Rock & Indie Vinyl 198 Items

180 Gramm Reissue of the original 1966 stereo mix!

180 gram pressing!

Orphan Egg were a short lived group who were formed in 1967 in San Jose California. Their sole self-titled album was released in 1968 on the small independent company Carole Records. Essentially a garage-psych album – in the tradition of future iconic compilation like Nuggets or Pebbles – Orphan Egg was recorded by a bunch of students at Saratoga High School in Saratoga. Occasionally they won the Vox Battle of the Bands, a nationwide competition. They also appeared on the soundtrack of the classic bike-movie ‘Cycle Savages’ with 3 tracks.

180g 45rpm pressing. Newly repressed at 45 RPM by Quality Record Pressings. This recording was originally mastered at the former AcousTech Mastering facility and the sound is fantastic.



John Lee Hooker himself did not know his exact date of birth. If he hadn't died at around the age of 80, this ageless musician would still be easily pulling the next generation to his gigs. Hooker remains a phenomenon, a mysterious figure of black rhythm and blues, a charismatic king who reigns supreme in rock 'n' roll's Hall of Fame. John W. Peters described his music as a synthesis of scorching emotional ardour, unrelenting rhythmic intensity, and original poetry of a highly personal character. Anyone hearing him for the first time may well be startled at the unfiltered passion and power of his music.



And another surprise is in store for those who compare Hooker's late recordings with those made in the Sixties. His unmistakable, raw voice has fully matured, but his incantory style of singing appears markedly finer and more flexible. And then there is the perfect gem of a rhythm group whose sinewy sounds fill the grooves with merciless gravitational force. It's enough to make your spine tingle!

Shine On Brightly is the second studio album by English rock band Procol Harum. The title of the epic "In Held 'Twas in I" is an acrostic, taking the first word from the first movement as well as the first word from a verse later in the movement as well as the first word from each of the three successive movements as shown in the track listing.

Siren was the debut album by Kevin Coyne with Siren, the band he founded with former Bonzo Dog Band bassist Dave Clague and pianist/guitarist Nick Cudworth. The album was originally issued on John Peel’s Dandelion label in 1969. An artist who would later inspire John Lydon, Sting, Ben Watt and Will Oldham and would collaborate with Robert Wyatt, Andy Summers, Dagmar Krause, Brendan Croker, Gary Lucas and The Mekons’ Jon Langford, Kevin Coyne deserves a royal place between the likes of Syd Barrett, Peter Hammill and Daevid Allen. Standing on the verge of british blues, folk and rawk’n’roll Siren could have been easily labeled as the british answer to Canned Heat, but there’s even more. ‘And I Wonder’ is clearly an anticipation of what would happen next, with the solo career of Coyne, more focused on acid folk songwriting. “Most of the album is good time rock-on-out-music a la the Flamin’ Groovies… one of those (albums) you keep coming back to when the night gets cold and the wine is almost out. I play it a lot, and that’s the nicest thing I can say about an album.” Ed Ward – Rolling Stone “Siren just came as a breath of fresh air really, in the same way that like a generation later The Ramones did. When you just thought ‘Thank God for that!’ You hadn’t realised how bored you’d become…” John Peel.

Colored Vinyl

Propelled by his 1956 Lee Hazlewood-produced hit "The Fool," Sanford Clark was already a rockabilly legend in his own right by the time he swapped his hair gel and switchblade for a pair of cowboy boots on They Call Me Country. Recorded between 1965-67 and originally released as a series of singles for Phoenix's Ramco label, the 12 tracks on this LP borrow Bakersfield's outlaw sound and ignore Nashville's countrypolitan flair, standing as a true lost masterpiece of country music's third generation. Clark's booming baritone tells tales of bar fights, heartaches, and drinking til you can't stand, while Waylon Jennings provides a backdrop of fuzzed out guitar twang. Mastered from the original session tapes and back on vinyl for the first time since the Nixon administration.

180g vinyl reissue incl. live bonus tracks

The following year, 1968, "Docena 3" would see the light of day, highlighting the LSD world on the cover, in which they added more accentuated lysergic moments, the use of the Indian zither, plus Jorge Pomar on rhythm, and other technical novelties such as reverse tape effects, including anti-war and love messages. The album brings together some captivating songs of their own, plus surprising covers with surrounding sound arrangements.

Shortly thereafter, the band would break up, but not before leaving us with another album to fulfill their contract, entitled "Instrumental's" (1968). The members would go on to separate careers with Pico's Los Nuevos Shain's, and Gerardo Manuel's The (St. Thomas) Pepper Smelter. They would reunite again in 2007, but it was not until this year 2021 that, thanks to Discos Monterey, these two late sixties Peruvian rock summits are once again available with excellent sound and respecting the original artwork.

Pink Floyd's second studio album, remastered from the original mono analogue tapes. Remastered by James Guthrie, Joel Plante and Bernie Grundman. Limited edition 180 g heavyweight vinyl. Tracklisting: Side 1: 1. Let There Be More Light, 2. Remember A Day, 3. Set The Controls For the Heart Of The Sun, 4. Corporal Clegg. Side 2: 1. A Saucerful Of Secrets, 2. See-Saw, 3. Jugband Blues.

"Their music reaches from blues to jazz into space", proclaimed the original liner notes to this highly collectible record, just released in 1968. Hailing from Boston, the Far Cry were a talented seven-piece blending psych rock and r&b, in the vein of Blood, Sweat & Tears and Rare Earth, with a further look into the realms of Beefheart Magic Band and John Cipollina Quicksilver Messenger Service. Their sole album still maintain a distinctive sound, melting acid guitar, sax and even vibraphone, organ and conga.

New 24 bit /96 kHz transfer taken from the original master tapes. Limited Smoke Colored Vinyl w/ Deluxe Silver Foil Jacket.

Formed in 1967 as a psychedelic electronic duo featuring Dan Taylor on drums and Simeon on a homemade synthesizer consisting of 12 oscillators (and an assortment of sound filters, telegraph keys, radio parts, lab gear and a variety of second hand electronic junk), SILVER APPLES quickly gained a reputation as New York’s leading underground musical expression. Their pulsating rhythmic beats with the use of electronics laid the groundwork for what would become“Krautrock” Silver Apples was released in 1968 and still remains an innovative and revolutionary album. Their highly influential sound has influenced countless bands from Stereolab, Beastie Boys, Blur and more. Edition of 500 copies.

Here is Beybonlar Orkestrasi. Ultra rare Turkish heavy psychedelic single by Beybonlar from 1969.

Amazing stuff from the teenagers band that the drummer was only 12 years old when they recorded the tunes Side A is Gelin Ayse (Bride Ayse) which is very sad traditional Turkish folk song that arranged by the psych form Side B is Nenni (Lullaby) that is a traditional tune, but what a traditional tune by the teenagers!!! Enjoy it..!

Classical infused psych from NY groovers Ars Nova! Through their creative use of medieval modes, hook-driven pop, & trombone, Ars Nova delivers psychedelia within a classical & prog rock lens, a style that’s their own, yet recalls bands like Left Banke, Honeybus, and Aphrodite’s Child - all who were experimenting with the short-lived baroque pop craze. Pressed on green vinyl! Ars Nova was something totally different for the musical ears of 1968, and still sounds fresh and exciting today, when you think of the great albums of ‘68, like Abbey Road, White Light/White Heat, The Hangman’s Beautiful Daughter, The Move, Electric Ladyland, This Was or Wonderwall Music shows how influential the year was and yet, Ars Nova with its wide sphere of influences has nothing in common with the trends of the year. The only albums that it can be vaguely compared to is either the Velvet Underground or United States of America, both bands that, like Ars Nova, bucked against existing trends and the end of psychedelia, instead preferring to go their own unique way. This is American progressive music, and takes the art of music making into a different genre, an alternative alleyway. The intelligence and musical nous that spans [this album] is really worth diving into and enjoying. It’s always great to get to hear albums like this, as it provides a counterpoint to the contemporary of the time and gives a real insight into the underground and alternative scene of that era. The beauty of being underground and away from the mainstream is that something that is not of its time ends up being timeless.

A Twangy Touch On 1960s Hits!

As one of America’s most influential guitarists, Duane Eddy’s famed twangy, reverb-drenched guitar shines on a wide variety of pop-rock hits, standards, and more!

Backed by two drummers, four more guitars, organ, piano, bass, saxes, and that's just the beginning, Duane goes unafraid at the kind of tunes that normally are "one person songs" Like "Ballad of the Green Berets" which becomes a twang-bang march under Duane's banner. Like "Monday, Monday" which was "The Mamas and Papas" and now has the wild newness of Duane Eddy.

After rising to fame in the late ‘50s with “Rebel Rouser,” Eddy’s influence on radio inspired musicians like George Harrison and Bruce Springsteen. Rockabilly and country music were both major factors in Eddy’s trademark sound; heavy, catchy guitar riffs over a ska-type beat. His hits included “Peter Gunn,” “Because They’re Young,” and “Twistin’ ‘n’ Twangin’.”

As music morphed into melodic sunshine pop, Eddy adapted his sound to fit chart hits of the ‘60s in his own twangy style.

Legend On Legend!

Eddy’s superb reverb-drenched renditions of Dylan’s biggest hits gives your ears a fresh take on these familiar favorites. Full of twang and gut bucket harmonica, this collection of 12 songs encapsulates the ‘60s in a way only Duane Eddy could.

Originally released in 1965, the album has remained one of the rarest and hard-to-get collectibles for Duane Eddy fans everywhere. Produced by Lee Hazelwood, the album is completely instrumental and showcases Eddy’s individual stylings of the 1960s.

Eddy’s guitar romps and soars through Dylan’s brain waves – translated in this album into notes which build and explode into bar lines of enjoyable melodies. By instrumentally interpreting 12 of the significant songs of the 60’s, Eddy proves there is quality and richness in popular music, too often knocked down for its tendency toward shrillness and over-amplification.

What Bob Dylan is capable of saying with his magical way with words, Duane Eddy is capable of saying instrumentally. As you will undoubtedly hear, it’s a happy marriage.

Known as ‘the Architect of Rock ‘n’ Roll,’ the flamboyant rhythm and blues extrovert, Little Richard, made an incredible impact with unorthodox piano playing and rasping, shouted vocals, yielding a series of pivotal hits in the mid-1950s, but he abandoned secular music for gospel following a tour of Australia in 1957. Lured back into rock by promoter Don Arden, his UK tour featuring The Beatles as support, Little Richard Is Back was his comeback set for Vee Jay, his voice now deeper and seasoned; the range of covers are tackled with plenty of pep, and original ‘Groovy Little Suzy’ was co-written by Harry Nillson. All hail the King!

Never before reissued, this legendary 1968 EMI recording is a revered Indian jazz rarity; a collectors’ holy grail.

Raga Jazz Style is an original Indian excursion into Indo-jazz fusion. A one-away recording from the almost unknown Bombay jazz scene, it is among the few jazz LPs to hail from the subcontinent.

Produced by David Briggs (Neil Young, Alice Cooper) and recoreded at famous Wally Heider Studio 3 in Hollywood, CA during 1969, their self-titled album features ten original compositions, with essential contributions from the four members of the band. Summerhill certainly spotted a late-1960s West Coast vibe, including Hendrix-Rock style ("Bring Me Around"), sunshine pop ("Soft Voice") and even a touch of ‘flower-jazz’ ("What Can I Say").

First ever official reissue of Nancy & Lee’s classic 1968 duet album
Definitive reissue with Nancy’s involvement
Includes the bonus tracks, “Tired Of Waiting for You” and “Love Is Strange,” from the album sessions
Newly remastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin
Vinyl pressed at RTI
Q&A with Nancy & GRAMMY®-nominated reissue co-producer Hunter Lea
Never-before-seen photos from Nancy Sinatra’s personal archive
Beautifully packaged and expanded gatefold LP featuring a 20-page booklet

Light in the Attic is thrilled to announce the first official reissue of Nancy & Lee: the highly-influential 1968 duet album from Nancy Sinatra and Lee Hazlewood. This definitive edition of Nancy & Lee features newly-remastered audio by the GRAMMY®-nominated engineer John Baldwin and includes an array of exclusive content, including a new interview with Nancy, never-before-seen photos, and two bonus tracks from the album sessions: an ethereal cover of The Kinks’ “Tired of Waiting for You” and an uptempo version of “Love Is Strange” (first made famous by Mickey & Sylvia in 1956). This release marks the official debut on vinyl for both tracks.

Nancy & Lee can be found in a variety of formats, including vinyl, cassette tape, CD, 8-track, and digital. The vinyl LP, pressed at Record Technology, Inc. (RTI), is presented in an expanded gatefold jacket and features the iconic, original cover photo by Ron Joy. Inside, a 20-page booklet offers an array of photos from the legendary singer, actress, and activist’s personal collection, as well as an in-depth Q&A with Sinatra, conducted by the reissue’s GRAMMY®-nominated co-producer, Hunter Lea (also available in the CD package). In addition to the classic black vinyl pressing, a selection of colorful variants can be found exclusively at NancySinatra.com, LightInTheAttic.net, independent record stores and select online retailers.

In celebration of the release, Nancy Sinatra and fellow musician and longtime friend Don Randi (The Wrecking Crew) visited Record Technology, Inc. (RTI) in Camarillo, CA to take a tour of the plant and get a sneak peek at the Bootique-exclusive pressing of Nancy and Lee. A short video piece documenting the day, including new interviews with Sinatra, Randi, and RTI plant manager, Rick Hashimoto is available here.

MORE ABOUT NANCY & LEE

When Nancy – the eldest daughter of Frank Sinatra – first met Lee Hazlewood in 1965, she was a demure, 25-year-old divorcée, who was struggling to find her place as an artist amid the changing musical landscape. At the urging of her label, she was introduced to the Oklahoma-born songwriter, Lee Hazlewood, who had found success working with guitarist Duane Eddy. While Sinatra and Hazlewood hailed from vastly different worlds, they were about to embark on a partnership that would change the course of their lives. Just months after meeting, Sinatra scored her first No.1 hit with “These Boots Are Made For Walkin’.” Written and produced by Hazlewood, the song became Sinatra’s signature tune – transforming her into a confident and commanding feminist icon.

Initially, Hazlewood maintained a behind-the-scenes role with Sinatra, enlisting arranger and composer Billy Strange, as well as other members of The Wrecking Crew (the famed Los Angeles session musicians) for the singer’s best-selling 1966 debut LP, Boots. But when they returned to the studio later that year for Sinatra’s sophomore effort, How Does That Grab You?, Hazlewood joined the singer for a duet of his song, “Sand.” Over the next year, as Sinatra’s star rose, the artists continued to collaborate in the vocal booth, finding success with “Summer Wine,” “Lady Bird,” and the cinematic “Some Velvet Morning” (all penned by Hazlewood). In 1967, just months after Johnny Cash and June Carter Cash scored a country hit with “Jackson,” Sinatra and Hazlewood released a pop version of the offbeat song, landing in the Top Ten across Europe and peaking at No.14 in the US.

Recalling her duets with Hazlewood, Sinatra laughs, “we used to call it beauty and the beast!” Voices with no blend.” Indeed, no one could have predicted that these two contrasting voices (and personalities) would work together quite so well. Praising the duo’s “sonic alchemy,” Hunter Lea writes, “rarely in music has there been such an unlikely collaboration: Nancy, the sassy and sweet songstress contrasted by Lee, the gruff, psychedelic cowboy. A harmonic partnership that defies conventional logic yet yields so much beauty.”

Before long, it seemed only natural for the artists to release an entire album together. In addition to compiling their recent duets (many of which appeared on Sinatra’s solo LPs), the duo recorded several new covers and Hazlewood originals. Billy Strange and The Wrecking Crew provided lush orchestral arrangements, as the two artists performed a range of material, including folk, pop, and country songs, with a twist of psychedelia.

Throughout the album, a palpable chemistry can be heard between Sinatra and Hazlewood – from the frisky banter on “Greenwich Village Folk Song Salesman” to the tongue-in-cheek delivery of “I’ve Been Down So Long (It Looks Up To Me).” But the artists also reveal their softer sides – particularly in the romantic balladry of “Sand.” Their languid rendition of “You’ve Lost That Lovin’ Feeling,” meanwhile, is downright erotic, despite the lyrics. But, as Sinatra asserts, her decades-long relationship with Hazlewood was always platonic. “We had sort of a love/hate relationship,” she explains. “Maybe it was a sexual tension because we never had any kind of affair. I don’t know exactly what it was, but it worked.”

That je ne sais quoi certainly did work. Upon its release in the spring of 1968, Nancy & Lee became a critical and commercial hit on both sides of the Atlantic, peaking at No.13 on the Billboard 200 and No.17 in the UK. By 1970, the album was certified Gold by the RIAA. Over the decades, however, the appeal of Nancy & Lee has only grown, while the album has amassed an enduring cult status that few titles achieve. Multiple generations of artists, including Sonic Youth, Lana Del Rey, and the Jesus & Mary Chain, have cited Nancy & Lee as an influence.

In recent years, Nancy & Lee has also inspired a groundswell of recognition from such outlets as Rolling Stone, which ranked the pair at No.9 on their 20 Greatest Duos of All Time list. Pitchfork included Nancy & Lee in their “Best Albums of the 1960s” roundup, hailing the record as “a document of a flawless collaboration.” The UK’s Far Out Magazine declared Nancy & Lee to be “a masterpiece that still ripples in the sonic waves today.” NPR, meanwhile, noted that “Sinatra and Hazlewood masterfully marry sunshiny orchestral elements with lyrics that dig at something darker about the human condition.” They went on to praise Sinatra’s work on Nancy & Lee as “some of the best that she’s ever recorded…it proved that she would hardly allow herself to be pigeonholed into one-hit wonder territory. Here, she made it clear that she was capable of so much more.”

Today, Sinatra reflects fondly on her time with Hazlewood. “The most fun was when there were two mics in the studio, and Lee was on one and I was on one,” she recalls. When asked about the lasting appeal of Nancy & Lee, the artist credits much of its success to her partner. “Lee has a following that continues to this day. He’s beloved; people love him all over the world.”

Sinatra’s legacy, meanwhile, continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, 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 Records for Nancy Sinatra: Start Walkin’ 1965-1976, a definitive survey of her most prolific period. At the end of 2021, LITA reissued Sinatra’s classic debut, Boots, while the label will continue to celebrate Sinatra with a variety of special releases, exclusive merch, and more.

2021 repress

Following on the heels of Light In The Attic’s vinyl LP release of One From The Vault comes the next in the trilogy of From The Vault releases by the Grateful Dead. These releases are distinguished from the more abundant Dick’s Picks series in that Dick’s Picks are “direct from the soundboard” recordings, while the From The Vault series were professionally recorded on multi-track tape and then mixed down (decades) later for release. Recorded live at the Shrine Auditorium (Los Angeles) in 1968, this is the worldwide vinyl debut release of this legendary show featuring the 6 piece line-up of Pigpen, Garcia, Weir, Lesh, Kruetzmann, & Hart, freshly remastered in 2014 by Joe Gastwirt for maximum mind expansion. 9 dynamic songs on 8 sides of wax, this show has previously only been available on CD; this is the first ever vinyl LP release!

180 gram vinyl!

Blue White Marble.

Released only one year after their psychedelic debut, The Fallen Angels’ sophomore album, It’s A Long Way Down, lays it all out on the line. Unfettered by label interference, The Fallen Angels’ second and final record highlights all the band has to offer. Off-kilter time signatures, experimental soundscapes, and white-hot guitar licks abound across It’s A Long Way Down’s dozen tracks, with lead singer Jack Bryant’s vocals serving as a guiding light through the paisley-patterned tunnel. Album high points like “Poor Old Man” and “Something New You Can Hide In” tease early signs of progressive rock with their weird and winding melodies, and impress with rock-solid instrumentation. An early marvel of psych rock that holds up to this day. Mastered from its original tapes and pressed at RTI on color vinyl, in its original gatefold design.

180 gram pressing!

Surfers’ Choice is a true landmark of surf rock, being the album that established the genre more than any other release. First issued in 1962 and mostly recorded at the Rendezvous Ballroom in Balboa Beach, midway between Los Angeles and San Diego, it has rollicking surf anthems like ‘Surf Beat,’ ‘Shake ‘N Stomp,’ ‘Surfing Drums’ and ‘Take It Off,’ as well as Dale’s adaptations of ‘Night Owl,’ ‘Fanny Mae’ and a strangely orchestrated take of ‘Sloop John B.’ With a soaring guitar that’s drenched in reverb at centre stage and Dale’s gritty vocals varying the action, this is the enduring start of surf rock and a blistering start at that!

Originally released on Ray Charles' Tangerine label, and for too long considered a collector’s item, "Falling in Love is Wonderful" can be easily considered as one of Jimmy Scott's essential albums. Perfectly backed by Marty Paich and Gerald Wilson sophisticated arrangements Jimmy Scott lays some of the best vocal performances in his entire career. Classic standards such as "There Is No Greater Love" and "How Deep Is The Ocean" reach new heights and flourish through his unique voice.

Classical infused psych from NY groovers Ars Nova! Through their creative use of medieval modes, hook-driven pop, & trombone, Ars Nova delivers psychedelia within a classical & prog rock lens, a style that’s their own, yet recalls bands like Left Banke, Honeybus, and Aphrodite’s Child - all who were experimenting with the short-lived baroque pop craze. Pressed on green vinyl! Ars Nova was something totally different for the musical ears of 1968, and still sounds fresh and exciting today, when you think of the great albums of ‘68, like Abbey Road, White Light/White Heat, The Hangman’s Beautiful Daughter, The Move, Electric Ladyland, This Was or Wonderwall Music shows how influential the year was and yet, Ars Nova with its wide sphere of influences has nothing in common with the trends of the year. The only albums that it can be vaguely compared to is either the Velvet Underground or United States of America, both bands that, like Ars Nova, bucked against existing trends and the end of psychedelia, instead preferring to go their own unique way. This is American progressive music, and takes the art of music making into a different genre, an alternative alleyway. The intelligence and musical nous that spans [this album] is really worth diving into and enjoying. It’s always great to get to hear albums like this, as it provides a counterpoint to the contemporary of the time and gives a real insight into the underground and alternative scene of that era. The beauty of being underground and away from the mainstream is that something that is not of its time ends up being timeless.

The 2nd chapter, yet a revelation. Released on Philips in 1968, right after their ’67 self titled album this iconic psych-folk masterpiece still detain a refreshing and revelatory approach. The Chicago band, named after American supernatural fiction writer, is on the verge of some weird songwriting experience, as suggested by some explicit titles as Mobius Trip or At The Mountains Of Madness. Celestial electro-acoustic harmonies and spacey keyboards gave way to mystical show, still entertaining nowadays.

Officially reissued for the first time on vinyl here's a definitive pop psych masterpiece, originally released in 1968 on Dunhill Records. It's not a legend that John Lennon named the band after an art book by Yoko Ono. The Beatles were closely involved in their early career, signing them to Apple Publishing. Lennon and McCartney produced their single "Lullaby". Here's their debut album with extra tracks taken from their 1967-1968 London Session Apple.

Signed By Simeon

Limited edition for Record Store Day 2015!

Five Live Yardbirds – 1964, their first live album contains some of Eric Clapton's earliest recordings. It was recorded at the legendary Marquee club in London. This lineup features Eric Clapton/lead guitar, Keith Relf/ lead vocals & harmonica, Chris Dreja/ rhythm guitar, Paul Samwell-Smith/bass and Jim McCarty/drums. This deluxe package includes color vinyl, an OBI side spine and printed inner sleeve.

Sir Tom Jones UK No.1 single It’s Not Unusual, first released in 1965, is an international megahit. Written by Les Reed and Gordon Mills, the song also made waves in the US reaching No. 10 in the charts paving the way for Sir Tom’s global success. Released for the first time on 7” vinyl since 1965, this limited edition amber record is key to any fans collection.

This seminal British blues album gave Clapton the chance to finally show his chops, not surprisingly, launching Clapton into stardom. Recorded in 1966 during Clapton's short stint with the Bluesbreakers, just after leaving the Yardbirds (the birth place of other legendary guitar players like Jimmy Page and Jeff Beck) and before he joined Cream. Includes 4 bonus tracks. Light blue vinyl LP.