Rock & Indie Vinyl 354 Items

Jackson C. Frank’s eponymous album is the embodiment of folk legend. Issued in late 1965 on the UK Columbia label, it was for many years more famous for its producer (Paul Simon) and the musicians who would go on to cover its songs (Nick Drake, Bert Jansch, Sandy Denny) than for the hauntingly beautiful music contained inside.

Frank’s backstory certainly adds to the legacy: born in Buffalo, New York, he used the settlement from a childhood accident to sail to London where he quickly became a fixture of the bustling folk scene. Performing a mix of blues standards and originals, he met fellow ex-pat Paul Simon who would put up the money to record Frank’s only LP.

For such a sparsely recorded work, Jackson C. Frank covers a lot of ground. From the rugged, world-weary opener “Blues Run The Game” to the stunning melancholy of “Milk And Honey,” Frank’s nimble acoustic guitar and passionate howls are all that is needed to power such authentic songwriting. Captured in a single-day session, these ten tracks are stark, gritty and seemingly out-of-place with time. There may be no ‘60s folk record that is simultaneously as rare and influential as Jackson C. Frank’s self-titled debut.

All time classic album, including 'Crosstwon Traffic', 'Voodoo Chile' & more!

Why you'll love it...
Townes Van Zandt’s work, as far-reaching and as universal as it has become, begs for possessorship. It’s a love language understood by all who find it, yet one that remains acutely difficult to translate to those who haven’t.



No one understood this better than his earliest fans. It’s perhaps why his first studio album, For the Sake of the Song, remains a point of controversy among anyone who discovered Townes Van Zandt outside of these LP’s grooves. Townes Van Zandt the songwriter was the antithesis of bells and whistles, and so an album with such accoutrements, as this album has in spades, rings false — however unfairly — among purists. Taken in context, though, For the Sake of the Song is a gorgeous study in polarity. Each anchor is an artist from wildly different backgrounds, united under the profound effect of songcraft.

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.

Audiophile 180 gram pressing, approved by the Hendrix family!

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.

Limited edition of 100 copies!

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.

180 gram pressing!

All time classic album, including 'Hey Joe' & 'Purple Haze'!

Ultra loud heavy psychedelic rock from Colorado, late 60s, with loads of fuzz guitar all over.

Dragonfly were actually a band called The Legend, who changed their name just when they were recording their self-titled album. Originally released by the Megaphone label in 1968, Dragonfly is a hard-psych classic, highly sought-after by collectors since day one. Back in 2012 we did the first official vinyl reissue and we now present a new, improved repress with expanded liner notes and newly sourced / remastered audio, sounding better than ever.

*Official reissue with original artwork in gatefold sleeve *Newly audiophile restoration / remastering *Insert with liner notes and rare photos *Repro of the elusive original sticker

“This album is sure to share space at the top of your shelf with Plastic Cloud, Savage Resurrection and SRC for those special moments when you want to teach a young, unsuspecting psych convert just what that acid rock guitar thing was all about” - Aaron Milenski

2024 repress of "nora Guthrie - Emily’s Illness / Home Before Dark" (7") has been announced, and this time in Clear Blue Vinyl!! The new edition features a new binding design, a new label, a new jacket format, and a completely new edition that includes valuable photos and lyrics that could not be included in the previous edition! The long-awaited reissue that will bring tears to the eyes of psychedelic and soft rock fans alike! This is a must buy! Repressed for the first time in over 14 years. The new edition features a new binding design, a new label, a new jacket format, and a completely new edition that includes valuable photos and lyrics that could not be included in the 2009 edition! The daughter of American folk musician Woody Guthrie, sister of singer-songwriter Arlo Guthrie, and granddaughter of noted Yiddish poet Aliza Greenblatt, Nora Guthrie released her only and treasured single in 1967, at age 17.

Infectious rock&roll, surf, beat, girl group and ye-yé sounds by LAS Mosquitas, the first female beat band from Argentina.

Including their rare album from 1965 for the Music Hall label plus bonus tracks from singles and their impossible to find split EP with Los Gatos Salvajes.

Las Mosquitas (“The Little Flies”) consisted of Stella Maris Conde (Pupé) on vocals and guitar, María Cristina Medina (Nita) on bass, Ana María Millán (Nené) on vocals and guitar and Beatriz Cabrera (Dina) on drums. They performed their original compositions as well as Spanish sung covers of hits from the era. Producer Ricardo Romero of pioneering rock&roll Argentinean band Los Cinco Latinos took them under his wing and secured a deal with the Music Hall label.

They toured nationally and internationally, sometimes supporting Los Cinco Latinos, other times as the main act. Not only that, but they conquered every city they performed in, they were received by fans, ambassadors, presidents and their daughters, all eager to see Las Mosquitas on stage. Tours through Panamá, the Dominican Republic, Peru, Puerto Rico, Chile, Uruguay, Brasil, Curazao and Argentina were completed with fantastic public response and TV appearances.

The “Mosquitamania” was born and a string of singles and a full album on the Music Hall label followed. All of them are compiled here for the first time.

“Their music was a mix of ye-yé and beat and they dressed how you would expect the Beatles to dress if they had been women” - Gareth Wynne (Ugly Things)

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.

Released in 1967 on Reprise Records as a follow-up to 'Part One', 'Vol. 2' (the band's third LP!) takes the band into more ambitious and psychedelic territory than the '66 debut on Fifo Records and the first Reprise full-length, 'Vol. 2' maintains their unique pop sound mixed with ominous fuzz guitar, jumping from graceful folk-rock to wailing guitar freakouts, to multilayered avant-garde compositions at a moment's notice. This legendary LP sees its first ever reissue in mono, with sound taken from the original master tapes.

One of the most eagerly anticipated albums of 1968 by press and public, 'Cheap Thrills' met every expectation and then some. With the heartrending version of 'Piece Of My Heart' and a definitive cover of Gershwin's 'Summertime', the album (which consists of studio and live material) shot to the top of the charts and stayed there. The audio has been sourced from the original masters, and Robert Crumb's artwork (also known for creating Fritz the Cat and the iconic Keep On Truckin' comics) is meticulously recreated on this Music On Vinyl issue. A truly classic album and an important part of Rock history, this album is a time capsule for one of rock's most distinguished singers.

The release comes on 180g Vinyl.

Procol Harum is the eponymous debut studio album by the English rock band Procol Harum. Originally released in 1967 it now celebrates its 50th year anniversary.

Stereo version, freshly pressed on 180 gram vinyl!

180 gram vinyl

reissue on 180g vinyl with three bonus tracks

... one of the greatest albums of all time! ... 180 gram vinyl with bonus track 'chelsea girls'

Possibly one of the first crossover jazz-rock album ever, ‘Out of Sight and Sound’ was released in 1967 by ABC Records. The album was recorded by Rudy Van Gelder and produced by Bob Thiele. Featuring a stellar line up comprised of young talented guitar player Larry Coryell (soon to be a proficient solo artist on Vanguard) the record was a true expression of the musicians lifestyle and artist heritage. With drummer Bob Moses (Compost, Steve Kuhn) on board, second guitarist Columbus "Chip" Baker, saxophonist Jim Pepper (a native American who’s debut on Herbie Mann Embryo is still regarded as a masterpiece) and bassist Chris Hills, Free Spirits were possible the first fusion group around !

An acid-folk masterpiece finally revealed ! When two worlds collide here’s where the legacy of Tim Hollier begins, his first album was released on United Artists in 1968 and this long overdue re-issue is a definitive statement of the master genius. Guest on the opening night of a Beckenham folk club run by his friend David Bowie, Hollier recorded ‘Message To A Harlequin’ with the assistance of Donovan arranger John Cameron. Hollier was also a regular on London's folk club circuit for several years alongside the likes of Paul Simon, Al Stewart and Nick Drake. Here’s your chance to finally grab his visionary songwriting.

"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.

Les Marquis were an Austrian band active in the 1967-1971 period. Their debut single - Fire Horses - released in 1969, is one of the best Garage/Folk-Rock European gems of the late sixties. Limited edition of 400 copies.

The story of Japanese psychedelic band Apryl Fool and their eponymous debut album is simply extraordinary. It was the vehicle by which bassist Haroumi Hosono first came to prominence, years before he became known as the “Godfather of Japanese electronica” as the founding member and leader of Yellow Magic Orchestra, though this musical titan had work released prior to the group’s 1968 founding, such as the song “The Sea Of Summer Day,” recorded with Yuko Okuyama and released by King Records the year before. Drummer Takashi “Rei” Matsumoto was a Beatles maniac that had covered songs by Them and Sam & Dave in his earlier group, Burns, while pioneering prog-rock keyboardist Hiroyoshi Yanagida and guitarists Chu Kosaka and Eiji Kikuchi had all been part of a group called The Floral, formed in 1967 through the Japanese wing of the official fan club of The Monkees (whom they supported during a Japanese tour enacted in October 1968). In September 1969, Apryl Fool played behind musical theatre group Tokyo Kid Brothers, the recording issued in minute quantity as the Love & Banana EP, issued on Columbia Japan’s Musicolor subsidiary; Apryl Fool’s own LP, also issued on Musicolor that year, had extended spacey psychedelic freak jams in the form of “Tanger” and “Pledging My Time,” marathon blues-rock tracks such as “April Blues” and “Honky Tonk Jam,” with the employed English sounding fairly credible, though both parts of epic opus “The Last Mother Land” feature Japanese lyrics. Of course, the day that the LP was actually released is reportedly the day that Apryl Fool announced their termination, giving this scarce release another level of legend for connoisseurs.

Reissue of the band sole album, originally released in 1968 on Capitol Records. The record is a mixture of light psychedelic pop and folk. The band broke up shortly after failing to achieve commercial success or critical acclaim. The following year Artie Kornfeld, the record engineer of the album, went on to be the music producer of the Woodstock festival in 1969. Debbie Harry went on to join The Stillettos in 1974 and other bands until subsequently achieving success in 1976 fronting the new wave band Blondie.