover, mesmerizing and perfectly illustrating the content. Masterpiece here? Hell yes! And you can forget about the cartoon tunes of your lazy childhood...” - Emmanuel Holterbach

The Voice of Scott McKenzie is the debut album by Scott McKenzie, released in 1967. The timeless "San Francisco" is the featuring track on the collection but listen to what Scott does with John Phillips' "Twelve-Thirty", which went on to be a hit record for Phillips' own group, "The Mamas And Papas". McKenzie's rendition of Donovan's "Celeste" has a languid beauty, while Tim Hardin's "Reason to Believe" is one of the best received by the song.

Record Store Day 2021 Release.

This seventh volume of the ‘Psyché France’ collection is a new tribute to the mavericks and lost heroes of the 1960’s and 70’s French music scene. In this collection – featuring 12 tracks – you will discover a few curiosities such as ‘’Les scandales’ by Gilbert Deflez, ‘Vole, Vole, vole’ by the band Présence, ‘Si je vendais du soleil’ by Quo Vadis, ‘Le pays où l’on vit d’amour’ by Punch and also some Pop gems sung for instance by Richard Contell (‘Donne’) or Edwige (‘Je suis juillet’).

If you went down the wrong alleyway, took a shortcut through the park or crossed the wrong open space after dark in the UK in the 1970s, you stood a fair chance of being accosted by someone with a big mouth, low morals and some gurning mates to impress, usually reeking of fags and cheap booze and always ready to put the boot in. And, before you could say, “sickening violence”, a short but chaotic scuffle would ensue and a winner eventually emerge, battle scarred and bruised. The boot boy was the worst kind of hooligan. There wasn’t anything you could do or say to appease him. You had the same chance as a fly caught up in a spider’s web. Zero. Your best bet was to run. His intent was always to give you, and vicariously the rest of the world, a good kicking. Thugs, long-haired louts, short-haired louts; the anti-hippy. Birds, booze, bovver and football on their criminal minds. So fasten your braces for a white knuckle-duster ride. 14 bovver rock bruisers for all of you peace-loving losers. Somebody’s going to get their head kicked in tonight... Put the boot in.

For the first time ever on vinyl here are four original Lennon/McCartney compositions which not many people have heard before. All the performaces here were recorded during the January 1969 sessions and were concidered not good enough for the 'Let It Be' and the 'Abbey Road' albums. 1st generation tapes. The first track which spreads all over side 1 is a fine example of how the Beatles could work together, exploring new ideas as this Lennon original devolpes into a jam session around the line of 'I told you before, get out of my door'. In the middle of this track you can hear John discussing accord changes with George while Paul sings this line as a rugh guide. Ringo is in his best form here, you've never heard him using sticks before like that! It's imortant to indicate that this song is NOT 'I found Out' from Lennon's Plastic Ono Band" album of 1970. The opener of side 2, is a also a Lennon track, the longest version ever to appear, a track that could do well along 'Mean Mr. Mustared' and such. Closing the album are two long McCartney Tracks. Fast rockers in the 'Helter Skelter'/I'm Down' tradition. The last one could not appear on any Beatles album as the Feminist Mafia would ban it!

The teen girl falling in love with greasy biker melodrama that set The Shangri-Las on the scene was beaten to the core when English high society child Lynn Ripley -better known as Twinkle- took it to the next level on her own composition "Terry". Penned at the tender age of sixteen, Twinkle's lyrics were found so twisted and bad tasty that the song got the honour of being banned at the BBC thirteen years before the Sex Pistols ran the same luck with "God Save The Queen." A ban that, as you would have guessed, instead of hiding the song from the era's teenage record hunters made it even more coveted. Thus "Terry", Twinkle's first 45 issued on Decca in October 1964, became an instant top 5 hit in the UK and was released successfully worldwide as well as covered by many bands (like Claude François French version or Los Extraños cover sung in Spanish).

During the 1920's the group hit on a format that provided a winner, each of them imitating a musical instrument: John Jr. vocally provided the sound of a Bass Trumpet; Herbert delivered the sound of Sax, Trombone and Trumpet; Harry mimicked Trumpet and sang Baritone; while Donald sang lead vocals when required, leaving Guitarist John Jr. to donate the only actual instrument sounds heard on their recordings. The brothers were signed to the U.S. Brunswick label following a recommendation from none other than Duke Ellington.

Ace Records has been the go-to source of 1960s girl group compilations since the release of our “Where The Girls Are”, “Girls About Town” and “Stop, Look & Listen” vinyl albums back in the 1980s. The 10-volume “Where The Girls Are” CD series followed over the next 30 years or so, along with a number of standalone CD collections. These days, however, the 12-inch long-player is back as the format of choice for discerning collectors.

“Look But Don’t Touch!”, the fourth in our current series of gorgeously packaged vinyl girl group compilations, drops this month. The album opens with the discotheque-friendly ‘Hey, Rocky’ by front cover stars the Shirelles of New Jersey, the USA’s most successful girl group until the Supremes broke through and stole their thunder, and closes with the Bermudas’ ‘Chu Sen Ling’, a record sure to appeal to those who favour the ethereal West Coast sound.

Other highlights include the Hollywood Chicks’ dance craze disc ‘Tossin’ A Ice Cube’ (sic), which marks the recording debut of Barry White (on handclaps); great tracks by the Witches, the Pussycats and Linda Laurie from the catalogue of genius songwriter/producer Bert Berns; Mayalta Page’s densely produced rarity ‘Don’t Worry About Me Baby (I Feel Just Fine)’; and, and for the girl group buff who has everything, ‘He Calls Me Child’ by Ohio duo the 2 Of Clubs and ‘A Dumb Song’ by the soulful Delicates, both of which are previously unreleased.

2022 repress includes an insert and a poster.

For those who prefer to own their music on vinyl, here is an eclectic and gorgeously packaged selection of American girl group artefacts from the 60s.

The album opens with ‘Whirlwind’ by producer Gary Paxton protégées the Rev-Lons, the trio’s final recording but also their best, and closes with ‘He’s All Right With Me’ by the Mirettes ( the Ikettes incognito). Other highlights include the Supremes-style ‘Cupid’s Got A Hold On Me’ by the Belles; the Sweethearts’ recording of ‘Beauty Is Just Skin Deep’, a song originally intended for the Ikettes; and ‘Summertime Is Surfin’ Time’ by the Surf Bunnies – three more terrific instances of the West Coast girl group sound. But not all the tracks here emanate from that part of the USA – viz ‘Mr Everything’ by New York-based Little Eva Harris and little-heard examples from the Pets, Tren-Teens and Lovettes, all from New Jersey.

Felice Taylor – here with her unissued-at-the-time ‘Sing Me A Love Song’ – graces the eye-popping jacket, which houses a colourful inner sleeve featuring a 3,000-word track commentary and an array of illustrations. Compilation and notes by Mick Patrick.

The Beach Boys are one of the most critically acclaimed and commercially successful bands of all time, selling over 100 million records worldwide. Touring their 1980 release ‘ Keepin ’ the Summer Alive’, the band was in top shape, playing a long list of classics with new material sprinkled in. And boy oh boy, do they have a load of hits: ‘Wouldn't It Be Nice’, ‘ Surfin ' U.S.A.’, ‘Good Vibrations’, ‘God Only Knows’, are not even half of the hits on this record.

...This compilation gathers some of The Springfield’s greatest hits, along with lesser-known, but equally important number, ranging from their version of the Zulu classic “Wimoweh Mambo,” the Israeli settler song “Tzena, Tzena, Tzena” (previously a hit for The Weavers), their take of the hobo anthem “Greenback Dollar” (a hit for The Kingston Trio), and the tale of a thief inspired by romance, “Allentown Jail,” which had been a hit for Jo Stafford a decade before. This is the sound of Dusty Springfield in a folk group setting, on the cusp of greater success.

"Formed in 1961 when Dennis Wilson, the only Beach Boy to regularly visit the beach, asked his brother Brian to write a song about the sport of surfing. The Beach Boys reached number 75 in national charts with their first single (the resultant song 'Surfin'') and were immediately signed to a major label. Though many debut albums in the early '60s were mainly built around a few smash-hits, the Beach Boys' 1962 full length debut on Capitol (featuring such hits as 'Surfin' Safari,' '409' and their version of the Eddie Cochran classic 'Summertime Blues') remains one of the greatest first steps in American pop culture, and a mandatory chapter in the history of rock and roll."

Includes four bonus tracks.