Search "john+roberts" 678 Items

The LHI Years: Singles, Nudes & Backsides (196871)

Release: 2016 / US – Reissue

Genre: Rock & Indie

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Newly Expanded Deluxe Double LP Edition! Double LP expanded edition includes outtakes, demos and instrumentals, including 10 previously unreleased recordings 26 total tracks Album remastered from pristine LHI master tapes by GRAMMY®nominated mastering engineer John Baldwin Liner notes by GRAMMY®nominated reissue producer Hunter Lea including interviews with Torbjörn Axelman, Suzi Jane Hokom, Nina Lizell, Don Randi, Hal Blaine and Shel Talmy Rare film production photos from the Torbjörn Axelman archive Double LP housed in a gatefold jacket By the end of the 1960s Lee Hazlewood’s LHI Records had burned piles of cash, gone through a half dozen distributors and failed to achieve the kind of chart success “Boots” had promised. Fortunately for Lee there was a land where he was still on the top of the charts, a place where women flowed like Brännvin...Sweden was calling. Released as the last LHI LP, Cowboy in Sweden was a soundtrack to the 1970 cult classic film of the same name starring Lee Hazlewood. The film was a surreal psychedelic account of Lee’s journey to his new homeland, while the soundtrack was a perfect compilation of Hazlewood’s orchestral melancholy country pop songs. Recorded over a prolific globe trotting three year period, Lee’s peak on LHI records was ironically the label’s swan song.

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Lee Hazlewood

2LP | 2012 | US | Reissue (Light In The Attic)

38,99 €* 51,99 € -25%

2LP | 2024 | EU | Original (Music On Vinyl)

Release: 2012 / US – Reissue

Genre: Rock & Indie

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Cuts from essential albums like Cowboy In Sweden Features duets with Suzi Jane Hokom, AnnMargret and Nina Lizell Audio remastered from original tapes Unreleased song “I Just Learned To Run” Indepth liner notes & unseen photographs As a true legend of the great American songbook and a rebellious pioneer who left behind a lengthy trail of echo laden pop masterpieces, Lee Hazlewood’s influence continues to reverberate today. Between 196871, Hazlewood not only released his finest solo work, but produced numerous artists on LHI. From acidfolk and countryrock to poppsych and soul, LHI issued dozens of long forgotten 45s and LPs. This series will include material from LHI (remastered for the first time from the original analog tapes), along with Lee’s output for other labels, rarities, and unreleased gems.

With his handlebar moustache and booming baritone, Lee Hazlewood was one of the defining stars of the late ‘60s. Though he’s perhaps best known for his work with Nancy Sinatra (including writing megahit “These Boots Are Made For Walking”), Hazlewood did stunning work away from that particular glamour queen and found latter day champions in Beck, Sonic Youth, and Jarvis Cocker. Now, for Record Store Day 2012, we are kicking off our excavation of the Lee Hazlewood archives with this anthology, Singles, Nudes & Backsides, collecting the best of Lee’s solo songs and duets from his LHI (Lee Hazlewood Industries) imprint.

As a true legend of the great American songbook and a rebellious pioneer who left behind a lengthy trail of echo laden pop masterpieces, Lee’s influence continues to reverberate today. Between 196871, Hazlewood not only released his finest solo work, but produced numerous artists on LHI. From acidfolk and countryrock to poppsych and soul, LHI issued dozens of long forgotten 45s and LPs. This series will include material from LHI (remastered for the first time from the original analog tapes), along with Lee’s output for other labels, rarities, and unreleased gems.

See the sleeve: surrounded by nude girls, each wearing a fake moustache, Hazlewood wears a suit, eversoslightly awkwardly playing the role of the ‘60s playboy. Just like the picture, the songs present a man conflicted; he’s the tenderhearted romantic, the brokenhearted loser and the rugged cowboy, all in one. It’s there in the western swing of “Califia (Stone Rider)”, the loneliness of ”The Bed” and the bleak beauty of ”If It’s Monday Morning.” Hazlewood’s tremulous voice was made for duets (indeed, he wrote ”Some Velvet Morning”, one of the greatest of all time); here, Suzi Jane Hokom, AnnMargret and Nina Lizell play counterpart to his manly tones.

In the wonderful liner notes, written by British journalist Wyndham Wallace, the writer describes his friend Hazlewood as “a curmudgeonly, unpredictable sort at the best of times, as impatient with his own talent as he is with other people.” The Hazlewood Wallace knew was puzzled by the growing interest in him in the last two decades of his life, which was ended by cancer at age 78. That late flurry of interest saw him perform at the Royal Festival Hall in 1999, his first ever solo performance in the UK.

A natural wanderer, Lee lived a big life, fighting in the Korean War, working as a radio DJ in Phoenix, Arizona, setting up Viv Records in the ‘50s, working as a bigshot LA producer in the ‘60s, signing Phil Spector to his Trey Records label and prematurely announcing retirement in the wake of the mid‘60s British invasion. He didn’t: Nancy Sinatra came along, the hits started flowing and he continued producing characterful solo albums into the ‘70s, which saw his move to Sweden. By 2007, Hazlewood was living in Vegas, and begrudgingly enjoying that flurry of latterday interest in his work. This landmark compilation promises to create many more converts.

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V.A.

Country Collected

35,99 €*

Release: 2024 / EU – Original

Genre: Rock & Indie

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Carcascara II 2023 Repress

Carcascara

LP | 2022 | EU | Reissue (Hegoa Diskak)

29,99 €*

Keep Walkin': Singles, Demos & Rarities 1965-1978 8-Track Cartridge

Release: 2022 / EU – Reissue

Genre: Rock & Indie, Electronic & Dance

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"Applying elements of minimalism or electronic music to their compositions, Carcascara's second studio album is deeply rooted in folk, blues or jazz. Borrowing from American primitivism, this acoustic guitar trio based half way between London and Zumaia, stretch the boundaries of tradition with a fluid and developed command of the string instrument. Coming out 14 years after their self-titled debut, highly recommended for fans of Robbie Basho, Steve Reich or John Fahey."

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Nancy Sinatra

8Track | 2023 | US | Original (Light In The Attic)

34,09 €* 61,99 € -45%

Keep Walkin': Singles, Demos & Rarities 1965-1978 Blue Vinyl Edition

Release: 2023 / US – Original

Genre: Rock & Indie

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8-Track available on Pink, Yellow, Blue or White (Randomly selected). Due to limited capacity the full track-list is not included on the 8-Track Definitive collection of Nancy's rare singles, demos and previously unreleased cuts. Includes 3 previously unreleased tracks, plus 3 tracks making their vinyl debut. Deep booklet includes new Q&As with Nancy & Don Randi (The Wrecking Crew) - both conducted by Grammy®-nominated co-producer Hunter Lea Plus never-before-seen photos from Nancy Sinatra’s personal archive. Features audio freshly remastered from the original analog tapes by Grammy®-nominated engineer John Baldwin. Vinyl pressed at RTI. Double LP housed in a gatefold jacket with 24-page book Light in the Attic continues to celebrate the influential career of singer, actress, activist, and icon *Nancy Sinatra* with a captivating new collection, Keep Walkin’: Singles, Demos & Rarities 1965-1978. Exploring the lesser-known gems from Sinatra’s rich catalog through 25 B-sides, rare singles, covers, demos, and previously-unreleased recordings, Keep Walkin’ was remastered by the *Grammy®-nominated engineer John Baldwin* and available in a variety of formats, including vinyl, CD, 8-track, and digital. The 2LP set, pressed at Record Technology, Inc. (rti), is presented in an expanded gatefold jacket and accompanied by a 24-page booklet featuring an array of photos from the artist’s personal collection, as well as a new in-depth Q&A with Sinatra, conducted by the reissue’s Grammy®-nominated co-producer, Hunter Lea. The booklet also contains a fascinating interview with keyboardist Don Randi (The Wrecking Crew), who recently spoke to Lea about his hit-filled career and his 50 years of work with Nancy. Keep Walkin’: Singles, Demos & Rarities 1965-1978 serves as a companion to the widely-acclaimed 2021 career-spanning retrospective, Start Walkin’ 1965-1976, and marks the latest release in LITA’s ongoing Nancy Sinatra Archival Series, a partnership with the legendary artist, which honors her musical legacy through lovingly curated reissues (including her 1966 debut, Boots and the 1968 classic, Nancy & Lee), limited-edition merch, and other special releases. In 1965, 25-year-old Nancy Sinatra scored her first No.1 hit with “These Boots are Made for Walkin’,” a bold anthem for female empowerment. Brazen, sassy, and utterly infectious, it was a reintroduction of sorts for the eldest daughter of Frank Sinatra, who had been struggling to find a spotlight of her own amid a changing musical landscape. Suddenly, audiences who had initially brushed off Sinatra as too demure or out-of-touch were paying attention. Written and produced by Oklahoma-born songsmith Lee Hazlewood (with swaggering instrumentals, courtesy of Billy Strange and The Wrecking Crew), the song launched the singer’s career, as well as one of music’s most unlikely, yet compelling, creative partnerships. Over the next decade, Sinatra continued to notch multiple hits on both sides of the Atlantic, including “Sugar Town,” “How Does That Grab You, Darlin?,” and a haunting rendition of the Sonny Bono-penned “Bang Bang (My Baby Shot Me Down).” The singer also paired up with Hazlewood for a series of popular duets (“Summer Wine,” “Jackson,”* and *“Some Velvet Morning”) and collaborative albums. In between best-selling LPs like Boots (1966), How Does That Grab You (1966), and Nancy & Lee (1968), Sinatra performed the theme song to the 1967 James Bond film, You Only Live Twice, and collaborated with her father on the global chart-topper, “Somethin’ Stupid.” While these career landmarks are well-documented in the annals of pop culture history, however, much of Sinatra’s catalog remains sorely overlooked. As Keep Walkin’ co-producer Hunter Lea explains, “With the changing taste of the record-buying public in the late 1960s and the counterculture taking over, artists like Nancy Sinatra weren’t in the mainstream as they once were.” Despite that fact, “[Sinatra] kept working, recording, and performing at a voracious pace.” Lea continues, “This compilation is a celebration of some of the many glorious recordings that may have been overlooked, forgotten, or never even released at the time. The obscurity of some of these recordings doesn’t mask the genius, brilliance, and effort that went into them; on the contrary, it’s incredible to learn that some of the lost gems are just as rich as the national treasures.” Among the highlights is the spritely opener “The City Never Sleeps at Night,” which served as the B-Side to “These Boots Were Made for Walkin’.” Overshadowed by the colossal success of its A-side, it’s no surprise that the cinematic tune never had its proper due. Yet, Lea reveals, Hazlewood initially intended to make it the focus single. Another long-lost B-side is “The Last of the Secret Agents?,” which was paired with the Top 10 hit, “How Does That Grab You, Darlin’?” The playful song, written by Hazlewood, served as the theme to the 1966 comedy of the same name, in which Sinatra co-starred alongside Marty Allen and Steve Rossi. Keep Walkin’ also features several choice A-sides that were never included on albums and were overlooked for one reason or another. Among them is 1966’s “In Our Time,” a rebellious anthem for ‘60s youth, which references drug culture and women’s liberation, among other topics. Speaking to the Hazlewood-penned track, Sinatra recalls, “That was a fun song. Lee was starting to do his ‘anti’ stuff. He was cynical and it showed in his writing at some point.” But, despite the themes of the song, Nancy laments that she was never embraced by the counterculture. “[drugs] knocked me out of the picture completely. I was so far removed from the hip people in those days. I think they probably made fun of my stuff.” Another stylistic departure for both artists is “Love Eyes,” a bluesy, soulful single from 1966. The song, Nancy shares, is “one of my favorites. I think what helped Lee’s writing at that point was the bigger sound.… I really love it. I think it holds up to this day.” She adds that her dreamy vocal performance was inspired by early female R&B stars like Ruth Brown and LaVern Baker. The collection also features several outstanding covers, including a previously-unreleased rendition of the Barry Mann/Cynthia Weil classic, “I Just Can’t Help Believing” (a hit for both B.J. Thomas and Elvis Presley). This 1978 recording, reimagined as a duet, marked one of Sinatra’s brief reunions with Hazlewood, following his abrupt move to Sweden not long after 1972’s Nancy & Lee Again. Another choice track finds Nancy interpreting Neil Diamond’s “Glory Road.” Released as a single in 1971, it features one of the singer’s most cherished vocal performances. “After I worked on my voice and improved as a performer and as a singer, I embraced Neil Diamond. Anything I did by Neil Diamond, to me, is my best work.” Nancy also looks back fondly on her moving rendition of Bill Withers’ “Ain’t No Sunshine," released in 1973 as the B-side to “Sugar Me.” The recording (which features particularly lush orchestral arrangements by Billy Strange) reunited Nancy with another close collaborator, Jimmy Bowen, who produced the singer in the early ‘60s and later introduced her to Hazlewood. “I love Jimmy,” she declares. “The records we did early on…had a depth to them that I appreciated. He heard me and saw me in a different light; he saw me as a much more serious performer, which I appreciated.” Listeners will also be delighted to hear a pair of previously-unreleased demos: “Something Pretty” (the 1968 country hit, made famous by Wynn Stewart) and the theme to the 1965 Richard Rogers/Stephen Sondheim musical, Do I Hear a Waltz?, both of which were intended for a self-described “disco” record. Despite the two catchy takes featured on Keep Walkin’, Sinatra calls the shelved album “A disaster. I called it the disco fiasco!” Offering additional insight into Sinatra’s career is music director, songwriter, and keyboardist, Don Randi. A member of the hallowed *Wrecking Crew* collective, Randi was one of the most prolific session musicians of the ‘60s and ‘70s with hundreds of credits to his name, including The Beach Boys’ “Good Vibrations,” Linda Ronstadt’s “Different Drum,” and “These Boots are Made For Walkin’” – his first recording with Sinatra. For the next fifty years, he would be a fixture at her sessions and live shows. He also appears on nearly every track in this collection. Speaking to Lea, Randi delves deep into his time with Sinatra, with a palpable admiration for the singer. *“She was easy to work with,”* he shares. “She was always wonderful to musicians; nobody even comes close.” The keyboardist, who met Sinatra through Hazlewood, also recalls the magic of that partnership. “I always liked working with Nancy & Lee. They had something very special that they could get out of each other. It was a good team.” He continues, “Sinatra stood up for herself [around Lee]…He could be so cantankerous…but that’s Lee…. [Nancy] saw through it. She was so lovely and helpful to him a number of times when he really needed someone to talk to.” That said, Randi also appreciates the power of Sinatra’s solo performances. “I never thought she really needed [Hazlewood},”* he reveals. “I thought her shows were just as well with everybody else; they were excellent.” After stepping back from the industry in the ‘70s to focus on her young family, Sinatra returned to the spotlight in the mid-90s, releasing a string of new albums, including the star-studded Nancy Sinatra, which paired the artist with some of her biggest fans, including Morrissey, U2, Calexico, and Sonic Youth. Since then, Nancy’s legacy has only continued to grow. In more recent years, her impact has been recognized by the likes of Pitchfork, NPR, and Rolling Stone, while in 2020, “Boots” was inducted into the Grammy® Hall of Fame*. Today, Sinatra remains a force in the industry, as new generations discover her influential catalog, which boasts nearly 20 studio albums and dozens of charting singles.

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Nancy Sinatra

2LP | 2023 | US | Original (Light In The Attic)

57,99 €*

Muslimgauze Vs The Rootsman

Release: 2023 / US – Original

Genre: Rock & Indie

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Definitive collection of Nancy's rare singles, demos and previously unreleased cuts. Includes 3 previously unreleased tracks, plus 3 tracks making their vinyl debut. Deep booklet includes new Q&As with Nancy & Don Randi (The Wrecking Crew) - both conducted by Grammy®-nominated co-producer Hunter Lea Plus never-before-seen photos from Nancy Sinatra’s personal archive. Features audio freshly remastered from the original analog tapes by Grammy®-nominated engineer John Baldwin. Vinyl pressed at RTI. Double LP housed in a gatefold jacket with 24-page book Light in the Attic continues to celebrate the influential career of singer, actress, activist, and icon *Nancy Sinatra* with a captivating new collection, Keep Walkin’: Singles, Demos & Rarities 1965-1978. Exploring the lesser-known gems from Sinatra’s rich catalog through 25 B-sides, rare singles, covers, demos, and previously-unreleased recordings, Keep Walkin’ was remastered by the *Grammy®-nominated engineer John Baldwin* and available in a variety of formats, including vinyl, CD, 8-track, and digital. The 2LP set, pressed at Record Technology, Inc. (rti), is presented in an expanded gatefold jacket and accompanied by a 24-page booklet featuring an array of photos from the artist’s personal collection, as well as a new in-depth Q&A with Sinatra, conducted by the reissue’s Grammy®-nominated co-producer, Hunter Lea. The booklet also contains a fascinating interview with keyboardist Don Randi (The Wrecking Crew), who recently spoke to Lea about his hit-filled career and his 50 years of work with Nancy. Keep Walkin’: Singles, Demos & Rarities 1965-1978 serves as a companion to the widely-acclaimed 2021 career-spanning retrospective, Start Walkin’ 1965-1976, and marks the latest release in LITA’s ongoing Nancy Sinatra Archival Series, a partnership with the legendary artist, which honors her musical legacy through lovingly curated reissues (including her 1966 debut, Boots and the 1968 classic, Nancy & Lee), limited-edition merch, and other special releases. In 1965, 25-year-old Nancy Sinatra scored her first No.1 hit with “These Boots are Made for Walkin’,” a bold anthem for female empowerment. Brazen, sassy, and utterly infectious, it was a reintroduction of sorts for the eldest daughter of Frank Sinatra, who had been struggling to find a spotlight of her own amid a changing musical landscape. Suddenly, audiences who had initially brushed off Sinatra as too demure or out-of-touch were paying attention. Written and produced by Oklahoma-born songsmith Lee Hazlewood (with swaggering instrumentals, courtesy of Billy Strange and The Wrecking Crew), the song launched the singer’s career, as well as one of music’s most unlikely, yet compelling, creative partnerships. Over the next decade, Sinatra continued to notch multiple hits on both sides of the Atlantic, including “Sugar Town,” “How Does That Grab You, Darlin?,” and a haunting rendition of the Sonny Bono-penned “Bang Bang (My Baby Shot Me Down).” The singer also paired up with Hazlewood for a series of popular duets (“Summer Wine,” “Jackson,”* and *“Some Velvet Morning”) and collaborative albums. In between best-selling LPs like Boots (1966), How Does That Grab You (1966), and Nancy & Lee (1968), Sinatra performed the theme song to the 1967 James Bond film, You Only Live Twice, and collaborated with her father on the global chart-topper, “Somethin’ Stupid.” While these career landmarks are well-documented in the annals of pop culture history, however, much of Sinatra’s catalog remains sorely overlooked. As Keep Walkin’ co-producer Hunter Lea explains, “With the changing taste of the record-buying public in the late 1960s and the counterculture taking over, artists like Nancy Sinatra weren’t in the mainstream as they once were.” Despite that fact, “[Sinatra] kept working, recording, and performing at a voracious pace.” Lea continues, “This compilation is a celebration of some of the many glorious recordings that may have been overlooked, forgotten, or never even released at the time. The obscurity of some of these recordings doesn’t mask the genius, brilliance, and effort that went into them; on the contrary, it’s incredible to learn that some of the lost gems are just as rich as the national treasures.” Among the highlights is the spritely opener “The City Never Sleeps at Night,” which served as the B-Side to “These Boots Were Made for Walkin’.” Overshadowed by the colossal success of its A-side, it’s no surprise that the cinematic tune never had its proper due. Yet, Lea reveals, Hazlewood initially intended to make it the focus single. Another long-lost B-side is “The Last of the Secret Agents?,” which was paired with the Top 10 hit, “How Does That Grab You, Darlin’?” The playful song, written by Hazlewood, served as the theme to the 1966 comedy of the same name, in which Sinatra co-starred alongside Marty Allen and Steve Rossi. Keep Walkin’ also features several choice A-sides that were never included on albums and were overlooked for one reason or another. Among them is 1966’s “In Our Time,” a rebellious anthem for ‘60s youth, which references drug culture and women’s liberation, among other topics. Speaking to the Hazlewood-penned track, Sinatra recalls, “That was a fun song. Lee was starting to do his ‘anti’ stuff. He was cynical and it showed in his writing at some point.” But, despite the themes of the song, Nancy laments that she was never embraced by the counterculture. “[drugs] knocked me out of the picture completely. I was so far removed from the hip people in those days. I think they probably made fun of my stuff.” Another stylistic departure for both artists is “Love Eyes,” a bluesy, soulful single from 1966. The song, Nancy shares, is “one of my favorites. I think what helped Lee’s writing at that point was the bigger sound.… I really love it. I think it holds up to this day.” She adds that her dreamy vocal performance was inspired by early female R&B stars like Ruth Brown and LaVern Baker. The collection also features several outstanding covers, including a previously-unreleased rendition of the Barry Mann/Cynthia Weil classic, “I Just Can’t Help Believing” (a hit for both B.J. Thomas and Elvis Presley). This 1978 recording, reimagined as a duet, marked one of Sinatra’s brief reunions with Hazlewood, following his abrupt move to Sweden not long after 1972’s Nancy & Lee Again. Another choice track finds Nancy interpreting Neil Diamond’s “Glory Road.” Released as a single in 1971, it features one of the singer’s most cherished vocal performances. “After I worked on my voice and improved as a performer and as a singer, I embraced Neil Diamond. Anything I did by Neil Diamond, to me, is my best work.” Nancy also looks back fondly on her moving rendition of Bill Withers’ “Ain’t No Sunshine," released in 1973 as the B-side to “Sugar Me.” The recording (which features particularly lush orchestral arrangements by Billy Strange) reunited Nancy with another close collaborator, Jimmy Bowen, who produced the singer in the early ‘60s and later introduced her to Hazlewood. “I love Jimmy,” she declares. “The records we did early on…had a depth to them that I appreciated. He heard me and saw me in a different light; he saw me as a much more serious performer, which I appreciated.” Listeners will also be delighted to hear a pair of previously-unreleased demos: “Something Pretty” (the 1968 country hit, made famous by Wynn Stewart) and the theme to the 1965 Richard Rogers/Stephen Sondheim musical, Do I Hear a Waltz?, both of which were intended for a self-described “disco” record. Despite the two catchy takes featured on Keep Walkin’, Sinatra calls the shelved album “A disaster. I called it the disco fiasco!” Offering additional insight into Sinatra’s career is music director, songwriter, and keyboardist, Don Randi. A member of the hallowed *Wrecking Crew* collective, Randi was one of the most prolific session musicians of the ‘60s and ‘70s with hundreds of credits to his name, including The Beach Boys’ “Good Vibrations,” Linda Ronstadt’s “Different Drum,” and “These Boots are Made For Walkin’” – his first recording with Sinatra. For the next fifty years, he would be a fixture at her sessions and live shows. He also appears on nearly every track in this collection. Speaking to Lea, Randi delves deep into his time with Sinatra, with a palpable admiration for the singer. *“She was easy to work with,”* he shares. “She was always wonderful to musicians; nobody even comes close.” The keyboardist, who met Sinatra through Hazlewood, also recalls the magic of that partnership. “I always liked working with Nancy & Lee. They had something very special that they could get out of each other. It was a good team.” He continues, “Sinatra stood up for herself [around Lee]…He could be so cantankerous…but that’s Lee…. [Nancy] saw through it. She was so lovely and helpful to him a number of times when he really needed someone to talk to.” That said, Randi also appreciates the power of Sinatra’s solo performances. “I never thought she really needed [Hazlewood},”* he reveals. “I thought her shows were just as well with everybody else; they were excellent.” After stepping back from the industry in the ‘70s to focus on her young family, Sinatra returned to the spotlight in the mid-90s, releasing a string of new albums, including the star-studded Nancy Sinatra, which paired the artist with some of her biggest fans, including Morrissey, U2, Calexico, and Sonic Youth. Since then, Nancy’s legacy has only continued to grow. In more recent years, her impact has been recognized by the likes of Pitchfork, NPR, and Rolling Stone, while in 2020, “Boots” was inducted into the Grammy® Hall of Fame*. Today, Sinatra remains a force in the industry, as new generations discover her influential catalog, which boasts nearly 20 studio albums and dozens of charting singles.

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The Return To The City Of DJinn

2LP | 2023 | EU | Original (Via Parigi)

Herculean House Of Cards Fools Gold Vinyl Edition

Release: 2023 / EU – Original

Genre: Rock & Indie, Electronic & Dance, Reggae & Dancehall

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The second part of the famous collaboration between two UK based electronic pioneers: John Bolloten aka The Rootsman and Bryn Jones aka Muslimgauze. For this album the original The Rootsman material from his albums “Into The Light” and “52 Days to Timbuktu” was remixed and deconstructed by Muslimgauze. As always with Bryn Jones, all material is inspired by Arab culture. We hear distorted dub rhythms, sawn-off loops, traditional music, male and female voices and then distorted rhythms again. Closing your eyes, you can find yourself in the middle of an eastern city, walk along its noisy streets, admire the ancient architecture. This noise can tell amazing stories!

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Trey Gruber

2LP | 2019 | US | Reissue (Numero Group)

35,99 €*

LP | 2025 | US | Original (Stones Throw)

Release: 2019 / US – Reissue

Genre: Rock & Indie

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Trey Gruber's posthumous debut double LP Herculean House of Cards. A compilation of early demos, studio demos, and live recordings. A tortured songwriter and struggling addict who jolted the tired Chicago DIY scene with his own brand of primal despair, Trey Gruber and his band Parent were on track to join the ranks of Twin Peaks, Mild High Club, and Whitney. His death in 2017 at the age of 26 brought it all to a halt. In his final years Trey wrote and recorded hundreds of previously unheard demos, dandelions in the cracked concrete of 21st century disconnect, an alphabet's worth of which have been compiled by his family and friends for his only album: Herculean House Of Cards. The 26-song 2xLP covers years of material, from home tape recordings, sessions at Mathew Roberts (Mild High Club) & Paul Cherry's home studio, to a studio session with Charles Glanders (Whitney) at Chicago's Foxhall Studios, along with audio taken at The Hideout during his last live performance, among others. Though Gruber was an unrelenting perfectionist who was constantly self-deprecating about his best demos, Herculean House of Cards is a wholly comprehensive and accurate reflection of his infectious charisma and raw songwriting. He had a charmingly distinct way with words but also could be disarmingly vulnerable. Like he was in life, Gruber never shied away from being open with his struggles with alcoholism and addiction. On the vivid opener "Eisenhower to the West Side," he sings in painstaking detail of, "A jail-skin cell, a junkies fight/Corner-boys full of grace/And Jesus Christ full of spite." He told then-future bandmate flautist Rebecca Ridge, "It's not some Lou Reed glorification of drugs _ `makes me feel like a man'_ I talk about the disconnect and the ugliness. They're sad pop songs." But even with the pain and the darkness in his lyrics, Gruber's songs had an unmistakable sense of hope and catharsis.

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Eddie Chacon

Lay Low Blue Smoke

Release: 2025 / US – Original

Genre: Rock & Indie

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Preorder shipping from 2025-01-31

Unprecedented Sh!T Coke Bottle Clear Vinyl Edition

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Ani Difranco

LP | 2024 | WW | Original (Righteous Babe)

Release: 2024 / WW – Original

Genre: Rock & Indie

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Preorder shipping from 2024-11-15

LP | 1973 | EU (Trading Places)

Bridget St John

Thank You For...

16,99 €*

12" | 1971 | EU (Trading Places)

Release: 1973 / EU

Genre: Rock & Indie

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Canterbury-based progressive jazz-rock act Ben only released one obscure album, issued on Philips’ prog subsidiary Vertigo in 1971, but it’s a lovely collective of extended instrumental jams, worthy of discovery for those that missed it the first time around. Peter Davey’s saxophone and clarinet melodies push the material to high peaks, against an understated backing from future Nashville Teens bassist, Len Surtees and former Graham Bond drummer, David Sheen, keyboardist Alex Macleery and guitarist Gerry Reid adding flourishes at key moments. The songs “The Wooing Of The Child” and “The Wooing Of The Man” credit a certain K Jarrett as songwriter, making this rare beast all the more intriguing.

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Comus

Diana

13,99 €*

I Saw A Star Behind Your Eyes, Don't Let It Die Away

Release: 1971 / EU

Genre: Rock & Indie

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Progressive folk act Comus was a true one-off, their unique take on folk rock a spine-tinglingly shocking one, even as the music draws the listener into singalongs. Formed by singer-guitarist Roger Wootton with some art school mates, including guitarist Glen Goring, violinist Colin Pearson and oboist Rob Young, Comus began recording their debut LP for RCA, who dropped them halfway through, leading to further recordings for Dawn with Barry Murray. Every song on this single bears the hallmark of their exceptional take on folk rock, too far ahead of its time to gain favour on release, and all the more to savour now.

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Bennett Wilson Poole

LP | 2023 | UK | Original (Bwp)

19,99 €*

LP | 2025 | US | Original (Stones Throw)

Release: 2023 / UK – Original

Genre: Rock & Indie

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Preorder shipping from 2024-11-01

Nearly five years on from their acclaimed debut, Bennett Wilson Poole reveal the follow up. It's been a long time coming, but... That eponymous first album was only ever intended as a one-off collaborative project — a serendipitous series of events which began with a late evening session where the trio wrote ‘Hate Won't Win’. A response to the murder of MP Jo Cox, it was something of a fresh take on Crosby Stills Nash and Young’s classic protest song ‘Ohio’. The release saw Bennett Wilson Poole embraced by the Americana community, playing live on the Andrew Marr show and crowned as ‘UK Artist of the Year’ at the 2019 UK Americana Awards, in front of a watching crowd including Graham Nash himself. The new album came together in similar fashion; Robin (Bennett) and Danny (Wilson) started writing new songs late into the night whilst on tour to promote the first record — a tour which unfolded from a three-night residency in a London pub into a year-long odyssey culminating in a headline show in Hall One at King’s Place — and before they knew it, there were enough songs to begin recording an unplanned second album. Where the first record drank deep from 70s US west coast folk-rock, the second has been heavily spiked with 1960s British psychedelia, even featuring a cover by legendary counterculture artist John Hurford (whose credits include 60s artwork for Oz Magazine and International Times).* Tony Poole’s meticulous and inspired production has spun Robin and Danny’s fresh batch of songs into a delicate web of musical delight. Fans of the ‘spot the reference’ game Tony started on the first record won’t be disappointed this time either, as there are plenty more to be found here. As with the first album, the lyrics don’t shy away from current affairs – by the end of that year of touring, the band were already playing “I Wanna Love You (But I Can’t Right Now)”, reflecting on the state of US politics, yet optimistic that the problems are only temporary. Many of the tracks on the new album feature live rhythm section Fin Kenny (drums) and Joe Bennett

(bass) for the first time on a BWP record.

The title of the album comes from the lyrics of ‘Help Me See My Way’, the first single, a prayer for strength in difficult times, the trippy animated video for which was originally issued during lockdown. The dreamy positivity of the line "I saw a star behind your eyes" is tempered with the plea "don't let it die away", a message which feels as important as ever two years on.

All three collaborators have had critical acclaim in their own right. Danny Wilson’s credentials go back to his days in Grand Drive with brother Julian, and his consistent high calibre output with his Champions of the World led them to sweeping the board at the first UK Americana Awards with Album, Artist and Song of the year awards richly deserved; Tony Poole’s Starry Eyed and Laughing were hailed as “the English Byrds” on the back of their two CBS-released albums in the mid-seventies and he has since built an enviable reputation as producer and engineer; Robin Bennett has been relentlessly turning out timeless songs from his Oxfordshire base in bands from Goldrush to The Dreaming Spires

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Eddie Chacon

Lay Low

Release: 2025 / US – Original

Genre: Rock & Indie

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LP | 2024 | US | Original (Bar/None)

Mason Jennings

Century Spring

LP | 2024 | US | Original (Mississippi)

Release: 2024 / US – Original

Genre: Rock & Indie

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Originally released in 2002 Mason Jennings' 3rd album sawhim emerging as an accomplished folk/pop troubadour. The first time available on vinyl, the LP comes with new reimagined artwork by Antonio Jesus Moreno/El Ciento."In the spirit of Ray Davies, Rufus Wainwright, and John Hiatt, Jennings' witty vocal inflections speak volumes, underpinning his meditative lyrics with sex appeal and wisdom borne of experience." -All Music

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Johnny Coley

Mister Sweet Whisper

Tape | 2024 | US | Original (Dear Life)

Release: 2024 / US – Original

Genre: Rock & Indie

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Transcendental poetry meets Southern Nightmare Jazz on the third album by Alabama-based artist Johnny ColeyMister Sweet Whisper is the meeting of poet & artist Johnny Coley and the band Worst Spills, led by guitarist & arranger Joel Nelson. (Imagine "King Tubbys Meets Rockers Uptown," but more like "William Burroughs Meets Lounge Lizards in Ghost Swamp"). Joined by vibraphone player and recordist of the group, Jasper Lee, Mister Sweet Whisper centers Coley as a gifted writer and unique elder voice, supported by an eclectic cast of friends & collaborators.Tapping into French surrealism and transgressive American poets such as John Ashbery, the songs in Mister Sweet Whisper evolve, cinema-like, with Coley as an uninhibited, almost mystical, narrator. Textural, jazz-like playing complements Coley's decadent landscapes, which glide by like cigarette-inspired invocations. Echoing, and at times, dissonant notes of saxophone, crystalline tones of vibraphone, and jagged guitar arrangements punctuate Coley's dreamlike visions, populated by ballet dancers, haunting nightclubs, and ghostly car drivers. Wistful and expansive, the songs in Mister Sweet Whisper speak of Coley's talent and natural ability to channel his poetic world into songs.A remarkable follow-up to Coley's first two albums_Antique Sadness, from 2021, and Landscape Man, from 2022_which were praised as "exquisitely haunting, sublime, hilarious" and falling "somewhere between Robert Ashley, David Wojnarowicz, and Intersystems," Mister Sweet Whisper arrives in full form: unpredictable and brilliant.LP comes with a 4-page booklet featuring artwork and writing by Johnny. Pressed in black vinyl.

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Anne Malin

Strange Power!

16,99 €*

Release: 2024 / US – Original

Genre: Rock & Indie

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Strange Power!, the fifth record from Durham, NC-based songwriter and poet Anne Malin Ringwalt, emerges from the darkest waters of the self into a world remade. Releasing inconjunction with her second book of poetry, What Floods (Inside the Castle, Oct. 2024), Strange Power! overflows with Ringwalt's teeming and sensuous personal symbolry: glowing lilacs andgentle queens, dolphins wild and girls who grew up brave _ T.S. Eliot sung by Cat Power, backedby Mount Eerie. She sings: "I rose up from water."Ringwalt writes and performs with the authority of a lifetime spent harnessing the alchemy of storytelling; her belief in the power of words to heal and transform is palpable in each achingly- delivered lyric. Made amidst profound inner and outer change, Strange Power! also sees Ringwalttaking up the role of self-producer for the first time, mirroring and supporting the record's Orphic quest by gathering contributions from a coterie of friends wielding an electric range ofAmerican instruments. Violins, vibraphones, drum machines, electric guitars dappled with springreverb, wind-blown shells, and a host of other numinous sounds form an unfurling and shadowy world which was then carefully honed during the mixing process (shepherded by MichaelCormier-O'Leary and Lucas Knapp) _ settling the final record in an eerie meridian betweenspareness and verdancy.The result is a beguiling and darkly blooming realm: the sound of a personal cosmos beingremade, piece by piece. Ringwalt is at the height of her spirit as both songwriter-poet and singer, her willowy voice by turns conjuring and keening as she reckons with her deep past and thestories told since. Opening track "The Pines" sets the stage for a record of truly life-long scope: "I was a child, now Ihold her / I was asleep for many years." Some songs, like the gorgeous "North Carolina" and "TheSaint," were written as early as 2013 but, Ringwalt says, "insisted upon being remembered" as therecord took shape; in its final form, they serve as inc...

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Longing For Old Virginia 1976

2LP | 2025 | EU | Original (Expensive Woodland)

Release: 2025 / EU – Original

Genre: Rock & Indie

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Smithereens Red & Yellow Splatter Vinyl Edition

Dan Reeder

LP | 2024 | EU | Original (Oh Boy)

LP | 2023 | UK | Original (Abstract Logix)

Release: 2024 / EU – Original

Genre: Rock & Indie

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Red & Yellow Splatter Vinyl.Dan Reeder is a multi-faceted artist, recently championed byboygenius. He is Oh Boy Records longest signed artist, andwas personally signed by the legendary John Prine himself.Reeder is releasing a collection of songs titled,Smithereens, aneclectic mix of songs, many recorded and played on gear hebuilt. A true DIY maestro, Dan seamlessly assumes the roles ofproducer, mixer, mastering engineer, and visual artist,imbuing every facet of his artistry with his distinct touch. Hismusical stylings often draw comparisons to the likes of BlazeFoley, Bon Iver, Sufjan Stevens, and Ween.

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John McLaughlin

Liberation Time

38,99 €*

Release: 2023 / UK – Original

Genre: Rock & Indie

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LP | 2023 | UK | Original (Worried Songs)

Bob Martin

Seabrook

22,99 €*

Grief In The Kitchen And Mirth In The Hall

Release: 2023 / UK – Original

Genre: Rock & Indie

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Bob Martin began what would become his final studio album in a beach front condominium in Seabrook, New Hampshire in May 2008. The recordings sat dormant for the next 13 years. This album began when James Endeacott of 1965 Records sent Jerry David DeCicca to Charlottesville, Virginia to meet Martin, hoping to reissue Martin’s 1972 debut on RCA Records, Midwest Farm Disaster. DeCicca, who had co-produced the final recordings of folk-funk, Heartworn Highways’ songwriter, Larry Jon Wilson, for 1965 Records (and later reissued by Drag City Records) had played the LP for Endeacott several months earlier. Midwest Farm Disaster is that rare album that feels joyful and yet full of sorrow; Martin’s Lowell, Massachusetts voice yearning with a backbeat from Nashville session musicians, Norman Putnam and Kenny Buttrey, the later fresh from his “Heart of Gold” session. The reissue never happened, as Martin was already in the process of rescuing his forgotten masterpiece for his own self-release. But Bob and Jerry’s breakfast led to Martin’s daughter, Tami, hiring DeCicca and engineer, Jake Housh, who also worked on the Wilson album, to capture her father in a similar manner. After Midwest Farm Disaster, a second album for RCA was under contract, but when a record executive there wanted Martin to put his girlfriend’s poetry to music, Bob bailed on the deal. Martin continued to tour around with a pickup band until advice from his father resonated, and he left the road to raise a family. Bob worked as an educator, teaching math and computers, and even founded a school in West Virginia that taught traditional art forms in Appalachia like fiddle playing and weaving. Bob returned to the studio in 1982 to record Last Chance Rider for the June Appal, a label that focused on music from Appalachia and had released albums by Nimrod Workman, Si Kahn, and Betty Smith. In the late-90’s, Bob returned with two self-released CDs, The River Turns The Wheel and Next to Nothin’ that continued capturing stories of people and places that exhale their own mythologies. He wrote novels, cared for his family, and taught, and played only the occasional gig. But it’s this album, Seabrook, that finds Bob at his most wise and wistful; the histories of Lowell and his own life hanging longest in his voice. New songs about the West Virginia coal mines (“Three Miles Beneath This Mountain”) and living in an extended stay motel (“Midway Motel”) sit beside new and more urgent interpretations of late period classics, like “My Father Painted Houses,” and, for the first time, one of his oldest songs he didn’t record for Midwest Farm Disaster called “Give Me Light”, along with “Stay Awhile Sunshine,” which he had been singing to his family for decades and features Gary Mallaber (“Tupelo Honey”) on vibraphone. After DeCicca and Housh returned from the beach with Bob, they all agreed to flesh out the songs with other instrumentation to present as a draft for what the new record could be with a little more money and time. This was the time when the epilogue of musicians’ work was still of interest to labels. Everyone with a guitar over 65 was still in the shadow of Rubin’s Cash, and recent records by Loretta Lynn, Charlie Louvin, Soloman Burke, and Candi Staton were both fashionable and profitable. But Martin wasn’t as well known and his classic debut was only licensed for a limited physical release, proving him a difficult sell. Labels passed or made unreasonable requests, and Bob eventually lost interest; instead, choosing to record a solo acoustic live album, Live at the Bull Run, and tour Europe for the first time. There were hiccups of hope, like a feature in No Depression and a song in the TV show, Justified, but the new recordings quickly began collecting dusk. In the meantime, DeCicca continued producing records for other older artists, like Ed Askew’s For the World (Tin Angel), two Chris Gantry releases (Drag City), Will Beeley’s Highways and Heart Attacks (Tompkins Square), and reissue projects for the Numero Group (Elyse Weinberg, Rob Galbraith). Then, in 2021, DeCicca received a call from Bob’s daughter, Tami, giving him permission to finish the album as Bob’s health was failing. Upon revisiting the tracks with Housh, the album needed very little tidying up and the songs were completed with DeCicca’s former bandmates, The Black Swans, who had previously played on the original mock up back in 2008. With new technology and a new perspective, the album was completed, but not before Martin’s health had deteriorated more. Bob Martin passed away September 21, 2022 at 80 years of age. Sadly, he never heard his final album.

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Alasdair Roberts

LP | 2023 | US | Original (Drag City)

LP | 2023 | US | Original (Palilalia)

Release: 2023 / US – Original

Genre: Rock & Indie

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Critically-acclaimed, criminally-overachieving Glasgow-based singer and guitarist Alasdair Roberts is known as a superlative original songwriter as well as an interpreter of traditional songs from Scotland and beyond. For the past twenty years, his recordings have alternated between these two complimentary poles, with "pop" records such as The Amber Gatherers and A Wonder Working Stone nestling in his expansive back catalogue alongside "folk" albums such as No Earthly Man and What News (with Amble Skuse and David McGuinness). Additionally, all of these records possess a further dimension, derived from their collation of songs together into one album-length statement. This is part of Alasdair"s great achievement in his career - for him, this thing of music and song hasn"t come the eons it"s travelled to simply entertain.These impulses fully present and well honed, Alasdair returns to his roots with Grief in the Kitchen and Mirth in the Hall, his fifth full-length collection of traditional song. Recorded live in the studio, it is an entirely solo collection of twelve traditional ballads and songs sparsely arranged for acoustic guitar, piano and voice. The majority of the songs originate in Alasdair"s homeland of Scotland, with a couple from Ireland and one from Prince Edward Island on Canada"s eastern seaboard too.The record takes its title from a line in the final verse of one of its songs, "The Baron o" Brackley" - a ballad of feuding clans and matrimonial betrayal from the north-east of Scotland. Grief in the Kitchen and Mirth in the Hall: it"s a title which goes some way towards encapsulating many of the record"s themes. Collectively the songs treat of various conflicts and tensions - those of gender; of class, status and position; and of geography and tribal belonging - and the roles and responsibilities expected at the various intersections of these constructs. That we should never forget!As with many of Alasdair"s recordings, Grief in the Kitchen and Mirth in the Hall contains ballads aplenty...

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Bill Orcutt

Jump On It

Wild Boy: The Lost Songs Of Eden Ahbez Colored Vinyl Edition

Release: 2023 / US – Original

Genre: Rock & Indie

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"It's been ten years since Bill Orcutt released A History of Every One, a compendium of hacksaw renditions of American standards on acoustic guitar—and since ten years is a blink of an eye, you are forgiven for not immediately realizing that we've gone an entire decade waiting for Jump On It, the next Orcutt solo acoustic record. As those of us of 'a certain age' will tell you (ad nauseam), a decade is a blink of an eye containing an infinity of experiential moments, and if this record is any gauge, the weight of those experiences have squashed Orcutt's rough edges, feathered his stop-motion timing into a languid lyrical flow, and snapped the shackles tethering his instant compositional skills to the imperative to deconstruct guitar history. In short, Jump On It is a collection of canonical, mature acoustic guitar soli to contrast against the fractured downtown conceits of previous acoustic releases. For those paying attention to the arc of Orcutt's electric records, which chart a course from Quine's choppiness to Thompson-ian/ Verlaine-ian flow, it should be no surprise that the ten-year gap between acoustic records should expose a similar underlying journey. But what's maybe more surprising is that Jump On It , with its living-room aesthetics and big reverb, packs a disarming intimacy absent from the formal starkness of Orcutt's earlier acoustic outings. Although you might sense the looming human in the audible breath whispering intermittently between chords (a physical flourish reminiscent of the late Jack Rose), such documentarian signposts are the exception rather than the rule. Not quite refuting (yet not quite embracing) the polish of revered watershed records by Bert Jansch, John Renbourn, or Bola Sete, Jump On It treads a path between the raw and the refined, exemplified in tracks such as 'The Life of Jesus' and 'In a Column of Air' that alternate swaying chords with Orcutt's trademark angular quicksilver runs (cut brickwall short). While you won't mistake Jump On It for incidental music, at least not if taken at full strength, stray passages radiate a conversational beauty that would please the most dissonance-adverse listener. Strangely, some of the melted lockstep grooves found in Jump On It evoke nothing other than Music for Four Guitars. While many of the linear runs are clearly improvised, and the phrasing distinctly slurred, intuitive and non-mechanical, the strummed chords hint at a cellular construction similar to Jump On It 's electric predecessor. (Orcutt states that he prefers to keep his strategies obscure—but that implies there is in fact a strategy). Whatever the case, I also hear Satie in Music for Four Guitars, and I hear him here too, hidden within Jump On It 's lilting repetition, which I easily imagine stretching to an infinitely-distant horizon. Like each of Satie's three Gymnopedies, each facet of Jump On It is a tiny miniature bound in a slim volume, an earworm you might savor again and again upon awakening or before drifting off. Each track is a key to a memory, a building block in a shining anamnesis leading to the recollection that hey, we're all humans in a shared cosmos, and music is one way we might make that universe go down easy. And who wouldn't jump on that?"—Tom Carter. Recorded Spring/Summer 2022 at the Living Room, San Francisco. Mixed and mastered by Chuck Johnson.

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Eden Ahbez

LP | 2016 | EU | Reissue (Everland Psych)

32,99 €*

Wild Boy: The Lost Songs Of Eden Ahbez Black Vinyl Edition

Release: 2016 / EU – Reissue

Genre: Rock & Indie

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“Wild Boy …” is a reissue of the well-known 2016 release curated by Brian Chidester, renowned researcher and biographer of Eden Ahbez. Especially for this album, Brian wrote an interesting text about Abi’s life, which definitely became the decoration of the release. With the new 2020 re-release, we went a little further and kept what is commonly referred to as studio cuts. It’s a few more minutes in the studio with ahbez himself, full of emotion and life. In addition, to the delight of fans, the edition includes an additional composition Nature Boy (Mantovani Orchestra). Especially, it is worth noting the outstanding mastering prepared from practically decomposed tapes by the Grammy-nominated Jessica Thompson, which guarantees the deepest and warmth possible sound. Jessica a huge ahbez fan and we’re highly appreciated for what she has done to save his music for the future. Eden Ahbez is definitely at the origin of psychedelic music and this release can be taken as further proof. Over the past twenty years, the iconic figure of the world’s first hippie Eden ahbez has become famous primarily for his 1948 song “Nature Boy”, praising universal love, and his amazingly solo album from the 1960s called “Eden’s Island” – one from the first concept albums in the history of music and probably the first psychedelic music album. “Wild Boy: The Lost Songs Of Eden Ahbez” deepens understanding of the origins of the psychedelic movement in the 1950s. The disc contains a musical selection of works by Eden ahbez himself, written by him in the period after Nature Boy. The inclusion of songs such as “Palm Springs” – Ray Anthony Orchestra and “Hey Jacques” by Erta Kitt gives the listener the chance to discover for the first time the little-known recordings of world-famous artists composed by Eden ahbez. Through “Wild Boy” and “Surfer John” you can hear the author’s handling of absurd rock and exotic experimentation, as well as sweet psychedelic pop like Monterey (with Paul Horn on flute). Overall, Wild Boy: The Lost Songs Of Eden Ahbez offers an overview of the lost works of 1949-1971 with seven unpublished recordings and eight rare singles.

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Eden Ahbez

LP | 2016 | EU | Reissue (Everland Psych)

LP | 2012 | US | Reissue (Dead Oceans)

Release: 2016 / EU – Reissue

Genre: Rock & Indie

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The Tallest Man On Earth

There's No Leaving Now

Little Plastic Castle Orange Vinyl Edition

Release: 2012 / US – Reissue

Genre: Rock & Indie

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LP version comes with download of the album."There's No Leaving Now", the newest record from Kristian Matsson's aptly titled moniker, The Tallest Man On Earth, finds the Swedish troubadour trading in the sense of urgency that fueled his first two records for a confidently relaxed approach. The results are paralyzing. Drums, piano, baritone guitar, woodwinds and pedal steel layer this collection of songs that never compromise virtuosity for immediacy. The songwriting is every bit as detailed and captivating as his previous work, but this time around, Matsson is showing a few more cards. The music of the Tallest Man on Earth has traditionally centered around the power of performance and has served as a reminder that directness is the best course of action. However,...

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Ani Difranco

2LP | 2023 | EU | Original (Righteous Babe)

48,99 €*

Release: 2023 / EU – Original

Genre: Rock & Indie

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Little Plastic Castle Black Vinyl Edition

Ani Difranco

2LP | 2023 | EU | Original (Righteous Babe)

45,99 €*

Release: 2023 / EU – Original

Genre: Rock & Indie

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More info on the color coming soon.

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With His Hot And Blue Guitar Clear Vinyl Edtion

LP | 1957 | EU (Destination Moon)

16,99 €*

Nancy Sinatra & Lee Hazlewood

Release: 1957 / EU

Genre: Rock & Indie

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The iconic baritone country singer Johnny Cash sold over 90 million records, an incredible achievement for one who endured terrible hardship in the Great Depression, picking cotton with his sharecropper family from the age of five. After a spell in the Air Force, Cash settled in Memphis and with guitarist Luther Perkins and bassist Marshall Grant, known as the ‘Tennessee Two,’ Cash pitched up at Sun Records just as Carl Perkins and Elvis were trying their luck, Cash’s brilliant debut With His Hot And Blue Guitar containing all-time anthems like ‘Folsom Prison Blues’ and his perky cut of ‘Rock Island Line’. A must for all Cash fans.

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Nancy & Lee Again 8-Track Tape

8Track | 1972 | US | Reissue (Light In The Attic)

A New Directive From The Bureau Of Compulsory Entertainment

Release: 1972 / US – Reissue

Genre: Rock & Indie

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* First ever reissue of Nancy & Leeâ€™s 1972 classic
* Newly remastered from the original analog tapes by GRAMMYÂ®-nominated engineer John Baldwin

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 pairâ€™s most enduring and ambitious duets including the epic â€Arkansas Coal (Suite),â€ the sensual â€œParis Summerâ€ and the incredibly powerful Dolly Parton-penned â€œDown From Dover.â€ 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 activistâ€™s personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissueâ€™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, â€œMachine Gun Kellyâ€ (first time on vinyl) and the previously unreleased â€œThink Iâ€™m Coming Down.â€

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 Nancyâ€™s Bootique at *NancySinatra.com*.

Nancyâ€™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 weekâ€™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 1972â€™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 â€œThese Boots Are Made For Walkinâ€™.â€ Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancyâ€™s solo hits. Soon, the duo found success with a series of duets, including â€œSand,â€ â€œSummer Wine,â€ and â€œSome Velvet Morningâ€ â€“ 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. â€œTrivial music and not profound music became unimportant,â€ recalls Nancy, speaking to Hunter Lea. â€œIt was a tough time.â€ 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 â€“ who reprised his role as producer â€“ chose to take a new direction with the duoâ€™s sophomore album. Nancy recalls, â€œIt was more dramatic; it was more fun to do, more challenging to doâ€¦. It was more grandiose.â€ For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presleyâ€™s TCB band, whose early â€˜70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewoodâ€™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 albumâ€™s cinematic opener, â€œArkansas Coal (Suite).â€ 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 minerâ€™s daughter and his wife. Hazlewoodâ€™s knack for vivid, nuanced storytelling shines throughout _Nancy & Lee Again_, particularly in â€œParis Summer,â€ which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, â€œDid You Ever,â€ which was released as the albumâ€™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 Partonâ€™s â€œDown From Dover.â€ 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 Partonâ€™s 1970 version was sung from the teenagerâ€™s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the manâ€™s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is â€œCongratulations,â€ which describes a soldier coming home from Vietnam. â€œHis 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,â€ Hazlewood sings, pointedly. Nancy, who performs as the vetâ€™s wife, argues that the song had a deeper meaning for her duet partner. â€œLee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didnâ€™t talk about it, but at some point, he changed radically. â€˜Congratulationsâ€™ was almost like an apology from him. I donâ€™t want to put words in his mouth, but it was as though he was saying â€˜Iâ€™m really sorry.â€™â€

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

The 10-track album closes with the stripped-down â€œGot It Together.â€ 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. â€œI wish that weâ€™d quit getting so old,â€ 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 â€“ this time asking his partner, â€œCan I go back to Sweden?â€ 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 â€“ but fit right in with the psychedelic pop of the era. The first one, â€œThink Iâ€™m Coming Down,â€ is a harmony-filled reflection on a toxic relationship. â€œI think that was one of [Leeâ€™s] drug things. I donâ€™t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,â€ explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is â€œMachine Gun Kelly,â€ 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 â€œMachine Gun Kellyâ€ during their residency at Las Vegasâ€™ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancyâ€™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. â€œWe didnâ€™t have label support at all in those days,â€ recalls Nancy. â€œWithout the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. Itâ€™s a very ageist kind of business.â€ Nevertheless, she adds, â€œI think itâ€™s a very good album. I think itâ€™s timeless.â€ Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancyâ€™s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums â€“ her duets with Hazlewood among them â€“ 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 â€œThese Boots Are Made For Walkinâ€™â€ was inducted into the Grammyâ® Hall of Fame. That same year, Sinatra partnered with Light in the Attic for *Nancy Sinatra: Start Walkinâ€™ 1965-1976*, a definitive survey of her most prolific period. Lita has also reissued Sinatraâ€™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.

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Jonny Dillon

2LP | 2023 | EU | Original (All City Dublin)

Release: 2023 / EU – Original

Genre: Organic Grooves, Rock & Indie

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Full length double LP from contemporary Irish guitarist Jonny Dillon. Beautifully recorded blues / folk guitar pieces. Full info soon. TIP!

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LP | 2023 | EU | Original (Wagram)

I Walk The Line

17,99 €*

Release: 2023 / EU – Original

Genre: Rock & Indie

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Portrayals 180g Vinyl Edition

Ane Brun

LP | 2023 | EU | Original (Balloon Ranger)

LP | 2023 | US | Original (Scissor Tail Editions)

Release: 2023 / EU – Original

Genre: Rock & Indie

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Two decades into her career, Norway's Ane Brun has come a long way from busking other people's songs on the streets of Barcelona. And yet, in some respects, not that far after all. Now a much-loved singer-songwriter in her own right, with ten studio albums and multiple awards to her name, Brun continues to lend her singularly expressive voice and i...

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John Fizer

Treasure Man

LP | 2023 | EU | Original (Mapache)

Release: 2023 / US – Original

Genre: Rock & Indie

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Since Barely saved from obscurity by a series of chance events, John FIZER's only recorded album Treasure Man will finally see the light of day. Forty-five years in the making, while for the last twenty-nine years Fizer has been “living rough” couch surfing, sleeping in play structures, friend’s backyards and more recently his old Volvo station wagon. Fizer is currently residing in a nursing facility in Northern California. Below is the story of how this never before heard album came to Scissor Tail’s attention. James Johnson (producer) says: “I used to walk my daughter to school and passed the original Peet’s coffee every day. Across the street was Berkeley’s beloved John ‘Treasure Man’ Fizer playing chess, doing crosswords and waiting next to the treasure tree which he had filled with gemstones and various magical trinkets. To this day any child passing by is welcome to choose a treasure. Over many stops with my daughter I got to know John, a fountain of love, intelligence and humor and as quirky and feisty as can be. We became friends. Eventually he showed me a few old cassettes of cassettes of cassettes in poor condition of him performing and asked if I could make them sound better. I agreed to take a listen. Such amazing songs! So I proceeded to remaster the cassettes while continuing to ask John at least four times over several months if he had the original master studio recordings. The answer was always no. About the time I finally had his cassette sourced recordings sounding as good as they could be and he popped up with a 15 inches per second 1/4’ half track, state of the art analog master reel-to-reel recorded at the legendary Mountain Ears recording studio in 1977 with some very fine studio musicians including RAY Bonneville, Brad "honeyboy" Hayes, Erik "bobo" JohnSON and Brian "sluggo" Brown. John had found the original reel! It had been residing for decades in the bowels of John’s old 1980 Volvo station wagon, which also serves as his home, and was covered in strangely beautiful mold but that was the day I knew the world would hear John’s music the way it was meant to be be...big, fat, analog. The next few years were spent cleaning and remastering the album with some of the worlds finest restoration specialists.”

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Cactus Lee

Perfect Middle Hall

Release: 2023 / EU – Original

Genre: Rock & Indie

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Recorded in Austin at Vine Studios with Kyle Crusham (Paul Simon, Edie Brickell and the New Bohemians), Cactus Lee has returned with a six song album titled “Perfect Middle Hall.” This album signals a change in approach to Dehan’s previous self recorded albums and yields a fuller sound. In addition to Dehan on guitars and vocals is John Bush (New Bohemians) on conga / percussion / drums and Alice Stewart (Shinyribs) with added vocals.

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LP | 1996 | EU | Reissue (Universal)

American II: Unchained

Release: 1996 / EU – Reissue

Genre: Rock & Indie

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Reissue of this classic produced by Rick Rubin on 180 gram vinyl .

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LP | 2023 | EU | Original (ZYX)

Greatest Hits

17,99 €*

Release: 2023 / EU – Original

Genre: Rock & Indie

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2LP | 1992 | US | Reissue (Analogue Productions)

Janis Ian

Breaking Silence

69,99 €*

Release: 1992 / US – Reissue

Genre: Rock & Indie

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Ladies Of The Canyon 180g 45RPM SuperVinyl Box Set

Joni Mitchell

2LP | 1970 | US | Reissue (Mobile Fidelity)

154,99 €*

2LP | 1971 | US | Reissue (Mobile Fidelity)

Release: 1970 / US – Reissue

Genre: Rock & Indie

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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.

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Joni Mitchell

Blue

158,99 €*

Release: 1971 / US – Reissue

Genre: Rock & Indie

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Tape | 2023 | UK | Original (Victory March)

R.D Thomas

What Circus Is This ?

19,99 €*

LP | 1989 | US | Original (MCA)

Release: 2023 / UK – Original

Genre: Rock & Indie

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What Circus Is This? is the debut LP from Cornish songwriter/producer R. D. Thomas. Produced remotely in 2021 between home studios in London, Cornwall and Sweden.

The record features collaborations with Mickey Smith & Nat Wason (Ben Howard, A Blaze Of Feather) and Rob Hall (Catfish And The Bottlemen) on drum duties. For fans of Bon Iver, Fleet Foxes, Phosphorescent. What Circus.. skirts the dreaded singer-songwriter genre, with a mixture of sincerity and self-deprecation whilst making room for a playful dose of irony.

‘Paint By Numbers You’ takes a wry smile at modern concerns. ‘Sugar Coated Brain’ rattles through a 60’s style strum, with tongue in cheek to balance more trademark vulnerabilities of moments such as ‘This Bloom’ and ‘Salt’.

The penultimate track ‘And I’m Gone’ would have made for an obvious bookmark to the LP, but it is perhaps more telling that ‘Numbers Game’ should be the lingering sentiment ; a musing over the contradiction of modern meritocracy, suggesting ‘a sense of humour’ as a suitable tonic.

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Strength In Numbers

The Telluride Sessions

53,19 €* 75,99 € -30%

Release: 1989 / US – Original

Genre: Rock & Indie

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Used Vinyl

Medium: VG+, Cover: VG

US original.

Record close to near mint, faint surface noise audible in the run-ins of the first track on both sides but just for a few rounds.

Cover close to VG+ with just a small seam split at the lower edge.

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LP | 2023 | EU | Original (Not Now)

Best Of

29,99 €*

Release: 2023 / EU – Original

Genre: Rock & Indie

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Live In Paris 1956-1960 Remastered

Henri Salvador

2LP | 2022 | UK | Original (Diggers Factory / Live In Paris)

38,99 €*

Release: 2022 / UK – Original

Genre: Rock & Indie

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LP | 2022 | UK | Original (Gusstaff)

Dead Cat In A Bag

We've Been Through

LP | 1975 | CA | Reissue (Return To Analog)

Release: 2022 / UK – Original

Genre: Rock & Indie

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The last album of Dead Cat In a Bag on vinyl! 180g + downloadcode.

"Do you know it? Ennio Morricone, Nick Cave, Mark Lanegan, Tom Waits and Zach Condon walk into the bar, and there are all the seats occupied by the Dead Cat In A Bag musicians. Really." - this is how Jarek Szubrycht started the review of the last album of the Italian group Dead Cat In Bag in Gazeta Wyborcza. And he was right. Really. Yes! Dead Cat In A Bag is back! They are back with a new album "We've Been Through".

After exploring several so called Neo-Folk regions, flirting with Folk Noir, mostly with Traditional Folk in a modern perspective, for example Americana to Tex-Mex and Balkan Music to Alternative Country, on this third record the ensemble drifts to a cinematic landscape, focusing on the theme of overcoming.

We've Been Through puts together World Music elements incorporating an almost soundtrack experience for a journey into both Day and Night, Hope and Disillusionment and telling stories of broken romances and shipwrecks.

Utilizing banjo and theatrical vocal delivery, together with with classic and odd instruments, the band remap the original charts but still set sail the desired destinations. And if, about the previous records, critics were prone to recall the prowess of Waits, Cave, Lanegan, Cash and Tindersticks, this time it will be harder to name the grandfathers. Now there is a Morricone (or was it Badalamenti?) guiding spirit and a dreamlike universe full of memories, from the dry electric blues of a stream of consciousness duet in Duet For Nothing to the unexpected crooning vocals provided by Liam McKahey (CousetauX) in Lost Friends (a banjo droven dirge dealing with electronics and a bassoon, with steal percussions and a music saw for a frame), from the rendition of the traditional Wayfaring Stranger, balancing between electric guitars and Bluegrass, to the intimate cover of Leonard Cohen's Hunter's Lullaby, from the rock-(swamp)blues of The Cat Is Dead (enriched by Italian bass hero Gianni Maroccolo, from Litfiba and C.S.I.) to the soft meloncholy of the string quartet in Between Day And Night, from the dark cabaret of Fiddler, The Ship Is Sinking to the soft porch song, between Willard Grant Conspiracy and Kris Kristofferson, of the final title track. You can hear a shrawn and a blues harp, whispers and choirs, love and dudgeon as the record goes. This is the sound of an orchestra playing on a sinking ship: what else could a fiddler do? And what can we do, in the end?

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Lothar Jahn

Dreams Of '75

The Hissing Of Summer Lawns

Release: 1975 / CA – Reissue

Genre: Rock & Indie

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Singer/songwriter and multi-instrumentalist Lothar Jahn’s Dreams Of 75 is a wild fusion of psychedelic folk, and Krautrock. Fantastic from beginning to end “Dreams of ’75,” will take listeners on a stereoscopic journey

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Joni Mitchell

LP | 2008 | DE | Reissue (Asylum)

79,99 €*

Release: 2008 / DE – Reissue

Genre: Organic Grooves, Rock & Indie

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Used Vinyl

Medium: Near Mint, Cover: Near Mint

The Portrait You Painted Of Me

Alison Cotton

LP | 2022 | UK | Original (Rocket)

LP | 2022 | EU | Original (Railroad Tracks)

Release: 2022 / UK – Original

Genre: Rock & Indie

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Alison Cotton presents The Portrait You Painted of Me, a new 6-track album - her first for Rocket Recordings (released on Feeding Tube in the USA). Like Alison's previous solo albums, the touchstones of her immersive sound are viola, harmonium and voice, merged together to create a rich suite of songs.'Mumurations Over the Moor' is a wordless piece of layered vocals, drifting like fog towards a sunset over the green undulations of North East England (from where she hails). 'The Last Wooden Ship' evokes the shipyards of Sunderland using droning harmonium and viola lines, laced with piano and percussion events, while her voice calls out like one of Tim Buckley's Sirens urging listeners to a rocky demise. 'I Buried the Candlesticks' has a haunted, traditional feel with its dolorously folky viola melody laid across a thick carpet harmonium, and small bursts of percussion that sound like cannonade heard through the thick cold walls of a castle in winter. 'That Tunnel Underground Seemed Neverending' is a musical vision of Northumberland's mining culture at the dawn of the 20th Century - labyrinthine, subterranean, dimmer than night. 'Violet May', the only traditional "song" on the album, was inspired by a trip to Vita Sackville-West's Sissinghurst Castle. Its plot deals with a reclusive artist who has forsaken all else for a life of solitary creation in her tower. The structure and sound reminiscent of a post-modern approach to lyrical concerns dealt with by folk singers of the British '60s, but the actual arrangement is closer to something John Cale might have done with Nico on The Marble Index. The closing track, '17th November 1962', inspired by nearly-forgotten memories of disaster with a fishing boat, a storm and an ill-fated rescue attempt. The song (and album) ends with what sounds like a forlorn foghorn cutting across waves of night with Alison's voice again evoking the Sirens.As with its predecessors, The Portrait You Painted of Me was recorded at home in London, beautifully produced by Alison's pa...

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Gurnemanz

Live & Rare

Release: 2022 / EU – Original

Genre: Rock & Indie

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LP | 2022 | EU | Original (Railroad Tracks)

Gurnemanz

Walking Under Blue Moon

Release: 2022 / EU – Original

Genre: Rock & Indie

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LP | 2019 | EU | Original (K&F)

John Blek

Thistle & Thorn

22,99 €*

Release: 2019 / EU – Original

Genre: Rock & Indie

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LP | 2022 | UK | Original (Finders Keepers)

Miquela E Lei Chapacans

LP | 1972 | EU | Reissue (Life Goes On)

Release: 2022 / UK – Original

Genre: Rock & Indie

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The first progressive girl group of the French Occitan language pop scene bring you folk funk, sun-baked bossa, Coltrane jazz and their own brand of punky “Dizco Rural” against an untouched French Balearic backdrop spanning the late 70s and 80s. If even the most assiduous of European record collectors consider the Occitan language music scene to be France’s best-kept secret then it’s as fair to say that the incredible multifaceted recordings of langue d’oc prog girl group Lei Chapacans has spent the last four decades hiding in plain sight. In all fairness this overlooked treasure chest of minority language excursions into folk funk, Balearic, bossa, John Coltrane penned jazz, baroque psych, Palestinian poetry, comedic synth skits (and even the rawest form of femme-fronted multiingual punky disco) has been stowed away in inconspicuous photographic record sleeves, falsely evoking something closer to contemporary C&W while oft-misplaced in record shop cassette racks alongside “traditional” spoken-word and scholastic albums. So for the uninitiated, don’t be too hard on yourself. The fun starts here. For those who are familiar with the rare and sought-after one-off solo album by Occitan singer Miquela and have craved for more, then you’ve come to exactly the right place. Lei Chapacans (a name that roughly translates to The Vagabonds) is the all-girl vocal group assembled by Miquela herself just two years after her debut release, having toured the word and snubbed major label record deal offers with a steadfast allegiance to the protection of the Occitan language in which this album is primarily penned and performed (minus a small amount of German and sarcastic English in one rebellious instance). For European collectors with a penchant for French savoir faire, but have further yearnings for folkloric femme funk, then it’s time to look towards the Occitan sunset where you will meet Lolo, Miquela, Sophie, Irena and Denise. These amazing, and undeniably culturally important recordings might have taken some time to find a wider audience, but for music lovers, crate diggers and vinyl vultures alike there are still a lot of tasty morsels out there to be scavenged and devoured, ask any self-respecting Chapacan and they’ll concur wholeheartedly.

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Music Box

Songs Of Sunshine

Markley (West Coast Pop Art Experimental Band)

Release: 1972 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Here we have another magical achievement of the early 70’s counterculture. Officially released in 1972 on the small imprint Westwood Recordings, the album has an intimate, predominantly acoustic flavor. Flutes, chimes and gentle organ sounds all over the place. Tales of faraway lands, sand, sea, castles, kings, queens and even Peter Pan dominates the scene, imposing a sort of ancestral feel. Rob Armstrong, the leader of the group, became a renowned luthier and you can hear the care and love of the acoustic guitar in his music. The short lived british folk trio released just this single before vanishiong. The album consists of nine acoustic folk tracks of their own material and the Bob Dylan's classic Tom Thumb Blues.

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Markley, A Group

LP | 1969 | EU | Reissue (Life Goes On)

Martha Scanlan & Jon Neufeld

Release: 1969 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Markley, A Group is the sixth and final album by the American psychedelic rock group, the West Coast Pop Art Experimental Band, and was released in 1970 on Forward Records, owned by Mike Curb. The album was released under another group name, Markley A Group, as decided by the group owner, Bob Markley. It features compositions by Danny Harris, Michael Lloyd and Shaun Harris with lyrics by Bob himself. The content is simple and soft, reminiscent of the band's earlier work. A gently pop-psych stroke of genius.

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Last Stars First Light Rose Glass Vinyl Edition

LP | 2022 | US | Original (Jealous Burcher)

LP | 2022 | EU | Original (Left Ear)

Release: 2022 / US – Original

Genre: Rock & Indie

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Jon Neufeld and Martha Scanlan's unique alchemy on stage began ten years ago when they first played Portland's Indie Roots festival Pickathon together. It was an immediate friendship and musical connection that has only deepened with time and years spent touring festivals and venues across the country, the sense of adventure and improvisation in the music becoming more fluid and expansive with each show, each passing mile. In January 2020, when so much began to shift and live shows ground to a halt, what began as a loose plan to work on a new record seemed to become a musical journey of it’s own, a necessary sort of refuge. They began passing songs and ideas back and forth from their respective homes/studios; Martha in Western Montana and Jon in Portland Oregon, often in the early hours before the world was awake, often waiting to listen to the track until tape was rolling, almost as though the improvisational live interaction onstage was occurring over time and space, in slow motion. The result is a continuing collaborative project in motion, an unfolding story. Welcome to the first mile-post, "Last Stars First Light"

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Twin Cosmos

Double Action

24,64 €* 28,99 € -15%

Ashley Mcbryde Presents:Lindeville

Release: 2022 / EU – Original

Genre: Rock & Indie

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

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

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

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

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

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

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

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Ashley McBryde

LP | 2022 | EU | Original (Warner)

Tini Trampler & Playbackdolls

Release: 2022 / EU – Original

Genre: Rock & Indie

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Inspired by the writing methods of legendary Nashville songwriter Dennis Linde ("Goodbye Earl," "Burning Love," "Bubba Shot the Jukebox"), Ashley McBryde set out with a group of her favorite co-writers to work up a project they had no intention of ev-er recording or releasing. What came from that week-long exercise in a rural cabin outside Nashville is a distilled version of everything that listeners have come to appre-ciate from Ashley: Raw, honest, specific portraits of small town America and the many characters that you may encounter in any one of them. Produced by John Osborne, Ashley McBryde Presents: Lindeville includes performances from McBryde, Brothers Osborne, Brandy Clark, Aaron Raitiere, Pillbox Patti, Caylee Hammack and Benjy Davis.

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Chansons 2084

LP | 2022 | EU | Original (Medienmanufaktur Wien)

21,24 €* 24,99 € -15%

Release: 2022 / EU – Original

Genre: Rock & Indie

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Rocky Mountain High 50th Anniversary Edition

John Denver

LP | 1972 | EU | Reissue (Windstar)

Let Us Now Praise Sleepy John 15th Anniversary Edition

Release: 1972 / EU – Reissue

Genre: Rock & Indie

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Celebrating the 50th Anniversary of the Rocky Mountain High album and song, John Denver's Windstar Records is reissuing the album on limited edition Transparent Blue Vinyl. Originally released September 15, 1972, Rocky Mountain High was Denver's first Top 10 album, propelled by the self-titled single. In 2007, the title track was made a state song of Colorado. The album has gone on to earn 2x Platinum status and the title track certified Gold. In the early 1970s, Denver was one of the first artists to share an environmental message through his music, and fans responded. John understood that responsibility came with having a public voice. The album's iconic namesake Rocky Mountain High was written while Denver was camping in the Rocky Mountains during the Perseid Meteor Shower, with lyrics expressing the love and wonder John Denver felt for his adopted state of Colorado, and speaking of environmental sustainability. Released while war was raging in Vietnam, the album's second single "Prisoners" tells a story of prisoners of war. The album also features Denver's take on songs by The Beatles and John Prine, and the five-part Season Suite finds reflection through the seasons.

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Peter Case

LP | 2022 | US | Original (Yep Roc)

Release: 2022 / US – Original

Genre: Rock & Indie

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LP | 2022 | EU | Original (Discreet Music)

Jon Collin

Bridge Variations

15,39 €* 21,99 € -30%

La Bete Noire / Paris N'Existe Pas

Release: 2022 / EU – Original

Genre: Rock & Indie, Electronic & Dance

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

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Jean-Claude Vannier

LP | 2022 | UK | Original (Finders Keepers)

21,99 €*

LP | 2022 | EU | Original (Anti)

Release: 2022 / UK – Original

Genre: Rock & Indie

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With a discography held in such high esteem amongst fans of conceptual French pop and soundtrack composition, the likelihood of finding an unturned stone amongst maestro Jean-Claude Vannier’s fertile psychedelic rockery falls somewhere between slim and skeletal. Even the most intrepid explorers of the most fearless and fastidious nature should naturally expect to encounter one or two shadowy characters when braving the oblique corners of the Vannier vault, but few lost souls cast a darker silhouette than the cinematic obscurity known only as »La Bête Noire« (The Black Beast).

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Cass McCombs

Heartmind

Release: 2022 / EU – Original

Genre: Rock & Indie

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And Then There Were Three

Michael Chapman

2LP | 2022 | EU | Original (Lantern Heights)

Outlaw Carnie Green Vinyl Edtion

Release: 2022 / EU – Original

Genre: Rock & Indie

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Fully licensed, ltd to 500 copies double 180 gr. vinyl. Here’s Lantern Heights’ personal tribute to the one and only Michael Chapman, a hero in his own right, a ‘Fully Qualified Survivor’ (just to mention one of his most successful creations). An unreleased live album on vinyl in the form of an astonishing trio.” A live set recorded at Nottingham’s Playhouse Theatre on July 23rd 1977 by Chapman and a power house rhythm section in Lindisfarne bassist Rod Clements and former John Mayall drummer Keef Hartley. Some of his best-loved songs are showcased in “And There Were Three” – a jocular reference to Chapman’s ever-shrinking band, also known as ‘a beast with three heads’.

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Bob Wayne

LP | 2011 | EU | Reissue (Svart)

Outlaw Carnie Black Vinyl Edition

Release: 2011 / EU – Reissue

Genre: Rock & Indie

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Bob Wayne lives and breathes both country music and punk rock, and has worked with a very diverse cast of artists in his career, from Hank Williams III to Exodus. A true outlaw and a DIY spirit, he is incessantly on tour or working on new music. Some years ago he got signed by a metal label, being the first country artist on Century Media.

This album, Outlaw Carnies, was Wayne’s debut for Century Media/People Like You in 2011. Long sold out on vinyl, Svart Records are happy to present an authorised vinyl reissue, available on classic black and limited dirty swamp green wax.

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Bob Wayne

LP | 2011 | EU | Reissue (Svart)

LP | 2022 | EU | Reissue (Oh Boy)

Release: 2011 / EU – Reissue

Genre: Rock & Indie

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John Prine

German Afternoons

Release: 2022 / EU – Reissue

Genre: Rock & Indie

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LP | 2022 | EU | Reissue (Oh Boy)

John Prine

Aimless Love

Release: 2022 / EU – Reissue

Genre: Rock & Indie

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LP | 2022 | US | Original (Dear Life)

Anne Malin

Summer Angel

LP | 2022 | UK | Original (Ici D'Ailleurs)

Release: 2022 / US – Original

Genre: Rock & Indie

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In poet and songwriter Anne Malin’s “Summer Angel,” tales of love and violence intersect in dreamlike soundscapes. Conceived in response to the poem “Summer Angel” by Alfred Starr Hamilton and Marianne Faithfull’s rendition of Morrissey’s “Dear God Please Help Me,” Anne Malin sings with childlike wonder and a sense of harrowing indictment, playing with the lyric as a multilayered tool for self-expression and self-protection alike.

“Summer Angel" wields prisms in the face of sexual abuse and its nonlinear aftermath, asking: what is healing, what is self-harm, and what might freedom look like? These songs, brought into full form with collaborators Will Ringwalt-Johnson, Trevor Nikrant, Jake Smith, DJ Young, and JayVe Montgomery, reveal Anne Malin’s fluid vocal range: capable of operatic force and cutting delivery, and confident in navigating the grey areas in between.

Echoing Henry Mancini and Songs: Ohia in equal measure, “Summer Angel” is Anne Malin’s most ambitious project yet. Produced by Andrija Tokic (Josephine Foster, Alabama Shakes) at the Bomb Shelter in Nashville, TN, Anne Malin and her collaborators worked with ease and humor, benefiting from Tokic’s vibrant conceptions of the songs. Tokic embraced an inappropriateness in production, collaging sounds—from saxophone, pedal steel, and orchestral percussion, to name a few—with agile nonchalance.

The band, chosen for their breadth of experience with song-form genres as well as fully improvised music, dynamically constructed sonic environments around the initial live tracking. Anne Malin, committed to one-take vocal delivery during the band’s live tracking, similarly embraced the possibilities of improvisation and the many shapes a song can take.

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Yann Tiersen

Avant La Chute

17,99 €*

Release: 2022 / UK – Original

Genre: Rock & Indie

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Future Nuggets Volume 4 Colored Vinyl Edition

V.A.

2LP | 2022 | EU | Original (Fun In The Church)

23,39 €* 25,99 € -10%

Release: 2022 / EU – Original

Genre: Rock & Indie

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King Wasiu Ayinde Marshal I

Talazo Fuji Music Party!

LP | 2022 | EU | Original (Decca)

17,24 €* 22,99 € -25%

Baby Magic Transparent Red Vinyl Edition

Release: 2022 / EU – Original

Genre: Rock & Indie

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Back in Nigeria in 1995 everybody knew King Wasiu Ayinde Marshal I. Just
about every house party and club floor, every shop front and car window,
pulsed to such megahits as ‘Talazo’ and ‘Consolidation’; to the percussion-rich
polyrhythms and Yoruba chants typical of Fuji music, a genre this one-time
roadie (for Fuji music icon Ayinde Barrister) had customised by adding more
percussion – congas, the sakara frame drum – and an attitude straight off the
street.
Wasiu Ayinde had nearly twenty years’ worth of national fame under his floor
length robes (and occasional zebra-striped jumpsuits) when he played his first
ever WOMAD Festival that same year. Booked in for a session at Real World
Recording Week shortly afterwards, the artist and his 16-piece band were
inadvertently delayed and pulled in to Real World Studios in Box, Wiltshire eight
hours late. The recording went ahead regardless. Against the clock. On-thefly. With a small live audience in party mode and microphones placed about
the floor, Wasiu Ayinde and his crew rode the adrenalin, summoning a set that
moved from trance-like call-and-response and vibrant Afropop ballads to those
aforementioned megahits, all of it soaked in groove and feeling. A kingly feat,
that seems even more majestic now.

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Sofia Mills

LP | 2022 | EU | Original (Sofia Mills)

LP | 1985 | EU | Reissue (Naya Beat)

Release: 2022 / EU – Original

Genre: Rock & Indie

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The debut album from 19-year-old artist Sofia Mills, Baby Magic intimately details the most pivotal moments in her coming-of-age experience: breakups with toxic boyfriends, coming out as queer at age 16, a longtime struggle with mental illness. As shown on her breakthrough single "Coffee Breath" (a self-produced track that's amassed over 100 million streams on Spotify to date), the Massachusetts-born singer/songwriter/multi-instrumentalist imbues her storytelling with both startling clarity and profound sensitivity, an element echoed in her warmly textured brand of indie-pop. Written entirely by Mills and co-produced with John Mark Nelson(Taylor Swift, Allison Ponthier), Baby Magic arrives as a complex and captivating body of work, built on a potent tension between her dreamy romanticism and intense self-awareness.

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Pinky Ann Rihal

Tere Liye (Hindi Disco)

Free The Witch Black Vinyl Edition

Release: 1985 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Cult South Asian New Wave! Naya Beat is proud to announce its second release, Tere Liye, the highly sought after and impossible to find New Wave album by the unsung pioneers of the British Asian music scene, Pinky Ann Rihal. Remastered for vinyl by multi Grammy-nominated Frank Merritt at The Carvery and available for the first time since its limited 1985 release, the album is as fresh and relevant today as it was 37 years ago. South Asian New Wave. Four words that you will rarely see together. Pinky Ann Rihal were the brainchild of two London-based Punjabi immigrants and progressive rock musicians – Harry Rihal and Jati Sodhi – at a time in the U.K. when progressive rock musicians were almost exclusively white and Punjabi musicians were almost exclusively making Bhangra. Encouraged by their friend and disco pioneer Biddu (yes, that Biddu!), they cut ‘Tere Liye’ – a one-off Hindi-language New Wave album with producer John Hamilton and vocalists Pinky Rihal (married to Harry) and Anne Barrett (married to John). It is an album that exemplifies the cultural collaboration and musical synthesis of the time. Complementing the rich, cosmic and layered synths and drum programming of Hamilton and the distorted guitars of Rihal and Sodhi are the Hindi lyrics of vocalists Pinky and Anne. The result is an amazing one-of-a-kind South Asian New Wave album. Nothing like it has come out before or since. Stymied on its original release by bungled distribution, poor marketing and plenty of bad luck, this incredible album seemed destined to be lost to history. With Asian electronic music in the U.K. seeing a rebirth and capturing imaginations around the world,‘Tere Liye’ can finally take its rightful place as one of the pioneering albums of the Asian underground. This is Naya Beat’s second release in a series of reissues, reworks and remixes, and compilations dedicated to uncovering electronic and dance music from the overlooked ‘80s and ‘90s South Asian music scene. Their first release Naya Beat Volume 1: South Asian Dance and Electronic Music 1983-1992 was named by the Vinyl Factory as the Number 1 reissue of 2021

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Green Lung

LP | 2022 | EU | Original (Svart)

Sunir Yellow Vinyl Edition

Release: 2022 / EU – Original

Genre: Rock & Indie

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Black vinyl, insert

Green Lung are “Britain’s finest folk horror -indebted heavy metalers” (The Guardian), and this is where it all started for the band in 2018. The five track demo recording Free The Witch, including the bonus track When The Axe Comes Down, now reissued on standalone vinyl.

Remastered for vinyl by the spectacular John Davis (Lana Del Rey, Led Zeppelin, Royal Blood…) at Metropolis Studios in the UK and adorned by striking covert art by the band’s perennial collaborator Richard Wells.

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Ianai

2LP | 2022 | EU | Original (Svart)

Sunir Black Vinyl Edition

Release: 2022 / EU – Original

Genre: Rock & Indie

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To speak to Trevenial, the single-entity, multi-instrumentalist voice from the other side of the veil, is to speak to a spirit that transcends the veil of this world and crosses borders beyond time and place. But you will not speak to Trevenial, but hear the words put forth in Ianai. Ianai is the essence of music that will permeate culture and influence without thought of boundaries or convention. Ianai is mythos in the making.

With not much known of Trevenial’s identity or nature, Ianai’s music is imbued with flavors from indigenous musical cultures around the globe and clothed in darkly hued indie moods. Acting as a messenger between two worlds and Ianai is music carried from within through the ages. Now is the time to let the waking world hear it too.

From the first outset of the debut musical offering Sunir and the first single “Savoj Icoil”, Ianai abandons the typical notions of ice and frost in which it is depicted, and rather than desolation, offers a guiding force through the notes and words. While the physical manifestation of this album has been years in the making, Ianai decided to pierce the veil during a time when the world was imprisoned and suffering unimaginable loss.

As the album progresses, listeners transcend through the instrumentation of Scandinavia, Africa, Asia, Middle East and South America. And while Ianai walks a long path, winding through the earth, Ianai does not walk alone, but seeks to share and learn, collaborate and conceive, music and art. From celestial harmonies to earthly delights, Ianai’s music is a reflection of both the worldly and otherworldly. Channeled through the vessel of the spirit Trevenial, the music voices in tongues long forgotten, singing the songs of the sons of God and the daughters of men. In a language unspoken on this plane, yet unmistakable in its meaning, Ianai embodies the freedom we seek and the ability to achieve that fluidity.

In his music, Ianai is joined by a cohort of musicians from the world music scene and classical orchestras but also people from modern bands such as: Massive Attack (uk), Client (uk), HIM (Finland), Sisters Of Mercy (uk), Theodor Bastard (Russia), Lord Of The Lost (Germany), Swallow the Sun (Finland), Souvenir Season (Germany) and The Rasmus (Finland).

The album Sunir will be released on June 6th on Svart Records. The album is produced by Jaani Peuhu (Swallow The Sun, Iconcrash, Mercury Circle) and mastered by Jaime Gomez Arellano at Orgone Studios (Ghost, Ulver, Paradise Lost).

From a time before time; before the ocean swallowed Atlantis and the named gods sat atop their mountains. When the ancient ones roamed free, unburdened, Ianai whispers through the boundary of legends.

With Sunir on the horizon, the question that remains is: when you hear Ianai, will you heed the call?

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Ianai

2LP | 2022 | EU | Original (Svart)

LP | 1982 | TR | Reissue (Dogan Music Company)

Release: 2022 / EU – Original

Genre: Rock & Indie

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Yeni Türkü

Akdeniz Akdeniz

20,99 €*

LP | 2022 | Original (Medienmanufaktur Wien)

Release: 1982 / TR – Reissue

Genre: Rock & Indie

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2020 Re-mastered, reissue, 180g black vinyl, in gatefold cover. Originally released in 1982 by the Turkish band Yeni Turku. Their musical style is characterized by a combination of traditional Turkish bağlama, kemenche, oud, guitar and bass. This album guaranties the relaxing, mediterranean mood and will definitely satisfy if you like ethnic music.

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Der Nino Aus Wien

Eis Zeit

Release: 2022 / Original

Genre: Rock & Indie

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I Go To The Railroad Tracks And Follow Them To The Station Of My Enemies

Tongo Eisen-Martin

LP | 2022 | US | Original (Rocks In Your Head)

20,99 €* 29,99 € -30%

Vom Bosphorus Bis Zum Rhein Colored Vinyl Edition

Release: 2022 / US – Original

Genre: Rock & Indie

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"I came across Tongo saying something in passing in an interview with Mayor London Breed. It was so insightful, poetic and deeply felt I wanted to know who he was. I devoured the poetry books that were available and then set out to invite him to make a recording. I had no idea what the session would be like. We were strangers. He showed up, there was no small talk, and he went to the microphone. He then created a 22 minute poem, no notes in his hands, and I looked at the engineer, and our minds were blown. It was flawless, and it was meaningful, and it was channeled from some other place. I said, do you have anything else to say? And he began another piece that lasted another 22 minutes or so. And it was also flawless,and incredible. And so I looked at the engineer and I said, 'I think we have a record.' Now I’ve never seen a record cut in one sitting, I figured it was reserved for geniuses like Thelonious Monk or Robert Johnson or something. And so I realized Tongo is a genius too. The poetry is so loud and crisp and clear and fueled with energy. It has a connection back to Gil Scott Heron, The Last Poets, Langston Hughes but it is also not derivative in the least, but new and of it’s own time."—Sonny Smith, Rocks in your head records “Tongo’s words are bricks-with which he builds houses, breaks windows, and - strangely- enticesyou to take a bath in. I first heard his poetry and got scared of dying. Like- I better figure shit out because this is the new shit and he’s on somethingI’m not. He’s noticing shit that I better notice if I want to experience life in color. He knows that to live- you gotta make shit aroundyou move. You can’t just watch. I’m thrilledthat this album is coming out so y’all can be scared of not living too.”—Boots Riley "Words are a kind of architecture – where the bricks exist on page or spoken into the either. A form is built and becomes a body that will not soon wilt… the spoken word is timeless and immortal. Here in this collection Tongo kicks the new jazz – a classic sense of form ad stylethat is dare I say it smolderingly masculine, drumming, with someone who clearly has an old ear for dialogue. This coolection read icadest and with a heavy hand in the past not withstanding, still boasts verbage that is very very fresh. Bravo."—Brontez Purnell

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Ozan Ata Canani & Karaba

7" | 2022 | EU | Original (Fun In The Church)

13,59 €* 15,99 € -15%

Vom Bosphorus Bis Zum Rhein Black Vinyl Edition

Release: 2022 / EU – Original

Genre: Rock & Indie, Electronic & Dance

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Limited to 100 copies-

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Ozan Ata Canani & Karaba

7" | 2022 | EU | Original (Fun In The Church)

14,99 €*

Release: 2022 / EU – Original

Genre: Rock & Indie

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Nancy Sinatra & Lee Hazlewood

Nancy & Lee 8Track Edition

8Track | 1968 | US | Reissue (Light In The Attic)

LP | 1973 | EU | Reissue (Sudiphone)

Release: 1968 / US – Reissue

Genre: Rock & Indie

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This is an 8track-cartridge, not a music cassette

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

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.

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Nass El Ghiwane

22,99 €*

Release: 1973 / EU – Reissue

Genre: Rock & Indie

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Oh To That Free Clear Vinyl Edition

Michaela Anne

LP | 2022 | US | Original (Yep Roc)

Annie Girl And The Flight

Release: 2022 / US – Original

Genre: Rock & Indie

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Nashville, TN based songwriter Michaela Anne returns with her new album Oh To Be That Free, the follow up to her 2019 Yep Roc debut Desert Dove. The record was produced by Michaela and Aaron Shafer-Haiss. 'I wrote this collection of songs as a simultaneous reckoning and healing," says Michaela Anne. "They came after a period in my life of self sabotage and unraveling by my own doing. But during the making of this record, life altering experiences occurred and a deeper layer of meaning for these songs appeared. Between the time we started to record and the very final mastering, I conceived, grew and birthed my first child. In the middle of this pregnancy, and the middle of making this record, my mother suffered a devastating and debilitating hemorrhagic stroke. These songs became healers for me as though I had written them for my future self."

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LP | 2012 | US | Original (Calar Music)

14,44 €* 16,99 € -15%

Annie Girl And The Flight

Release: 2012 / US – Original

Genre: Rock & Indie

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Annie Girl AND THE FLIGHT's intense, psychedelic live performances of “crushing high-voltage lullabies” (The Bay Bridged) have made a mark on the San Francisco rock scene, where they’ve been featured as one of the San Francisco Bay Guardian’s Artists On The Rise. From their self-titled hypnotic folk debut, which was Mojo Magazine’s album of the month, the band evolved into a louder, faster art rock incarnation punctuated by garage rhythms. For its marriage of memorable guitar riffs and dreamy vocals, their EP Bodies was chosen as one of SF Weekly’s Top Bay Area Albums of 2015. The same year, Annie Girl and The Flight were hand picked by Laura Jane Grace to support punk legends Against Me! on a 28-city North American tour

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Pilot Electric

12" | 2015 | US | Original (Calar Music)

Royal York Crescent Record Store Day 2022 Vinyl Edition

Release: 2015 / US – Original

Genre: Rock & Indie

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Described as “slow, hypnotic folk and/or loud, trance-inducing art-rock” by the San Francisco Bay Guardian, Annie Girl AND THE FLIGHT’s intense, almost psychedelic live performances have been making a mark on the San Francisco rock scene. Four-song EP.

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Ian A. Anderson

LP | 1970 | EU | Reissue (Bonfire)

29,99 €*

Embla And The Karidotters

Release: 1970 / EU – Reissue

Genre: Rock & Indie

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When we talk about british folk revival we should not forget a key figure as Ian A. Anderson, a songwriter on its own and a truly prime mover in the local scene. Currently editor of the ‘world music magazine’ fRoots, Ian A. Anderson first performed in his home town of Weston-super-Mare as a member of the Backwater Jook Band and came to prominence as a member of the Bristol based country blues scene of the mid to late 1960s, performing live and on record, both solo, with Al Jones and Elliott Jackson as the trio Anderson Jones Jackson, and as a duo with ‘globetrotter’ and long time friend Mike Cooper. After two EPs, he recorded his first album, Stereo Death Breakdown, as Ian Anderson’s Country Blues Band, which was released by Liberty/United Artists in 1969. In December 1969, with John Turner, he conceived the record label The Village Thing, for which he was also a producer. The label released two dozen albums by mostly between 1970 and 1974 including influential albums by Wizz Jones, Sun Also Rises, Pigsty Hill Light Orchestra, Steve Tilston, Dave Evans, Lackey & Sweeney, Chris Thompson, Dave Peabody and more, as well as three by Anderson himself. ‘Royal York Crescent’ is proper solo debut was licensed the 13th of Novemebr 1970 and is still considered as a forerunner of the acid folk movement . His lightly fingerpicking was backed by bongos – Ian Turner – and bass/piano – John Turner – providing a dynamic effort for his spectacular lyricism. This long lost classic is finally backing in print for your necessary uplifting entertainment.

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Hello, I'm Embla

LP | 2022 | EU (Die With Your Boots On)

24,74 €* 32,99 € -25%

Release: 2022 / EU

Genre: Rock & Indie

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LP | 2020 | EU | Original (Sony)

Greatest Hits Volume 1

Release: 2020 / EU – Original

Genre: Rock & Indie

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LP | 2022 | EU | Original (Vacancy)

Barrie-James

Strange Desire

Bells, Boots And Shambles Neon Green Vinyl Edition

Release: 2022 / EU – Original

Genre: Rock & Indie

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Limited to 1800 copies with obi strip & sleeve notes. Rare Soul-Jazz-Funk album from 1985. First ever vinyl reissue. Jazz guitarist Calvin Keys is a legend among soul-jazz-funk fans for both his work as a session & touring musician and for the catalog of classic releases under his own name. Key’s playing style is lean & muscular and his unique phrasing balances sophisticated jazz harmonics with funky R&B & soul grooves. Since the 1960s Calvin Keys has performed/recorded with renowned artists such as Ahmad Jamal, Ray Charles, Pharoah Sanders and Joe Henderson. He is also a mentor to young talent, offers private lessons, and is a frequent teacher at the yearly happening ‘Jazz Camp West’.

Calvin Keys was born in 1943 in Omaha, Nebraska. His first musical influence was his father Otis, a well-known drummer in the city's music scene…he passed the music bug on to Calvin, who picked up the guitar early. Keys landed his first notable gig as a member of Eddie 'Cleanhead' Vinson's band when he was 17 and then went on to play with Preston Love (of the Count Basie Orchestra). Later on, he would also join The Jimmy Smith Trio and then worked through the rest of the 1960’s with legends such as Jimmy McGriff, Richard 'Groove' Holmes and Brother Jack McDuff.

After moving to Los Angeles in the 1970’s, he signed to Gene Russell's now-legendary Black Jazz label where he cut his first two albums: Shawn-Neeq (1971) & Proceed with Caution (1974). Next to his own output on Black Jazz Records, Calvin Keys also did session work for the label and played on several of its hit records. At this point in time Keys also auditioned for the Ray Charles Orchestra…his unique phrasing and his ability to balance sophisticated jazz harmonics with tough R&B and soul grooves were showcased nightly in Charles’ band. Before relocating to San Francisco in 1975, he also played on Billy Brooks' jazz-funk classic ‘Windows of the Mind’ (1974) and focused on more live and session work. Keys then joined Ahmad Jamal's group and spent close to a decade with the pianist, touring the globe and recording six albums with him.

The 1980’s and 1990’s also proved similarly fruitful for Calvin Keys…he was a ‘first-call’ studio & live sideman and amassed massive credits for touring with all-stars from the likes of Tony Bennett, Pharoah Sanders and Sonny Stitt. He released two more fantastic solo albums: Full Court Press (1985) & Maria’s First (1985), this time on Olive Branch Records. In 1991 he was featured on the recordings for the original score of the film ‘Dying Young’ composed by James Newton Howard. Next to all of this, his session and live work with his own trio continued at a relentless pace. He settled down in the Bay area and played a multitude of gigs throughout the 1990’s.

After being sidelined in 1997 by heart surgery, Calvin Keys entered the new millennium with a bang! He released five widely acclaimed Jazz-charting albums & worked with major players from the likes of Taj Mahal (Santana, Miles Davis), Chester Thompson (Tower Of Power), Big John Patton (Blue Note), Phil Ranelin (Tribe), Sonny Fortune (Roy Ayers, Strata East), Buell Neidlinger (Lionel Richie, Quincy Jones), Peter Erskine (Joni Mitchell, Weather Report) and Lonnie Smith. There’s no such thing as ‘slowing down’ for Mr. Keys!

On the album we are proudly presenting you today (Full Court Press) you’ll find seven sublime tracks recorded in 1984 and released in 1985 on the Olive Branch label. This was Calvin Key’s first solo album since his recordings for Black Jazz Records back in the 1970’s. Full Court Press features an impressive arsenal of working road dogs that Keys had shared the stage with over the years. Included are: Maxayn Lewis (The Ikettes, Morris Day), Mike Thompson (Freddie Hubbard), James Gadson (Marvin Gaye, Herbie Hancock), Donny Beck (Buddy Miles, Bobby Lyle)…and many others.

Full Court Press is THE dictionary definition of smooth (yet funky) soul-jazz, with washes of warm, laid back grooves pinned under Keys’ endless dancing up and down the fretboard. The playing is ‘deep in the pocket’ and comes off elegant and effortless. Fluid rhythmic fingerpicking that makes you forget all about time and space. This essential release deserves a prominent place in your record collection!

Tidal Waves Music now proudly presents the First ever vinyl reissue of “Full Court Press” (originally released on Olive Branch Records in 1985). This rare record (vintage copies are not easy to come by) now comes as a deluxe 180g vinyl edition, strictly limited to 1800 copies worldwide with obi strip and features the original artwork by John Heard (Azar Lawrence, Count Basie) & sleeve notes by Sherman Ferguson (Pharoah Sanders Quartet). Released exclusively for Record Store Day 2022 and available in participating stores on April 23, 2022.

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Spirogyra

LP | 1973 | EU | Reissue (Klimt)

Angel Olsen / Karen Dalton

Release: 1973 / EU – Reissue

Genre: Rock & Indie

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An essential dark progressive folk re-issue. Initially formed by duo Martin Cockerham and Mark Francis in Bolton in 1968, the band expanded when Cockerham was a student in Canterbury at the end of 1969. In 1973 the band recorded their third album, released on Polydor Records. By this time Spirogyra had become a core of Martin Cockerham (guitar, vocals) and Barbara Gaskin (lead vocals) with Steve Borrill (bass) and guest musicians Dave Mattacks (drums), Julian Cusack (violin, keyboards), Henry Lowther (trumpet), John Boyce (cello), Stan Sulzman (flute) and Steve Ashley (whistle).

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Something In Your Mind

7" | 2022 | US | Original (Light In The Attic)

10,99 €*

In My Own Time 50th Anniversary Edition 8-Track Cartridge Edition / 8-Spur-Kassette

Release: 2022 / US – Original

Genre: Rock & Indie

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Angel Olsen covers “Something On Your Mind,” while Karen Dalton’s version is found on the flip The latest release in Light in the Attic’s 7" Covers Series Artwork by Los Angeles-based fine artist Robbie Simon Pressed at Third Man Pressing

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Karen Dalton

8Track | 1972 | US | Reissue (Light In The Attic)

51,99 €*

In My Own Time 50th Anniversary Edition

Release: 1972 / US – Reissue

Genre: Rock & Indie

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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.”

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Karen Dalton

Tape | 1972 | US | Reissue (Light In The Attic)

12,99 €*