Folk 241 Items

SOURCED FROM THE ORIGINAL ANALOGUE MASTER TAPES
PRESSED AT RTI ON MOFI SUPERVINYL, AND STRICTLY LIMITED TO 5,000 NUMBERED COPIES
1/4” / 15 IPS / Dolby A analogue master to DSD 256 to analogue console to lathe


Ladies of the Canyon can be viewed as Joni Mitchell's coming-out party. Having recently moved to Lookout Mountain in Los Angeles' Laurel Canyon area — her house is depicted in a watercolour painting she made for the record's cover — the Canadian icon turned to her immediate surroundings for inspiration the while taking the pulse of national affairs, corporate enterprise, celebrity, and her relationship with Graham Nash. The 1970 album finds the singer-songwriter morphing into the groundbreaker who would shed folk music's constructs and wade into pop, jazz, soul, and poetry with a combination of depth, sophistication, self-examination, and acumen no one had ever heard.

Sourced from the original analogue master tapes, pressed on MoFi SuperVinyl at RTI on MoFi SuperVinyl, featuring new liner notes, and strictly limited to 5,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set delivers Ladies of the Canyon with bracing intimacy, detail, balance, and depth. Marking the first time the LP has received audiophile treatment, it's one of six iconic Mitchell records Mobile Fidelity is reissuing on definitive-sounding vinyl and SACD sets.

Playing with organic warmth, superb clarity, and ample spaciousness, this collectible UD1S edition benefits from the inherent properties of SuperVinyl — a virtually non-existent noise floor, reference-calibre groove definition, and ultra-silent surfaces among them. Primarily recorded solo, with spare accompaniment on select tracks, Mitchell practically takes up residence in your listening room. Her voice, piano, and guitar image with spot-on precision and three-dimensionality; the music is focused, emotional, natural. Auxiliary instrumentation — cello, clarinet, baritone saxophone, Milt Holland's deft percussion — is seamless, cohesive, steady. Notes bloom and decay as they do on a live stage; relatedly, the soundstage extends far and wide, with carbon-black backgrounds adding to the uncanny realism.

The deluxe packaging of the Ladies of the Canyon UD1S set complements its distinguished status. Housed in a deluxe slipcase, both LPs come in special foil-stamped jackets with faithful-to-the-original graphics that illuminate the splendour of the recording. This UD1S reissue is made for listeners who prize sound quality and production, and who desire to engage themselves in everything involved with the album, including Michell's illustrative painting that serves as the cover art.

Deemed "powerful and brilliant" upon release by The New York Times, Ladies of the Canyon followed Mitchell's first Grammy-winning effort (Clouds) and marked the first of six consecutive masterworks she made en route to becoming the most celebrated singer-songwriter of both her generation, and, arguably, all time. It's the first record on which the then-26-year-old featured the piano, a creative decision of immeasurable significance; first to attain platinum status, which transformed Mitchell into more than a folk figure; first to see her taking more chances with her singing; and the last on which she comes across upbeat, largely unencumbered by the complex themes and personal ache that would occupy her for the foreseeable future.

Mitchell radiates confidence and courage, producing Ladies of the Canyon herself after realizing she didn't need the services of an outsider when she already knew what she wanted. She just required a competent and collaborative engineer, who she landed in Henry Lewy. Fittingly, on the record's affectionate title track, she celebrates community and a trio of women — all real, all from her Laurel Canyon neighborhood — who, individually, as a visual artist, free-spirited mother, and circus-raised imagineer, respectively, were all reflected in Mitchell herself. Akin to Trina, Annie, and Estrella, Mitchell also had an affinity for wearing beautiful clothes, hosting friends, baking sweets, and weaving "a pattern all her own."

That pattern most famously materializes on the album's closing trio of songs — their unconventional placement on the record likely another sly acknowledgement of Mitchell's disdain for commercialism, or at the very least, catering to its demands — each, then and now, a classic. Within months of releasing Ladies of the Canyon Mitchell would find herself at the centre of the singer-songwriter movement — and preparing songs for another album whose impact is still felt today.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior

Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

180 gram audiophile vinyl, numbered limited edition!

* Originally released in 1977 * Featuring covers of 'The Girl from Ipanema' and 'The Look of Love' * Pressed on Black Vinyl A masterpiece of samba released in 1977, featuring Norio Maeda, a major pianist and arranger in the jazz world, and Tin Pan Alley by Haruomi Hosono, Shigeru Suzuki, and Tatsuo Hayashi. This album features several of the greatest Bossa Nova numbers such as 'Wave', 'One Note Samba', 'The Girl from Ipanema', 'Summer Samba', and famous songs such as 'The Look of Love' by Burt Bacharach. This is an album full of highlights.

Originally released in 1972 on Vanguard Records, Bob Frank’s self-titled debut album took elements of Dylan, Johnny Cash, and Ian Tyson and filtered it thru a pot-smoked haze and the infusion of Frank’s long-time friend, Memphis guru Jim Dickinson. Dickinson and Frank shared a mutual admiration that ran so deep that on Dickinson’s own 1972 debut album Dixie Fried (released on Atlantic Records), he recorded one of Bob Frank’s songs “Wild Bill Jones.” But despite the Dickinson/Memphis connection, Bob Frank’s only LP for Vanguard became a forgotten, hard to find relic - until Light in the Attic reissued it to great acclaim in 2014. Now, from Real Gone comes more 1972 Vanguard Bob Frank recordings (all previously unreleased studio songs) coupled with a live set from the Old Quarter in Houston 1973 (the first-ever vintage live Bob Frank recordings to be released). Includes an insert with extensive liner notes detailing Frank’s career self-sabotage by Pat Thomas and the director of the documentary Within A Few Degrees: A Little Gest of Bob Frank, Isaac Pingree. 20 tracks, all unreleased, pressed on stems ‘n’ seeds “marijuana” vinyl.

The album chronicles a show performed by Baez in a bullring, naturally, in Bilbao, Spain, in 1988, and it demonstates what makes her such a draw overseas. Half of the collection, side two of the LP, consists of songs sung in Spanish.
»This record was made in a bullring in Bilbao, Spain, in 1988. It is dedicated to the Mayor and the people pf Bilbao, who came out between thunderstorms to see me perform. The song in Catalan "Txoria Txori" is about a sweet little bird ... I want to thank Pasku who taught it to me, and thank the Bilbao public for singing it so beautifully.« — Joan Baez. Illustrations by Joan Baez; additional vocals Mercedes Sosa.

Karen Dalton’s 1971 album, In My Own Time, stands as a true masterpiece by one of music’s most mysterious, enigmatic, and enduringly influential artists. Celebrating the album’s 50th anniversary, Light in the Attic is honored to present a newly remastered (2021) edition of the album on LP, CD, cassette, and 8-Track.

All audio has been newly remastered by Dave Cooley, while lacquers were cut by Phil Rodriguez at Elysian Masters.

The 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&B and country that had to seep in as she made her way to New York."

Armed 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 & Schuster, 2004). “Karen had a voice like Billie Holiday and played the guitar like Jimmy Reed.”

Those 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.

Producing 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.”

Dalton, 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&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.

While ‘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, a slew of 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 recent 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.”

Newly Expanded Deluxe Double LP Edition! Includes the original 1972 album, plus all of Larry Mark's acoustic demos and tracks from his unreleased 1970 LHI LP for the first time on vinyl Previously unreleased session outtake of “Cold Hard Times” plus demos of obscure Hazlewood compositions “Drums,” “The Start,” “Susie,” “Miracle on 19th Street,” and “Peppermint Morning” 30 total tracks Remastered by GRAMMY®nominated mastering engineer John Baldwin Liner notes by GRAMMY®nominated reissue producer Hunter Lea including interviews with Larry Marks, Joe Cannon, Torbjörn Axelman & Suzi Jane Hokom Lee Hazlewood comic strip, the story of 13 told through original artwork by Jess Rotter Double LP housed in a gatefold jacket “Pimps… whores… pushers… dopers… gangsters… and bottom of the human chain shitheels. Now you’re probably thinking I’m writing about major record companies and their unscrupulous executives… and lawyers. You could be right… but this time… You’re Wrong! I’m describing the characters in my album ‘13’ …Some I knew… some I invented … some are true… some are false… some I liked… some I didn’t. But they all had a story to tell and I told it…none of ‘em seem to care… and I don’t either… have fun…" Lee Hazlewood



“He (Lee) took my voice off the album and put his voice on the album. Now don’t forget these were in my keys, it was my charts, it was my everything. Lee Hazlewood was not even remotely going to be considered as an artist for this album and that’s the way he wanted it.” Larry Marks



The album 13 was never supposed to be a Lee Hazlewood album. It is perhaps the strangest record in one of the most varied discographies in music. The Bombastic brass heavy funk, deep blues and soul paired with Hazlewood’s subterranean baritone would be best enjoyed with a tall Chivas in an offstrip seedy Vegas lounge. By 1972 Lee Hazlewood had settled in his new homeland of Sweden. His days were spent carousing, making movies with Torbjӧrn Axelman and releasing albums. To keep up his prolific recorded output, Lee began to mine the recently defunct LHI Records archives for material. One such gem, was an unreleased album by Larry Marks (lhi producer, artist and the voice of the first ScoobyDoo theme). Larry’s concept was to take Hazlewood’s strongest compositions and arrange them in a soul vibe. An album was completed, but with no distribution in America and no funding, Lee had no vehicle to release Larry’s record. The tapes were taken to Sweden, Larry’s voice was wiped and Hazlewood’s was dubbed… 13 was born.

Absolutely essential. Deluxe 2LP edition of this impeccable album from 1988. The spot glossed Gatefold jacket features artwork including archival photos & drawings from Woo’s archives as well as liner notes by Clive Ives.

Issued for the first time in its entirety on vinyl, spread over two LPs, and remastered from newly discovered hi-quality DAT sources, we’re thrilled to present the definitive version of Woo’s most fully-formed album. A cosmic testament to the healing power of love, utilizing vocoded clarinets, pastoral guitars, homespun folk lullabies, and lilting electronics, coalescing into a an hour plus long journey through their otherworldly soundscapes. A prime entry point to Woo’s sound, containing some of their most beloved songs, such as ‘Make Me Tea,’ ‘It’s Love,’ ‘Hopi’ and many others, and also including a never-before heard bonus track – the vocal version of ‘It’s Love.’

Into The Heart Of Love was originally self-released on cassette in 1988, with a wider cassette release in 1990. Compiled from home recordings from the preceding years, and released during a transitional point for the band, the Ives brothers see this album as their most complete work, offering space to the listener to stretch out and immerse themselves into the warmth of their sound.

Woo is the uncategorizable project of Clive and Mark Ives from Brighton, UK. Since the 1970s, the duo have been recording a plethora of eclectic sounds, most falling under the blanket genre of new age, but spiraling out toward notions of ambient sounds, jazz, and other spiritual takes on modern music. They received some acclaim for their early releases, including 1982's Whichever Way You Are Going, You Are Going Wrong and 1989's It's Cosy Inside, but their work began to receive renewed appreciation during the 2010s, when labels such as Drag City and Palto Flats reissued the band's albums. The brothers remained active all the while, digitally self-issuing material.

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

Originally released in 1972, the legendary Soft Rock "Happy End" album is now back on an analog LP!! Written by Hiro Yanagida, Produced by Takashi Matsumoto, Sons OF SUN's first album will be making its return from the label Fuji!! Keyboard Hiro Yanagida Drums Kiyoshi Tanaka E.Guitar Kazuyuki Nagaoka E.Bass Hideaki Takebe Vocal MAO

Quantity: 5500
Release type: RSD Exclusive Release

2nd LP contains all of the session outtakes, included in the 2006 4CD box set The Complete Atlantic Sessions.

Released in 1973, Labi’s fourth album (“the album of which I am proudest”) includes two epic songs in “Children Of Children” and “Let’s Pretend”, songs he says he was “provoked” into writing. • This half-speed master edition is presented in its original gatefold sleeve, pressed on 180 gram heavyweight black vinyl, featuring an obi strip, and housed in a poly-lined inner sleeve. The 4-page insert includes all the lyrics and photos of the original tape boxes. • This new edition has been expertly mastered by Barry Grint at AIR Mastering from the original stereo tapes using precision half-speed mastering. Half-speed mastering is a vinyl cutting technique that improves groove accuracy and transient information creating an incredibly detailed stereo image with a natural high frequency response.

A 1974 album by Shrieks, consisting of Kazuo Kambe and Iruka (Toshie Hosaka), who later had a hit with "Nagori Yuki," is reissued on Shm-cd and analog LP!

1983’s Waves of Peace is an album of gentle reflection. The sound of ocean waves permeates every track. Sitar, tambura, synthesizer, and bamboo flute are among the instruments that Aziz & Friends use to conjure their blissful oceanic meditation.

Aziz reminisces: “Waves of Peace was born in the beautiful oceanside town of Santa Cruz, California. Living there in 1982 was the first timeI had ever lived so close to the ocean. I would walk down to the beach on a daily basis. Nature has always been a major source of inspiration in my quest to create beautiful original music. Equally important to me has been recognizing the healing potential of harmonious sound. This potential was made clear to me through my illuminating work with the Sufi order, as well as various modern dance companies. Finally, my music has always been shaped by my lifelong commitment to peace and non-violence. With all of these things in mind, drawing inspiration from the nearby ocean and the growing popularity of New Age music, I produced Waves of Peace.

Waves of Peace was my first album to combine instrumental music with the sounds of nature. Graced by the presence of some truly exceptional local musicians, most of the music was performed and recorded live in the studio. Waves of Peace was created to facilitate relaxation, meditation, healing, and awakening for the body, mind, heart and soul. Let the rhythmic waves of the ocean nourish and inspire you to find your peace within”. - Aziz Paige, 2022

In an active internet age that has collectively dug up a wealth of lost and hidden classics in recent times, it's easy to become cynical about the possibility of valuable discoveries still to be made. Illusions Of The Maintenance Man by Virgin Insanity, however, is a stunning record of 70s acid folk and assures us that there will always be a wealth of lost great records as long as there artists who veer off the beaten path. Bob Long formed the band in the 70s in the backdrop of Texas, and there is an eerie, timeless quality to the acoustics of these tracks that spread out and breath life as much today as they did when this album was originally released in 1972. On an earlier version of the album, the late great writer of psychedelic culture Patrick Lundborg wrote glowing liner notes for the album which were sadly never used, but exist in various forms online for those wishing to read more about the album's background. This is the first release for the band since P-vine released a CD containing Long's previously unreleased 2nd and 3rd album in 2006. Modern-day fans of Mount Eerie and Cat Power will surely find something to love in the dream-like rooms and space of Virgin Insanity's world. All tracks are remastered by frontman Bob Long himself and the jacket will be reproduced from specifications of the original version which is now trading at more than $1,800!

Formed in 1984 by bassist Takuya Nishimura and erhu player and singer Chie Mukai is Che-SHIZU. Their debut on the indie record label Zero records (also known for producing acts such as Shonen Knife, and Luna Park Ensemble) “Yakusoku wa Dekinai” (I Can’t Promise) drew attention for its uncompromising approach to simply making ‘songs’. With Tori Kudo (who’s recent analog release, Tangerine with Reiko Kudo, is making waves across the world) on guitar, ‘Yakusoku wa Dekinai’ is filled with songs that are simultaneously experimental and catchy. P-vine is proud to be reissuing this historic album for the first time ever on vinyl.

Seminal compilation of instrumental tracks, originally released in Ethiopia in 1972. Features tracks from Tèsfa-Maryam Kidané, Bahta Gèbrè-Heywèt and Mulatu Astatké including the hit “Yégélé Tezeta”

Mastered from the original analog tapes
Deluxe Stoughton “tip-on” jacket with debossing
Vinyl pressed at RTI
All tracks previously unreleased
Booklet with liner notes and rare archive photos

On March 4, 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. Some think the mafia bumped him. Some even think he was abducted by aliens.

By coincidence–or perhaps not–Jim’s 1969 debut album was titled U.F.O.. Released in tiny numbers on a private label, it too was truly lost until Light In The Attic Records began a years-long quest to re-release it–and to solve the mystery of Sullivan’s disappearance. Only one of those things happened, and you can guess which…

Light In The Attic’s reissue of U.F.O. introduced the world to an overlooked masterwork and won Sullivan, posthumously (presumably), legions of new fans. Those new admirers are in for a real treat: a lavish, first-time release of a previously unheard 1969 studio session.

If The Evening Were Dawn contains 10 acoustic solo recordings that have never seen the light of day. Whereas U.F.O. was bolstered by legendary sessioneers The Wrecking Crew, this is Jim Sullivan on his own terms, stripped down and soulful as ever. Recorded at a Los Angeles studio circa 1969, the session contains acoustic versions of a handful of U.F.O. tracks alongside a half dozen previously unheard songs. This, then, is the closest thing to those fabled Malibu bar performances at which Sullivan was first noticed.

According to his widow, Barbara, this was the album Jim always hoped to record. It serves as an unprecedented glimpse into the mysterious, larger-than-life figure who’s become the stuff of legends.

While Sullivan’s disappearance remains unsolved, his music endures and is finally gaining him the recognition he deserves, albeit long overdue. This recording serves as an unexpected missing piece of the puzzle; this is Jim Sullivan’s true swan song.

Vinyl LP pressing. 1973 album from the iconic singer-songwriter. Jimmy Buffett's third studio album, A White Sport Coat and a Pink Crustacean, was released in 1973 and features "Why Don't We Get Drunk," and "He Went to Paris." Newly remastered and available for the first time on vinyl.

"Ethio Jazz" is an album released by the Ethiopian master musician Mulatu Astatke in 1974 on his homeland Ethiopia's Amha Records. It stands as a milestone not only in his career but also in the history of contemporary Ethiopian music, continuing to shine brightly. With melancholic melodies played by wind instruments, a polyrhythmic rhythm section creating robust waves, sultry vibes from the vibraphone, and smoky organ tones, the album is enveloped in the sounds of jazz inherited from the States. This work, where various musical elements are miraculously fused in perfect balance, undoubtedly reigns at the pinnacle of Ethio Jazz, showcasing Mulatu's ambitious creativity in seeking out new sounds.

The Silos, the still-kicking band Walter Salas-Humara co-founded in New York’s post-punk ‘80s scene played Alt-Rock, Alt-Country, and Americana before any critics coined those terms. They were named Best New Artist in the Rolling Stone magazine critics' poll in 1987 after the release of Cuba. The album has since been considered a stone-cold classic, being hugely influential in the so-called Americana or alternative country scene that followed in its wake. “Cuba is one of those albums that has become a kind of talisman among true music fans. Because you know that Cuba exists inside everyone, and this extraordinary album can take you there. It's a journey filled with longing and loss, warmth and wonder”. (Anthony DeCurtis) This gatefold double LP 35th anniversary special edition, includes the additional album The Bird Album Live On Kcrw. Recorded on April 18, 1990, shortly after the release of their self-titled third album for RCA Records, The Silos performed about 75 minutes of music for the Snap alternative music radio program. Broadcast on Kcrw in Santa Monica, California, near Los Angeles, it features versions of all but one song from that third album. Both of the singer-songwriter-guitarists from the band's early days, Walter Salas-Humara and Bob Rupe, were in the line-up for this broadcast which also included Graham Maby on bass, Brian Doherty on Drums, and Kenny Margolis on Keyboard. Salas-Humara’s legacy would seem secure; his name is on 24 albums, his Horse Paintings hang in homes and galleries around the world, and his WaltersDogs portraits even appeared in the film “Get Him to the Greek” (Nicholas Stoller, 20210). but he’s hardly ready to call it a day: The Silos have a new album out now called Family and are currently touring the world.

Cult Classic LP BY Legendary Egyptian Guitarist Omar Khorshid, First Released ON THE Label 'voice OF Lebanon' IN 1974 AND Reissued Here ON Vinyl FOR THE First Time With Original Artwork AND Remastered Audio Plus NEW Liner Notes BY DJ Ernesto Chahoud.

Wewantsounds is delighted to announce the reissue of Omar Khorshid's highly sought after instrumental album 'Giant + Guitar' originally released in 1974 in Lebanon and recorded at Polysound Studio by famed Lebanese engineer Nabil Moumtaz. The album features Khorshid's unique electric guitar sound mixed with arabic melodies over superb psych arrangements. The album has been newly remastered and comes with the original 'Voice of Lebanon' artwork and a 2 page insert featuring liner notes by DJ Ernesto Chahoud. Wewantsounds' series of Arabic music reissues are curated by Mario Choueiry from Institut du Monde Arabe in Paris. Omar Khorshid's life, if short (he died age 36 in a road accident), was extraordinary. Blessed with a great talent for music, the Egyptian musician and actor became one of the best guitarists of the Arab World accompanying the greatest stars of the 60s and 70s, including Oum Kalthoum, Abdel Halim Hafez and Farid El Atrache. To avoid the political troubles of the time in Egypt, and to fulfil his artistic ambitions, Khorshid moved to Beirut in Lebanon in 1973 and started recording a string of superb albums experimenting with Oriental music. ?He recorded for several labels including Voice of Lebanon, one of the key Lebanese labels of the time. He released his first album 'Giant + Guitar' for the label in 1974 and it was an instantly popular in the Arab world. The album, which has a great ample sound, was recorded at the Polysound studios overseen by engineer Nabil Moumtaz. The front cover sees Khorshid on his motorcycle in the busy street of Hamra, one of the most vibrant Beirut neighbourhoods where he was playing most nights in residence. (The album was also released internationally as 'Rhythms from the Orient' with a different artwork focusing on belly dance) The sound of the album is both bold and accessible displaying Khorshid's unique guitar sound, accompanied by a small band mixing traditional and modern fuzzed up arrangements. The mesmerizing opening track, 'Rakset El Fadaa', composed by Lebanese musician Nour Al Mallah, is a perfect example of Khorshid's artistry. Starting with a long, hypnotic guitar intro, it then speeds up with the backing of a groovy organ, Oriental percussion and the psych sound of an early synthesizer to great effect. The album continues on the same mode blending traditional Oriental music with inventive arrangements as showcased by the Mohamed Abdel Wahab standard 'Leilet Hob' popularised by Oum Kalthoum, which sees Khorshid and his musicians shifting pace several times over eight minutes. One of the peaks of the album in terms of sonic experiments is undoubtedly Korshid's own composition, 'Taqassim Sanat Alfein', with Khorshid's superb guitar in full bloom accompanied by a few touches of synth. A truly innovative album which pushed the boundaries of Oriental music at the time, 'Giant + Guitar' has gained in stature over the years and has become highly sought after by many DJs and collectors. A hugely important album which Wewantsounds is happy to reintroduce to the international audience for the first time since the 70s

Wewantsounds is delighted to announce an ambitious Makoto Kubota reissue program with his three albums recorded with The Sunset Gang between 1973 and 1977. The albums feature Haruomi Hosono (who also co-produced ‘Hawaii Champroo’ and ‘Dixie Fever’) and also include Minako Yoshida, Taeko Ohnuki and Tatsuo Hayachi to name a few. Makoto Kubota has been one of Japan’s true musical innovators and following his involvement with Les Rallizes Dénudés in the early 70s, he developed a unique sound bringing American, Hawaiian and Okinawan music influences to his own Japanese folk music mix. Starting with the reissue of 'Hawaii Champroo' recorded in Honolulu in 1975 and co-produced by Haruomi Hosono, Wewantsounds will then release 'Sunset Gang' from 1973 followed by Dixie Fever from 1977. All albums have been newly remastered by Makoto Kubota and they each come with original artwork, OBI and the original japanese inserts. This is the first time the albums are released outside of Japan.

Recorded in 1975 at the famed Sounds of Hawaii studio in Honolulu, Hawaii Champroo was co-produced by Haruomi Hosono and marks the start of Kubota's keen interest in Hawaiian and Okinawan music (Champroo is derived from Chanpuru, the traditional Okinawan stir-fry dish). A companion album to Hosono's own 'Tropical Dandy' and 'Bon Voyage Co.' albums(on which Kubota plays), the album was at the forefront of a tropical musical movement started in Japan in the mid-70s. The core Sunset Gang consists of Kubota on Guitar, Takashi Onzo on bass, Yosuke Fujita on guitars and mandolin, Keni Inoue on lead guitar and Hiroki Komazawa on pedal steel guitar. They are joined on the album by Hosono on drums and Teriyuki Kokubu on piano. Having travelled to the United States in the early 70s, Makoto Kubota had fallen in love with American music and had brought back many influences from his sojourn on the East and West coast. these are evident from the tracks covered by the band on 'Hawaii Champroo', including Jesse Fuller's 'San Francisco Blues', The Rooftop Singers' 'Walk Right In' (an old Gus Cannon ragtime) or The Texas Playboys' classic 'Steel Guitar Rag.' 'Hawaii Champroo' also features originals such as the funky 'Shanghai Gaeri' and a nod to the Hula Hawaiian dance 'Moonlight Hula'. One of the highlights of the album is the classic 'Haisai Ozisan', the Okinawan 1972 cult classic by Shoukichi Kina which has become a standard in Japan. All in all, 'Hawaii Champroo' is a timeless classic and one of the key Japanese albums from the 70s which Wewantsounds is happy to introduce outside of Japan for the first time.

Wewantsounds is closing its Makoto Kubota reissue series with the release of "Dixie Fever" recorded in Hawaii in 1976 and co-produced by Haruomi Hosono. Like its predecessors, 'Sunset Gang' and 'Hawaii Champroo', 'Dixie Fever' continues to explore American and Island music through a Japanese prism with a skilful mix of blues, swamp funk and America adding an exotic edge to the whole. It is the first time the album is released outside of Japan and the LP features original artwork with OBI and insert plus remastered audio by Makoto Kubota himself.

A year after the release of their highly-acclaimed album 'Hawaii Champroo' in 1975, Makoto Kubota and The Sunset Gang reunited at Sounds of Hawaii studios with co-producer Haruomi Hosono to record a new album, 'Dixie Fever'. They used pretty much the same ingredients that had made the success of Champroo - an effortless mix of Japanese folk and american roots music with some tropical influences. The same mix that Haruomi Hosono was applying to his own albums, especially ''Tropical Dandy which was experimenting with the same ideas - In fact the front cover of both 'Tropical Dandy' and 'Dixie Fever' are illustrated by Yasuo Yagi. ?As per 'Hawaii Champroo' and 'Sunset Gang', 'Dixie Fever' includes a mix of original compositions and covers. On the album, you spot The Lovin' Spoonful's 'Wild About My Lovin' and a funked up version of UK singer songwriter Ralph McTell's song 'When i Was a Cowboy'. They feature the Gang's usual musicians (Keni Inoue on guitar, Yosuke Fujita on slide guitar and Takashi Onzo on bass and keyboards) complemented by a handful of guests including Tin Pan Alley drummer Tatsuo Hayashi, Motoya Hamaguchi on percussion and New Orleans pianist and Dr. John friend, Ronnie Barron. Together they play a superb brew made of blues, soul, Hawaiian music and southern swamp rhythms. One of the highlights of the album is undoubtedly 'Hoshikuzu' (Stardust) which has become a cult classic over the years on the international City Pop scene and whose sunshine mid-tempo vibe is the perfect reflection of the group's musicianship. The track perfectly adds to the album's charm which Wewantsounds is happy to release for the first time internationally.

Wewantsounds is delighted to announce the reissue of Ziad Rahbani's cult album, "Bennesbeh Labokra...Chou?" released in Lebanon only and mixing arabic music with Jazz, Bossa Nova and other western influences. Hailed as an absolute classic, the album is the soundtrack to his eponymous play and has been highly sought-after by DJs and collectors around the world. Curated by Lebanese-born music expert Mario Choueiry from Institut du Monde Arabe in Paris, the album is reissued on vinyl for the first time since 1978, featuring original gatefold sleeve, remastered audio and a 2 page insert with a new introduction by Choueiry. When Ziad Rahbani released "Bennesbeh Labokra... Chou?" he was only 22 years old. He had started to make an impression on the Lebanese cultural scene a few years before, while still a teenager, composing and releasing albums under his own name. Born into an illustrious musical family - his mother is the legendary Lebanese Diva Fairuz and his father, Assi Rahbani, was a renowned composer and part of one of the most famous Lebanese groups, The Rahbani Brothers - Ziad quickly gained exposure as a gifted composer and producer. When his father fell ill in the mid 70s, he took over as Fairuz's producer which led to a fruitful collaboration starting with the 1979 album "Wahdon." ?Highly influenced by other genres of music, Rahbani had started bringing modern western influences to traditional arabic music. 1978 saw the release of two key albums by the young musician, the Disco 12-inch "Abu Ali" which went on to become one of the most sought-after Arabic albums on the international DJ scene and "Bennesbeh Labokra... Chou?" which follows "Abu Ali" closely in many diggers' want-list. ?A soundtrack to Rahbani's eponymous play, the album "Bennesbeh Labokra… Chou?" gathers all the musical interludes heard during the play, a social diatribe about the Beirut society underlining the difficulties of living in the tense social and political climate of the Lebanese civil war. Written by and starring Rahbani, the play follows the everyday life and problems of a young couple running a cafe in the heart of Beirut. The play underlying Rahbani's leftist sensitivity was an immense success and the album was released the same year (the complete play was also released over three LPs). ?"Bennesbeh Labokra… Chou?" is a skilful blend of Arabic music and Bossa-nova ("First Introduction" - the recurring theme of the album), groove with the funky beat of "Second Introduction" and the jazz vibe of "Variation 3" and "Variation 4." It's also interesting to hear an early version of "Al Bosta" which would grace Fairuz's 1979 album "Wahdon" in a faster, funkier version also produced by Rahbani." ?with a knack for cinematic orchestrations reminiscent of Lalo Schifrin, Ziad Rahbani also brings more complex arrangements to the album on such tracks as "Variation 5" making the album such a rich listening. Undoubtedly one of the most important albums recorded in the Middle East which Wewantsounds is glad to reissue in its full glory with remastered audio and original artwork.

* Faithfully restored artwork from the original vinyl
* 180 gram heavy weight vinyl
* Laminated old style tip-on gate folded jacket
* Obi strip / Includes 8 page insert with rare photos
* Limited edition

In 2015, a successful bid of £3,560 (some ₩5 million) was made on a single album on eBay – this was the 1972 original UK press of Folkal Point’s album. This album had remained shrouded in mystery for more than 4 decades without ever being officially reissued, after most of the original material and master tapes were lost to fire and flooding. So how did it come to pass that this album, which featured unassuming music that reflected the trends of its time – modern and traditional folk – became so sought-after?

In the early 1970s, there were three teenagers from Bristol, a port city in south-western England, who played American modern folk songs. The boys – Stuart Amesbury, Mark Steed, and Paul Cook – were offered to play at a school concert. Realizing that none of them could sing properly, they began looking for a singer. They recruited Cherie Musialik, who was recommended to them by a music teacher. After making a successful debut by performing tunes by Tom Paxton, the Seekers, and Bob Dylan, word of the band soon spread to London. A radio appearance by Alan Green of the Midas label led to his producing the band’s album. A total of 500 copies were pressed, with 250 copies going to the band’s members and 250 copies kept in storage by Midas. However, due to the lack of any real promotion, the records had to be sold by the members themselves at concerts. Because of this, they had trouble breaking even, let alone covering the production costs. To make matters worse, the copies that were being stored by Midas were lost forever to fire and flooding, after which the band eventually disappeared from the public eye. However, as word of the album’s beauty gradually spread among collectors, it soon came to be praised as one of the masterpieces of British folk. In addition to traditional British folk songs, this album featured covers of five tunes – Dylan’s ‘You Ain’t Going Nowhere’, Paxton’s ‘Victoria Dines Alone’, Baez’s ‘Sweet Sir Galahad’, Mitchell’s ‘Circle Games’, and ‘Anathea’ by Judy Collins – which have been elegantly arranged without encroaching on the source material. However, what really set this album apart was the million-dollar voice of Cherie Musialik, which has a deeply moving and enchanting quality to rival any of the greats of her time. It’s no exaggeration to say that what could have been an unremarkable work was elevated to greatness by virtue of Musialik’s voice. As the first installation in the British Rare Folk series from Merry Go Round Records, this is the first official reissue to fully recreate the cover design of the original version, including an 8-page insert that is lavishly laid out with lyrics and photos of the band members. Through its reissue, this album has crossed over from the realm of the unknowable to become a welcome part of our lives. How rare it is, to finally regard a legend under a plain light to end up cherishing it even more rather than being disappointed – but this is precisely what this album by Folkal Point achieves.

* 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.

* 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.

Wewantsounds is closing its Makoto Kubota reissue series with the release of "Dixie Fever" recorded in Hawaii in 1976 and co-produced by Haruomi Hosono. Like its predecessors, 'Sunset Gang' and 'Hawaii Champroo', 'Dixie Fever' continues to explore American and Island music through a Japanese prism with a skilful mix of blues, swamp funk and America adding an exotic edge to the whole. It is the first time the album is released outside of Japan and the LP features original artwork with OBI and insert plus remastered audio by Makoto Kubota himself.

A year after the release of their highly-acclaimed album 'Hawaii Champroo' in 1975, Makoto Kubota and The Sunset Gang reunited at Sounds of Hawaii studios with co-producer Haruomi Hosono to record a new album, 'Dixie Fever'. They used pretty much the same ingredients that had made the success of Champroo - an effortless mix of Japanese folk and american roots music with some tropical influences. The same mix that Haruomi Hosono was applying to his own albums, especially ''Tropical Dandy which was experimenting with the same ideas - In fact the front cover of both 'Tropical Dandy' and 'Dixie Fever' are illustrated by Yasuo Yagi. ?As per 'Hawaii Champroo' and 'Sunset Gang', 'Dixie Fever' includes a mix of original compositions and covers. On the album, you spot The Lovin' Spoonful's 'Wild About My Lovin' and a funked up version of UK singer songwriter Ralph McTell's song 'When i Was a Cowboy'. They feature the Gang's usual musicians (Keni Inoue on guitar, Yosuke Fujita on slide guitar and Takashi Onzo on bass and keyboards) complemented by a handful of guests including Tin Pan Alley drummer Tatsuo Hayashi, Motoya Hamaguchi on percussion and New Orleans pianist and Dr. John friend, Ronnie Barron. Together they play a superb brew made of blues, soul, Hawaiian music and southern swamp rhythms. One of the highlights of the album is undoubtedly 'Hoshikuzu' (Stardust) which has become a cult classic over the years on the international City Pop scene and whose sunshine mid-tempo vibe is the perfect reflection of the group's musicianship. The track perfectly adds to the album's charm which Wewantsounds is happy to release for the first time internationally.

digitally remastered and for the first in 15 years on vinyl ... incl. free album download!

First released in 1989, these songs represent but a small sampling of the fruits of a flowering in Brazilian creativity. The innovations in structure, lyrics and arrangements, combined with a very restrained but heartfelt intensity, are unique to Brazilian pop music... and in their own way, are as radical, seductive and beautiful as the best english language pop

Closing Time foreshadows the distinctly lyrical storytelling and original blending of jazz, blues, and folk styles that would come to be associated with Waits. It is on this debut album that Waits performs enduring classics of his career “Ol’ 55” (famously covered by the Eagles), the heartbreaking “Martha” and the gentle acoustic folk of “I Hope That I Don’t Fall In Love With You”. Reissued for the first time as a double LP to commemorate the 50th anniversary of the landmark debut with newly half speed mastering at Abbey Road Studios.

Such an elusive British artist, Christine Harwood was sailing the sea of lone folk singers with a sole album of rare beauty. Released in 1970 on small british label Birth, Nice To Meet Miss Christine is still an exercise in pure beauty, a dramatic/magic affair that materialized into thin air and suddenly was gone. Featuring a who’s who of the british prog and psych-folk scene – the late King Crimson alumni Ian McDonald on sax and flute, drummer extraordinaire Pete York, Nucleus and Jody Grind bass player Roger Sutton, Strawbs guitar player Dave Lambert – the album is more than a miraculous rendition of the (acid) folk revival venturing on more audacious territories, as shown in the rare groove of standout track Wooden Ships. Blue eyed soul and yacht rock fanatics take note !

Seven fretboard fantasias fromCalifornia's mysterious mail ordermystic. 1973's Guitar Grimoire is acollection of reverberant and originalcharms establishing Burchette as thewhite wizard of tremolo theurgy.Warning: Psychic energy shiftprobable!

Supernatural meditation, with adrum machine, from California'smysterious mail order mystic. 1975'sMusic Of The Godhead is the ambientalchemy that established Burchette asthe white wizard of tremolo theurgy.Warning: Inner peace lik ely!

On 1977's Mind Storm, the final albummade prior to his emphatic retirement,Burchette employed "pink sound," aphenomenon known in acoustical scienceto open the mind to thrilling psychicrevelations, setting down two side-longpieces forming a reflecting crystal ball forsqualls of deep br ain imagery.

Opaque Red Vinyl.California mail-order mystic MasterWilburn Burchette was first known fromhis ads, hidden in the back pages of FateMagazine, Beyond Reality, and GnosticaNews. On his 1972 sophomore album,Burchette channels dreamy early music,druid folk, electric fingerstyle, psychedelicballadry, and new age ontology to createa visionary guitar technique all his own.This faithful reproduction includes theoriginal 12-page full color instructionbook for the secret method of piercing thepsychic heart.