Folk Vinyl Sale 257 Items

Recorded live at Sociedade Esportiva Palmeiras and Sport Club Corinthians Paulista in 1983. First time on vinyl!

Two of Sweden's most interesting artists collaborate on this brand-new version of "Mellan slagen" from Dina Ögon's celebrated album "Oas". The song - which was originally inspired by glaciers and fjords lit up with neon lights and permeated with a smokey club feel - weaves together Broder John's nasal, soft flow with the slow, almost ghostly groove which brings to mind the 90s Bristol trip hop scene. Broder John has made quite a name for himself as a force to be reckoned with on the Swedish music scene. This Umeå-bred artist has contributed to shaping the music of today and leading the way for a new generation of artists. Following his debut album "Cool" and the sophomore album "drift", he was picked as the first-ever artist singing in Swedish to perform on the international platform Colorsxstudios. Broder John says, "Dina Ögon is the best thing to have happened to Sweden in the last 10 years and 'Oas' is an instant classic. I don't think I've ever been as quick to accept an invitation as I was when this one came in." Broder John on the new lyrics: "If you've listened to my previous lyrics, you can see that I'm often drawn to writing about different contradictions in life. I'm very inspired by Anna's lyrical writing, and I heard her words in the chorus "finns inga krav" ["there are no requirements"] and I wanted to explore if there was something I could take from that into my world. I've had this idea for quite a long time about the scenario in which someone says that "everyone is lying" and what that means for the person saying it - are they lying too in that case? So, in combination with Anna's world and the incredible production, it felt like a perfect painting to continue painting. I think the last sentence ties it together nicely, "Kan inte lita på nån här, det är sjukt, så tro mig när jag säger att det är sant - alla ljuger" ["Can't trust anyone here, it's insane, so believe me when I say that it's true - everyone is lying"]. Dina Ögon on the collaboration: "Broder John is one of the best ones we have, we like that stuff, please listen!"

Back in 2011 when I was tentatively looking for a second release for my fledging record label Clay Pipe Music, I stumbled upon a mysterious MySpace page by a group called ‘Tyneham House’, the page was decorated with artwork by Rena Gardiner (who was unknown to me at that time) and the music was an otherworldly mix of field recordings, Mellotron and acoustic guitar. It turned out that Tyneham was promised to Glen Johnson’s Second Language label, so I offered to do the artwork, and in January 2012 the two labels co-released it on tape and CD in a cardboard box with a handmade booklet of my illustrations.

In 2016 Clay Pipe reissued it on 10” vinyl, in an edition of just 300, which has since become sort after. The new 2023 pressing is on blue and transparent marbled vinyl, with a reverse board cover and inner sleeve, and the booklet of illustrations has been given a complete redesign. Frances Castle 2023

The pastoral, wistful yet ineffably disquieting music of Tyneham House is made by artists who wish to remain anonymous here, save for their eponymous title. The musicians are happy, however, to let it be known that these recordings have been around for some years (many of them complied from old cassettes) and that they take inspiration from the 1960s/’70s/’80s work of the Children’s Film Foundation – a body who really ought to have made a film about this mysterious West Country curio. At least now we have its endlessly poignant soundtrack.

The small village of Tyneham, on the beautiful Isle of Purbeck, in Dorset, was once a thriving little community – that is until the British Government requisitioned it for training manoeuvres and other ‘strategic purposes’ in the run up to Wwii. This was supposed to be a temporary measure, but the area remained in military possession long after hostilities had ceased, causing distress among former inhabitants, many of whom were farmed out to prefabs in nearby Wareham and Swanage.

Tyneham was characterised by its red telephone box, a tiny parade of shops – Post Office Row – and a grand country pile which stood about half a mile away from the village: Tyneham House. The army removed the building’s oak panelling and ornate decorative details and promptly set about using it for target practice. So great was the shame expressed locally about the damage inflicted upon one of Dorset’s grandest houses that the powers that be decided to grow a copse around the remains of the structure to give the impression that it was no longer there. Despite this, a substantial part of the structure remains intact, including its Saxon hall.

Land access around Tyneham was opened up in the 1970s, but admission to the house remains strictly verboten. Those who’ve been found around the premises, especially anyone wielding a camera, have felt the full weight of military trespass law. Tyneham today is regarded as a nature reserve by some – as a national embarrassment by others. It’s still a political hot potato, in Dorset at least.

Sandy Bull’s unorthodox approach to guitar was as unique as his personal circumstances. Son of jazz harpist Daphne Hellman and brother to the sitarist Daisy Paradis, Bull became part of the bourgeoning Greenwich Village folk circuit. A move to San Francisco in 1963 found him sharing an apartment with Nubian oud master, Hamza El Din, which had a profound effect on his playing, spurring early world music experiments. The previously unreleased Live In San Francisco features bluesy electric ‘Memphis, Tennessee’ and ‘Instrumental Blues,’ plus the abstract ‘Untitled Instrumental’ and ‘Solo Experimental,’ all classic morsels of Bull wizardry.

Four new tracks from Philadelphia's Eyes of the Amaryllis recorded in 2021-2022. Following up their debut album Sift released on Horn of Plenty in 2022, the group continues in the same path with their intimate, earthly and very much homespun music. The sublime title track almost resembles a folky Dadamah while some of the other songs are somewhat looser compositions. Eyes of the Amaryllis consists of Goda Trakumaite, Esther Scanlund, Jesse Dewlow and Jim Strong. 45rpm, mastered by Lasse Marhaug. Edition of 200 copies.

* LP available on Standard Black Wax plus Special Limited Color Editions
* First ever reissue of Nancy & Lee’s 1972 classic
* Includes bonus tracks “Machine Gun Kelly” and the previously unreleased “Think I’m Coming Down”
* Newly remastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin
* Vinyl pressed at RTI
* Beautifully packaged and expanded gatefold LP featuring a 20-page booklet
* Q&A with Nancy & GRAMMY®-nominated reissue co-producer Hunter Lea
* Never-before-seen photos from Nancy Sinatra’s personal archive
* CD housed in a digipak and featuring a 28-page booklet
* 8-track also available
* Actual LP pressing color may differ from mock-up image

Light in the Attic Records is proud to present the next installment of the _Nancy Sinatra Archival Series_ with the first ever reissue of the classic 1972 album _Nancy & Lee Again_. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair’s most enduring and ambitious duets including the epic ”Arkansas Coal (Suite),” the sensual “Paris Summer” and the incredibly powerful Dolly Parton-penned “Down From Dover.” Equal parts daring, psychedelic, cinematic, and sweet, _Nancy & Lee Again_ reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come.

_Nancy & Lee Again_ is available in a variety of formats, including vinyl, CD, 8-track, and digital. The vinyl LP, pressed at Record Technology, Inc. (rti), is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist’s personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissue’s Grammyâ®-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, “Machine Gun Kelly” (first time on vinyl) and the previously unreleased “Think I’m Coming Down.”

In addition to the black vinyl pressing, a selection of colorful variants can be found exclusively at NancySinatra.com, LightInTheAttic.net, independent record stores and select online retailers.

A limited-edition merchandise capsule, including a custom chain stitched denim jacket, embroidered pillow, canvas tote and apparel collaboration with LA-based Midnight Rider will accompany the release at Nancy’s Bootique at *NancySinatra.com*.

Nancy’s impact on fashion, music, and culture will also be celebrated at Modernism Week in Palm Springs this February with three events, including a roundtable discussion featuring Kii Arens (Visual Artist), Alison Martino (Vintage Los Angeles), Hunter Lea (Record Producer), Don Randi (The Wrecking Crew), and Amanda Erlinger (daughter of Nancy Sinatra, and co-author of the book _Nancy Sinatra: One For Your Dreams_), a double decker bus tour featuring audio commentary from Nancy at notable locations, and a Nancy Sinatra Tribute street party on Arenas to close out the week’s festivities.

*more About _nancy & LEE AGAIN_:*

The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s _Nancy & Lee Again_, a follow-up to their bestselling duet debut, _Nancy & Lee_. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, _Cowboy in Sweden_. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout _Nancy & Lee Again_, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on _Nancy & Lee Again_ is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”

The song “Friendship Train” could also be interpreted as an apology of sorts – this time to Nancy. “You've been hurt and I've been hurt/Now we're living pain,” the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. “I felt pretty betrayed. I mean, who does that? Who just up and disappears like that? I’ll never understand it,” she reveals. But the uplifting duet – a slice of ‘70s pop perfection – offers reaffirming words of love between friends. “[Lee] felt things very deeply and tended to express his feelings in song instead of in real life,” explains Nancy.

The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.

This definitive reissue of _Nancy & Lee Again_ also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of [Lee’s] drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.

_Nancy & Lee Again_ remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, _Record World_, and _Cash Box_, among others. Yet, _Nancy & Lee Again_ never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the Grammy⮠Hall of Fame. That same year, Sinatra partnered with Light in the Attic for *Nancy Sinatra: Start Walkin’ 1965-1976*, a definitive survey of her most prolific period. Lita has also reissued Sinatra’s classic debut, *Boots*, and her iconic, 1968 album with Lee Hazlewood, *Nancy & Lee*. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

Record Store Day 2023 exclusive release on Gold or Black vinyl (Randomly Inserted). From the makers of 'Hillbillies In Hell'...

Full Throated, Big Chested Country, Hollyweird Pop and Velveteen Popcorn for the working stiffs. Best known as one of the original Godfathers of '50s Rockabilly, Dorsey Burnette had a fascinating 1960s solo pivot to epic, widescreen vistas of Existential Incarcerations, Serpentine Temptations, Cold War Escapees, Luciferian Combats, Eco-Armageddons and Creationist Heavens. Blessed with a bold set of tonsils and a song-writing genius, Burnette is largely forgotten today but his hits (and misses) offer a brash landscape of Spiritual-Crooner Belters and Hillbilly Backwoods Swelters. Lusty, loud and proud, this set examines unheard and underrated sides cut for various mid-'60s labels as Burnette sought a home for his unique Hillbilly Popcorn Pop. Antediluvian Survivalism and Biblical Environmentalism, Ancient Traditionalism and Passionate Hedonism. The best of Dorsey Burnette's 1960s sides stand alone as Wry Depression-Era Fables, Swinging Tower of Babel Ballads, Devilish Tribulations and Forceful Masculine Declarations.

Eons in the making – ‘Hard Working Man' captures and chronicles the stellar output of a prodigious wordsmith and eccentric, arcane thinker. Fundamental Questions and Timeless Revelations, Dorsey Burnette channelled Eternal Wisdom through Blood, Sweat and Big Beat Ballads.

Many of these sides are impossibly rare and are reissued here for the very first time. All for your primal listening pleasure.

*Limited Edition Deluxe Gatefold LP with exclusive scholarly liner notes by Alvin Lucia! *Full dynamic range 2023 remasters direct from the first generation analogue master tapes! *Limited Edition 500 LPs – 250 ‘Sugar Mountain’ Gold LPs! / 250 ‘Restless Rollin’ Black LPs! (randomly inserted)

Limited edition of 11750 copies worldwide. RSD first release.
Single-sided 12" EP featuring two new originals from RSD US Ambassadors Jason Isbell & Amanda Shires, a reimagined version of "Tour of Duty" from the Jason Isbell and The 400 Unit album Here We Rest, and a cover of Richard Thompson's "Beeswing". Side B holds a stunning vinyl etching designed by Pearl Rachinsky-Moreland.

* LP available on Standard Black Wax plus Special Limited Color Editions
* First ever reissue of Nancy & Lee’s 1972 classic
* Includes bonus tracks “Machine Gun Kelly” and the previously unreleased “Think I’m Coming Down”
* Newly remastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin
* Vinyl pressed at RTI
* Beautifully packaged and expanded gatefold LP featuring a 20-page booklet
* Q&A with Nancy & GRAMMY®-nominated reissue co-producer Hunter Lea
* Never-before-seen photos from Nancy Sinatra’s personal archive
* CD housed in a digipak and featuring a 28-page booklet
* 8-track also available
* Actual LP pressing color may differ from mock-up image

Light in the Attic Records is proud to present the next installment of the _Nancy Sinatra Archival Series_ with the first ever reissue of the classic 1972 album _Nancy & Lee Again_. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair’s most enduring and ambitious duets including the epic ”Arkansas Coal (Suite),” the sensual “Paris Summer” and the incredibly powerful Dolly Parton-penned “Down From Dover.” Equal parts daring, psychedelic, cinematic, and sweet, _Nancy & Lee Again_ reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come.

_Nancy & Lee Again_ is available in a variety of formats, including vinyl, CD, 8-track, and digital. The vinyl LP, pressed at Record Technology, Inc. (rti), is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist’s personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissue’s Grammyâ®-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, “Machine Gun Kelly” (first time on vinyl) and the previously unreleased “Think I’m Coming Down.”

In addition to the black vinyl pressing, a selection of colorful variants can be found exclusively at NancySinatra.com, LightInTheAttic.net, independent record stores and select online retailers.

A limited-edition merchandise capsule, including a custom chain stitched denim jacket, embroidered pillow, canvas tote and apparel collaboration with LA-based Midnight Rider will accompany the release at Nancy’s Bootique at *NancySinatra.com*.

Nancy’s impact on fashion, music, and culture will also be celebrated at Modernism Week in Palm Springs this February with three events, including a roundtable discussion featuring Kii Arens (Visual Artist), Alison Martino (Vintage Los Angeles), Hunter Lea (Record Producer), Don Randi (The Wrecking Crew), and Amanda Erlinger (daughter of Nancy Sinatra, and co-author of the book _Nancy Sinatra: One For Your Dreams_), a double decker bus tour featuring audio commentary from Nancy at notable locations, and a Nancy Sinatra Tribute street party on Arenas to close out the week’s festivities.

*more About _nancy & LEE AGAIN_:*

The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s _Nancy & Lee Again_, a follow-up to their bestselling duet debut, _Nancy & Lee_. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, _Cowboy in Sweden_. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout _Nancy & Lee Again_, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on _Nancy & Lee Again_ is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”

The song “Friendship Train” could also be interpreted as an apology of sorts – this time to Nancy. “You've been hurt and I've been hurt/Now we're living pain,” the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. “I felt pretty betrayed. I mean, who does that? Who just up and disappears like that? I’ll never understand it,” she reveals. But the uplifting duet – a slice of ‘70s pop perfection – offers reaffirming words of love between friends. “[Lee] felt things very deeply and tended to express his feelings in song instead of in real life,” explains Nancy.

The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.

This definitive reissue of _Nancy & Lee Again_ also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of [Lee’s] drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.

_Nancy & Lee Again_ remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, _Record World_, and _Cash Box_, among others. Yet, _Nancy & Lee Again_ never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the Grammy⮠Hall of Fame. That same year, Sinatra partnered with Light in the Attic for *Nancy Sinatra: Start Walkin’ 1965-1976*, a definitive survey of her most prolific period. Lita has also reissued Sinatra’s classic debut, *Boots*, and her iconic, 1968 album with Lee Hazlewood, *Nancy & Lee*. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

Back in 1979, Blaze Foley presented his first single. If I Could Only Fly / Let Me Ride Your Big Cadillac was released by short life label Zephyr Records and A side song became one of most loved songs from Blaze. The 7” became a high collector’s item and Mapache Records brings for the first time a stand alone reissue of this legendary 45 r.p.m. record.

The album consists of improvisation from a duo, in which both musicians play guitar and effects. Joseba and Mikel are good friends and know each other very well but, at the same time, they had never played together before. This mutual ambivalent (un-) knowledge creates an unrepeatable situation of intimate distrust. They interact vigilantly, very close to one another, neither artist able to escape. Compact tension crosses the album and the friction of its content takes them to irrepressible eruptions. In doing so, their interplay becomes arid. Lepok drags us with them until we are irremediably buried.

Defining such complex musicians and their scene seemed very difficult to us. A closer point of view may be warmer and more precise. Because of that, we asked two relevant personalities of this milieu to help us: journalist Antton Iturbe and musician Ibonrg, who kindly agreed to shed some light on the subject.

This is the only album left by the legendary singer/songwriter Yukimasa Takebe. One of the best recordings of all time, reminiscent of Neil Young's "Harvest". The beautiful music and lyrical world. A great masterpiece of quality Folk-Rock that sings about the anxieties and hopes of youth. Originally released in 1972. Junji Ariyama: Acoustic / Classic guitar, flute Takashi Nishioka: Acoustic guitar, Conga, Mouth-harp Isato Nakagawa: Acoustic/Electric/Dobro guitar Hiro Yanagida: Cello, Piano, Organ, Strings Hideaki Takebe: Bass Chito Kawachi: Drums Masahiro Takekawa: Violin Yukimasa Takebe: Acoustic-guitar, Vocal

Holy grail for Fans of Master Wilburn Burchette, William Ackerman, John Fahey and Robbie Basho. Ultimate collector’s item in Ambient/Folk Music history.

After almost two years of work, we're glad to invite you to a new journey through the fog of time and enjoy the upcoming reissue of the great Ambient/Folk record from 1984. A well-known to collectors but extremely rare record by Jon Iverson a multi-instrumentalist from Palo Alto and his college friend, mandolinist Tom Walters. They shared a love for singer/songwriter fare and gigged around campus playing covers of Neil Young, CSN, and Loggins/Messina in the late '70s.

"First Collection" was recorded during the Spring of 1984 in a small garage that had been converted to a one-room apartment in the seaside community of Los Osos, California.

With an instrumentation of 12-string guitar, piano, mandolin, analog synthesizers, and sampler, the duo has recorded nine bright, weightless, and diverse compositions where electronic experiments mix with ethnic rhythms, sweeping through inspired folk reminiscent of the work of William Ackerman, John Fahey, Master Wilburn Burchette, and Robbie Basho, to homemade pastoral space folk exuding sophisticated, pale, lunar sonic moods that somehow might remind of the work of Roedelius from the early 80s.

Equipment used for tracking included a rented 1/2" 8-track Otari Mx5050 analog tape machine and assorted mics. With only a few thousand albums pressed, First Collection has become a collectable in some circles.

Now, almost forty years later, First Collection has been remixed and remastered from the original 1/2" tapes for this release.

Twin Cosmos is not only the name of the musical output of fraternal twins Morihito & Yasuhito Ito, but more philosophically, an album that encapsulates, “the universe of twins”.

The pair were born 1953 in Yokkaichi, Mie Prefecture. A port city 50 kilometres west of Nagoya, famous for its chemical plants. Despite their surroundings, they grew up in an environment that fostered learning and self-expression. From an early age, they began to carve out their own paths.

Morihito was fascinated with scientific endeavours, space travel and spirituality. His father, an electrician by trade - motivated him to build his own musical equipment. This led him to attend an acoustic engineering school in Tokyo from 1972-1974, after which, Morihito returned to Yokkaichi where he worked in the instrument and audio section of a department store. This helped him keep up to date with the latest equipment, while allowing him to simultaneously work on his own musical endeavours.

Morihito’s side of the ‘Double Action’ LP is a cohesive piece, which effortlessly drifts from one song to the next through samples of flowing water and rockets launching into space ,that were recorded while visiting his brother in the States. His music is carried by flowing vocal harmonies, guitar strums, and floating synths to create an eternal dreamlike ambiance.

In contrast, Yasuhito gravitated towards philosophy and the arts and in 1976 followed his Englsih teachers’ advice and moved to the ‘foreign world’ of the United States. It’s here that he further explored his interests in Christianity, sadomasochism and poetry. He was exposed to artists like John Cage and Sun Ra, as well as a variety of ‘Do It Yourself’ recording techniques that enabled him to record remotely.

Using samples, poetry, and an original approach to traditional folk & rock songs, he recorded his side of the LP. The outcome being provocative, dark and confronting realisations, which solely used English lyrics to represent his experiences in the ‘Western world’. In 1980, Yasuhito was wooed back to Japan by his brother and the prospect of a combined record release.

The self-released album ‘Double Action’, was completed at Victor studios in Japan. Without a distribution network, the release was sold mostly to family and friends and fell into obscurity. Despite not reaching commercial success, the pair have continued to make music over the past four decades, crediting it as their driving force in life. This 2022 release includes an insert with archival images & liner notes in both English & Japanese.

Everest Magma rediscovers the folk roots of his dreamy alter ego Woodcutter. Once again he appears as a minstrel crossing moonstruck woods inhabited by gnomes, butterflies and crawling creatures. Nature is sublimated into a personal alien vision in which a lysergic approach triumphs in the arrangement of sound material and immersive musique concrète. Pure acid-folk fingerpicking communicates directly with the forest’s humus, steeped in wild and ethereal moods. Between schizoid or more lyrical moments, a persistent taste for subtle subterranean noises, electric flashes, radio and ufological interferences, deviant scents and psychological drifts permeates the flow. The abstracting structure of voices and singing expresses the cyclical beingness of living, a decontextualizing dimension of space and time. It's the pantheistic feeling of a parallel naturalistic universe, which also takes cues from the psychedelic eccentricity of Claudio Rocchi’s ‘Suoni di Frontiera’, the Incredible String Band or Holy Modal Rounders. Co-produced with Maple Death Records

A dreamlike dispatch from mid-80s Japan, the first and only Hallelujahs album is an entrancing and gentle work of psychedelic pop brilliance. In a series of informal studio sessions between 1985 and 1986, Shinji Shibayama (Nagisa Ni Te) gathered a group of friends, emerging luminaries from the burgeoning Kansai underground rock scene including Naoki Zushi (Hijokaidan, Spiral Stairs / 螺旋階段), Ken Ichi "Idiot" Takayama (Idiot O'Clock), and Chie Mukai (Ché-SHIZU ) to form what would become known as Hallelujahs. The result was a music of deep feeling and wonderment created through simple song craft and imbued with a sort of guileless magic. Their sole album presented a set of unvarnished songs, filled with vulnerable, intimate moments, caught on reel to reel, most often in single takes never to be repeated. The album was self-released in 1986 in a micro-edition of 300 copies. It was the first record by Shibayama's now revered ORG Records which would go on to introduce the world to the likes of Maher Shalal Hash Baz , Reiko Kudo as well as his own group, Nagisa Ni Te. With affinities to the sounds of the Rough Trade and Flying Nun labels, the Paisley Underground and Galaxie 500, the Hallelujahs' Eat Meat, Swear an Oath is an utterly unique masterpiece that remains a touchstone for generations of like spirited artists in Japan and around the world. Black Editions is proud to present this all-time classic in a deluxe vinyl edition, remastered from the original tapes and presented in a heavy tip-on jacket with textured paper, mounted high quality print, foil stamped finishes and spot colors. Pressed to high quality vinyl at RTI.

sferic mark 5 years of operations with a special deep dive into ancient/modern Mediteranean culture by Giovanni Napolano, usually known for crankier industro-dancehall output as Nplgnn (Reel Torque, Youth) as well as programming the wonderful MBE label (Beatrice Dillon, Conor Thomas, Evol) - a proper Riyl Jay Glass Dubs, Christos Chondropoulos, Alan Lomax, DJ Screw, Coda Lunga.

Unfolding along two sprawling 15 min sides, Napolano stitches threads of chopped & screwed folksong with a discrete dub strategy, seamlessly leading the mind down labyrinthine ginnels of his imagination in a sort of uchronic regression session where the ghosts of the past inform the present. In the process it humbly speaks to Naples’ position at the frontier of the current migrant crisis, and necessarily takes a standpoint against Italy’s resurgent, nationalist fascism, revealing the beauty and energy of its indigenous mixture of peoples, rather than erecting borders between them.

Taking his native Naples as a locus of Mediteranean culture, Napolano plunges the port city’s palimpsest of energies embedded by successive waves of Greek, Northern African & Eastern migration to discover an underlying, rhizomic connection and commonality linked by dub and hip hop as a contemporary iteration of folk music.

Under its titular, mythical metaphor for the fall of Babylon, and usage in Rastafari culture, ‘Le Macerie Di Babilonia’ imaginatively examines a sense of self via a historic lens, drawing on Napolano’s upbringing in the chaotic port city and his autodidactic research into the rich mosaic of Napolitan heritage, to model how a folk class solidarity and shared character, with its own rules and rituals, has emerged from its syncretic milieu.

Variously a treatise on provenance; an impressionistic tale of the European north meets a global south; a dub-abstracted, allegoric, ethnomusicological collage; ‘Le Macerie Di Babilonia’ is a fascinating and immersive listen that presents its maker’s dilated world view at its most mesmerising.

Art Of Primitive Sound is a sensational journey to the origin of Music. In his crucial research chapter on the Paleolithic, Walter Maioli between 1986 and 1991 investigates the soundscape of different geographical, climatic and botanical environments, in which the mystery of the ancient human-nature relationship resides. What emerges is an expanded and unprecedented Paleorganology, with a range of acoustic and natural instruments from all over the World. Rubbing of fossils, animal artefacts, plant elements of all sorts, everything becomes sound and each object opens up forms of imaginary communication, psychic effect and unexplored languages. Whistles, flutes, leaf and shell rattles, rhombuses, horns, bone pipes, slate slabs, bamboo arches, stones, vertebrae, seeds, stalagtites etc...how great can be the Natural Orchestra inherent in the spirit of forests, rivers, caves, seas, swamps or Amazon jungles? Thanks to an interdisciplinary partnership (Anthropology, Archaeology, Botany, Ethnomusicology) of collaborating friends, Maioli directs an Opera of universal character inspired by the archaic essence of sound and infrasonic dimension.

"One of the great joys of the ever-evolving catalog of DAN Melchior is hearing where in the spectrum of styles that he has mastered each record falls. From studio recordings to lo-fidelity home experiments, full band rockers or plaintive solo excursions, fans never know what they are going to get until the needle drops. Those of us who have followed Dan on his prolific pathways are ready for anything but always assured that the spirit of the artist himself, one unique enough to be its own in any form, will deliver and somehow deal with the ramifications of an increasingly maddening world. Dan's first full length of 2021, CB Odyssey, (co-released by the Feeding Tube/Sophomore Lounge) continues in his fine tradition of excellence, this time finding the middle ground of his stylistic extremes. A master of modern song-craft, Melchior returns with CB Odyssey to deliver a further treatise on the agonizing futility of contemporary life. Neither pandering to sentimentality nor cultural trends, Melchior embraces the crass absurdity of modern existence, delivering a multi-faceted view of the everyday. These scenes offer illuminations into the hilarious, the macabre, the pointlessly hip, and most elegantly, the details of the normalcy that few writers of our time seem to be able to capture. The cast of characters on CB Odyssey range from middle-aged self-satisfied artists who have never courted popularity to woke millennials trying to teach mosquitos that it's not nice to bite. The listener is taken to vistas never before traveled such as encounters at the only Wendy's in North America that employs a real live sloth who can grow a beard while you wait for your fries. Melchior delivers these psychedelic visions, not ones of utopia or escapism but of a painfully blinding truth. And such is a truth that can only really be delivered in such a voice by Dan Melchior and CB Odyssey is among his finest examples of his craft. There will most assuredly be more. That is if the mosquitoes don't be the death of him."—Steve Lowenthal , 2022

Emotional Rescue celebrates its 10th Anniversary with a repress of one of its most cherished reissues, in the first ever collection of works from Spanish song writer Javier Bergia. As a member of Finas Africae his name is finally coming to prominence, now with this selection of his music from 1985 to today, the depths of his acoustic, folk and balearic writing can be heard. Born in Madrid to a family steeped in both classical and Spanish traditional music, Javier 's mastery of guitar, percussion, voice, poetry and composition is drawn from both this grounding and upon his lifelong musical inquisitiveness'. Since 1980 he has been an integral part of the ancient music group 'Atrium Musicae', while in 1984 he founded, with Juan Alberto Arteche and Luis Delgado, the groundbreaking group 'Finis Africae' as a sonic investigation into a fusion of diverse ethnic musical forms incorporating both indigenous instruments and electronic elements. As a solo artist, his career blossomed when, in 1985, he recorded his first LP, the acclaimed 'Recoletos' and with Luis Delgado he recorded the now classic album 'La Fl or De Piedra' under the name Ishinohana Erc025). Today Javier is active, participating in the Sephardic music groups 'Halilem' and 'Alquibla', as well as diverse alternative chamber music groups, as well as working around as composer, arranger and producer and appears regularly with Manolo HH on Radio Nacional de Espana.

On Bridge Variations, the now Stockholm-based English guitarist Jon Collin changes his guitar for a keyed fiddle. Mostly recorded to tape under different bridges around Stockholm during 2021, partly for the sound but also because of their importance to the geographical make-up of the place, the album is like a modern take on traditional Swedish folk music made by an outsider looking in. The sound is pretty much a continuation of the palette explored on 'Dream Sequence, End Of Summer', Collin's contribution to the Contemporary Homemade Music compilation put out by Discreet Music last year. Slowly moving and drawn-out melodies evolve into immense droning beauty, rich of texture and with the environmental sounds from the sites becoming an integral part of the recording. Mastered by Giuseppe Ielasi and pressed in an edition of 1000 copies. Comes with a 12-page colour-coded booklet of photos of the recording locations.

Limited edition of 100 copies!