Rock & Indie 332 Items

Breezy Sunshine-Pop / Soft-Rock / Psych-Pop from California, 1970, featuring Peter Clark a.k.a Chet DeMilo.

Crystal clear recording, awesome vocal harmonies, superb musicianship, bossa & blue-eyed-soul-jazz touches,folk-rock moves…

In 1969 Chet Demilo was appearing at Donkin's Inn, Marina Del Rey, where he met Arnie Marcus and Ray Hames, who together were to become part of an incredible slice of history. Donkin's became the hottest and most famous destination in Southern California for the next seven years, and Chet was the magnet that started the new singles scene in Los Angeles with Marina Del Rey as ground zero.

Arnie sat in on bongos with Chet from time to time, and Ray, who was managing an apartment complex that housed 200 flight attendants, just happened to have a unit available!! Chet moved in, and he and Ray started working on songs together. Chet suggested forming a vocal group with Arnie and SST was born. For three months they practiced the intricate vocal harmonies and in early 1970 cut the album, "Soft Soul Transition". A thousand records were pressed, and an album release party was held at Donkins where SST gave their one and only performance that night!

There was interest in the project at Burt Bacharach's Blue Seas Music, but it was not to be and SST faded away...until more than 20 years later when the SST album was discovered by a new generation of DJs and collectors looking for cool and groovy sounds from the 60s-70s.

Debut album by the English rock band The Soft Machine (named after William S. Burroughs' novel), one of the best known exponents, along with Caravan, of the "Canterbury Sound". This masterpiece was released in 1968 and features the trio of Robert Wyatt (drums & vocals), Mike Ratledge (organ & piano), and Kevin Ayers (bass, vocals & piano). This was the only album by the band showcasing Ayers. Additional personnel includes bassist Hugh Hopper (who would later become a permanent member after Ayer's departure), and the NYC vocal group The Cake. The Soft Machine was one of the first albums recorded at the legendary Manhattan studios The Record Plant, which had been inaugurated with Jimi Hendrix's Electric Ladyland that same year. The album was given a 5-star rating on AllMusic by reviewer Richie Unterberger. The group is considered one of the most influential underground bands of their era.

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.

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.

Search Party was the brainchild of (then Reverend) Nicholas Freund. Having left Wisconsin to join a burgeoning West Coast religious scene, Freund made his way to San Francisco in 1968 to lay down this sole effort with some of his students. The result is a spooky trip that’s equal parts acid-soaked mind expansion and God. Laced with haunting vocals and dreamlike passages, sinister farfisa, blasts of fuzz guitar and downer lyrics, Montgomery Chapel is psychedelic music at its most evocative and thanks to its depth and sense of anxiety, most truly spiritual. The ominous nine-minute drifter 'So Many Things Have Got Me Down,' for example, tackles the difficulties of an unfulfilled married life, depression and spiritual apathy, all while riding a stripped down, grooving beat. If you can imagine a lo-fi United States of America/Jefferson Airplane hybrid, you have an idea of how cool this band sounds. Only 600 copies were pressed and issued on the custom Century label; they've become holy grails of collectors. Artists as disparate as Current 93's David Tibet and Sonic Boom have heaped praise on it. We're thrilled to give this lost classic a proper reissue. Audio restoration by Anders Peterson. Insert is packed with info thanks to Nick Freund, who was gracious enough to delve into his memory, scrapbook, and photo albums to help us flesh out the portrait of one of the most potent—and perhaps most unlikely—psychedelic groups to ever record an album.

The long lost 1968 debut album by singer-songwriter, Scott Fagan, once tipped to be bigger than Elvis, is set for release on 9th February 2024 via Earth Recordings. 'South Atlantic Blues' will be reissued for the first time in its original artwork, with an iconic portrait of Fagan by famed rock photographer, Joel Brodsky, following a widely celebrated 2015 release.Revisiting his mystical, mythical, and deeply soulful masterpiece, this psych-folk gem doffs a Tropicalia hat direct from downtown New York. "His songs embrace a broad sonic fantasia, swirling in '60s New York R&B and '40s jazz, as well as the Caribbean rhythms of calypso, meringue and Pachanga." New York TimesScott Fagan's story is worthy of a movie in itself. A swinging hipster who landed in 60s Greenwich folk scene, escaping the abject poverty of his U.S. Virgin Islands upbringing, Fagan found himself mentored by the Brill Building's Doc Pomus and Mort Shuman, and feted as the next big thing. "Forget Rodriguez, forget Searching for Sugar Man," says Sharyn Felder, daughter of the late Doc Pomus, the legendary songwriter who signed Fagan to management in 1964. "Scott was so much more. He was cut from a different cloth."'South Atlantic Blues' is the perfect soundtrack to this tale, an epic song cycle wrapped around an impassioned love story, driven by Fagan's dense, allusive lyrics, and production by Elmer Jared Gordon (Pearls Before Swine) and rich arrangements by Horace Ott (Nina Simone, Sam Cooke, The Shirelles). The Earth Recordings reissue coincides with a resurgence in activity for Fagan, with a new album in the works - the never-recorded soundtrack to 'Soon', the 1971 Broadway rock musical he co-wrote and starred in - and a documentary 'Soon: the Story of Scott Fagan' currently filming through Scissor Kick Films, from director Marah Strauch, writer Chris Campion (who rediscovered the singer-songwriter in 2015), and producer Eric Bruggeman.Classic Black Vinyl + DLC

180 Gram 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.

Although this amazing U.S. popsike gem seems to have remained under the radar since it was first released in 1969, copies of an original pressing of this LP fetch several hundreds of dollars among the small circle of collectors that have managed to discover the amazing works of Don Beckmann and David Rea.

Their only LP was originally released on their hometown Denver’s Stylist Records label back in 1969. The production is amazing: to the strength of the duo’s compositions and their guitar and vocal talents, a complete band is added, plus impressive orchestrated arrangements with scores provided by Dan Goodman and Mark Schuster and conducted by Ben Kaufman, the result being a deliciously beautiful album that could be a missing link between the works of Simon & Garfunkel and those of soft pop maestros like The Free Design or Harper's Bizarre or baroque pop legends The Left Banke.

Sacred Mushroom -- led by future Pure Prairie League member Larry Goshorn (guitar/vocals) and featuring brother Danny Goshorn (vocals) -- were a short-lived rock/blues quintet based in Cincinnati, OH. Their efforts coalesce on this, the band's self-titled debut (and only) long-player. The album contains a blend of proficient originals as well as a pair of well-chosen cover tunes, such as the blues standard "Mean Old World" and the Kinks' "I'm Not Like Everybody Else." While their name conjures images of late-'60s psychedelic or acid rock, Sacred Mushroom's roots were decidedly more bluesy than trippy.

Cool Rock&roll, Surf, Beat AND Garage-rock From Philippines IN THE 60s!! Led by teen guitar wizard Ramon “rj” Jacinto, RJ & THE Riots was one of the first rock&roll /beat bands from the Philippines and certainly the first to release original rock n’ roll songs with lyrics in their own country. This is the first ever reissue of their second album, originally released in 1964 and now impossible to find (four stars rating in Hans Pokora’s 1001 Record Collector Dreams book). Including original songs like the monster instrumental “Fuzzed”, the garage sounding “Advertising Man”, “Girl Nice”, the surf rock of “Trip To Manila” and more plus a few rad covers (Beach Boys, Buddy Holly…). The album was recorded at the home studio built by whizz kid Ramón Jacinto, who also operated his own record label (RJ Productions), magazine (Teenstone) and radio station (from his parent’s backyard!) RJ and the Riots started as a high school band of classmates composed of Ramon “rj” Jacinto (lead guitar), Alan Austria (bass guitar), Jimmy Colayco (rhythm guitar) and Bernie Evangelista (drums) with ages ranging from 15-17 years old. They were one of the first bands with electric instruments in the Philippines and this album marked the transition from instrumental rock to vocals. Today, RJ is a well-known businessman (founder of a TV and radio network), Pinoy rock&roll icon and continues his musical journey performing rock n’ roll hits of the 50’s – 80’s at his own Bistro “rj” music lounge, where the top of Philippine society, movers and shakers, go to dance and sing to RJ’s rock n’ roll classics. *Remastered sound and color insert with liner notes & rare photos. *Download card with the album plus one bonus track from a rare 45 Riyl: Ventures, Beach Boys, Buddy Holly, Stones, JAN & Dean, BeatLES…

Limited to 1000 copies.

The Rationals are one of the cornerstone bands of Detroit’s ever-storied rock history. Artists such as Bob Seger, Ted Nugent and Brownsville Station were influenced by The Rationals. Coming out of Ann Arbor in 1964, The Rationals gave an authentic R&B twist to the new rock ‘n roll styles of the British Invasion. They broke through on Jeep Holland’s A2 label in 1965 and found a hit with a cover of Otis Redding’s “Respect” on the Cameo Parkway label in 1966—reaching a spot on the Billboard Hot 100. By 1967 The Rationals were firmly embedded in the Detroit music scene alongside such contemporaries as MC5, The Stooges, Bob Seger System and the Amboy Dukes. They were frequently featured on bills at the legendary Grande Ballroom, and acted as supporting act for Cream, Jimi He ndrix, and Pi nk Floyd around the Detroit area. Their sole studio LP was self-titled and released by Crewe Records in 1970. Their matured sound included touches of soul, hard rock, psychedelia, and the blues which spawned originals like “Guitar Army,” and showcased their soulful talents on covers such as “Temptation ‘Bout To Get Me”.

This Record Store Day 2022 reissue of the 1970 LP has been newly remastered and pressed on orange and yellow splatter vinyl at Third Man Pressing in Detroit.

Barefootin' Temptation 'Bout To Get Me Guitar Army Something's Gotta Hold On Me Deep Red Sunset Glowin' Handbags and Gladrags Ha Ha Zip-A-Dee Doo-Dah (Bonus Track)

Limited to 2000 copies.

Rare Bird are perhaps best remembered for having the distinction of being the first act to be released on Tony Stratton Smith’s gloriously eclectic label Charisma records (also the home of Genesis, THE Nice and VAN DER Graaf Generator to name but a few) and for their excellent 1970 hit single ‘Sympathy’. Like fellow future Charisma stable mates Van Der Graaf Generator, Rare Bird was formed around the principle of keyboard dominated progressive rock which eschewed the use of guitars. In December 1969 their eponymous debut album was released to great critical acclaim.

The third long-player from San Francisco psychedelic icons Quicksilver Messenger Service (qms) is a direct contrast from their previous discs. Shady Grove (1969) is comprised mostly of shorter and self-contained pieces as opposed to the long and extended jams that were so prevalent on their self-titled debut (1967) and Happy Trails (1969). Ironically, the one stretched-out instrumental is courtesy of their latest acquisition -- Brit recording session guru Nicky Hopkins (keyboards). Another possible reason for the shift in style as well as personnel is the conspicuous absence of Gary Duncan (guitar) -- who is rumored to have been a "guest" of Bay Area law enforcement at the time. The band incorporate a number of different styles on the album. Kicking off the disc is an up-tempo rocking version of the traditional Appalachian folk song "Shady Grove." The QMS reading is highlighted by John Cipollina's trademark fluid fretwork and a familiar "Bo Diddley" backbeat -- reminiscent of both "Who Do You Love" and "Mona" from the live ensemble LP Happy Trails. (all music)

Quicksilver Messenger Service's debut effort was a little more restrained and folky than some listeners had expected, given their reputation for stretching out in concert. While some prefer the mostly live Happy Trails, this self-titled collection is inarguably their strongest set of studio material, with the accent on melodic folk-rock. Highlights include their cover of folksinger Hamilton Camp's "Pride of Man," probably their best studio track; "Light Your Windows," probably the group's best original composition; and founding member Dino Valenti's "Dino's Song" (Valenti himself was in jail when the album was recorded). "Gold and Silver" is their best instrumental jam, and the 12-minute "The Fool" reflects some of the best and worst traits of the psychedelic era. (all music)

Reissue for the 1969 live album for Quicksilver Messenger Service, recorded live in 1968 at the Fillmore in San Francisco.

First ever official vinyl reissue of this bluesy psychedelic hard-rock album from 1969.

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.

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.

One album into their career in 1969, Mutantes showed few signs of musical burnout after turning in one of the oddest LPs released in the '60s. Similar to its predecessor, Mutantes relies on an atmosphere of experimentation and continual musical collisions, walking a fine line between innovation and pointless genre exercises. The lead track ("Dom Quixote") has the same focus on stylistic cut-and-paste as their debut LP's first track ("Panis et Circenses"). Among the band's musical contemporaries, Mutantes sounds similar only to songs like the Who's miniature suite "A Quick One While He's Away" -- though done in three minutes instead of nine, and much more confusing given the language barrier. The album highlights ("Nao Va Se Perder por Ai") and ("Dois Mil e Um") come with what sounds like a typically twisted take on roots music (both Brazilian and American), complete with banjo, accordion, and twangy vocals. Though there are several other enjoyable tracks, including "Magica" and a slap-happy stomp called "Rita Lee," there's a palpable sense that the experimentation here isn't serving much more than its own ends. If the first album's relentless eclecticism did in fact occasionally result in dry passages, it's especially true here

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.

‘O’Seis’ are the core members of the mighty and legendary ‘Os Mutantes’ – namely Rita Lee and brothers Arnaldo and Sérgio Baptista, accompanied here by Raphael Vilardi, Maria ‘Mogguy’ Malheiros and Luiz Pastura. The record features anthemic, heavyweight, psychedelic rock on ‘Suicida’ b/w deeper, tripped-out MPB-folk on ‘Apocalipse’. Both tracks were written by Rita Lee, assisted by Tobe and Vilardi respectively. The term ‘holy grail’ is a little overused these days perhaps, but this definitely is one. Originally pressed and released by the band themselves in 1966, apparently only a handful of copies are known to exist (sources/numbers vary). The record has changed hands for up to a staggering $5000! Ouch.
Official Mr Bongo reissue. Licensed courtesy of Warner Music UK LTD.

180 gram vinyl

The sole album by cultish psychedelic pop band from Chapel Hill, North Carolina. They formed in 1964 and split up after their debut, which appeared on prestigious label Decca in 1968. The lines "Is it much too much to ask / Not to hide behind the mask?" from "If You Only Had the Time" weree sampled on MF Doom's 2005 song "The Mask". All along with classic blues standard ‘Tobacco Road‘ (covered by anyone from The Animals to Brother Jack McDuff via Jefferson Airplane) and contemporary folk number ‘Morning Dew’ (originally penned by Bonnie Dobson) the record shows a series of original numbers verging on the happiest side of jangle-rock with a ‘nuggets’ feel all in all.

American Rhythm 'n' Blues singer Nathaniel Mayer (1944-2008) is mostly remembered for his raw vocal timbre and for his particularly wild live act. Originally released in 1963 on Detroit based label Fortune Records, "Going Back To The Village Of Love" still sounds like an incredibly explosive hyper-energetic irreverent piece of pure Detroit sound.

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.