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Numbered LTD Edition OF 5000 Copies Only! Expanded 70th Anniversary 180g Audiophile LP Re-issue OF THE Iconic 1950 Album Originally ON Columbia. AN Essential Sinatra Classic With THE Swing Style Arrangements OF George Siravo. These Analogue Mono Tape Transfers Sound Spectacular AND Shine AS Never Before.

This reissue comes on 180g. Right Track is a specialized music label based in Beirut - Lebanon. As an IFPI certified member they are the exclusive Licensee and distributor of multiple international and regional labels in addition to a range of Lebanese Artists. From Omar Khorshid’s arabian-funk to Fairuz’s eerie songs, from Ziad Rabani’s proto-disco to lebanese traditional Wadih Al Safi compositions, Right Track is committed to re-releasing the Immortal Arabic music repertoire on 180 g vinyls, delivering the highest possible quality from remastered audio to satisfy the demanding audiophile connoisseurs.

A Twangy Touch On 1960s Hits!

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

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

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

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

Features new all-analog mastering by Kevin Gray at Cohearent Audio, direct from the original analog tapes - Pressed at RTI - Includes liner notes by Brian Barr - Featuring unseen photos by legendary photographer Joel Brodsky - LP housed in an expanded gatefold jacket

Description: “My favorite singer in the place was Karen Dalton. She had a voice like Billie Holiday’s and played the guitar like Jimmy Reed.” – Bob Dylan

Karen Dalton's 1969 Capitol debut is finally back in print! Light in the Attic is thrilled to present a brand new edition of this heart-wrenching & bluesy introduction to the intoxicating world of Dalton and her deep well of musical secrets.

World-weary and filled with the blues, Dalton’s unsurpassed interpretive depth and emotional range were like no other. Recorded for Capitol in 1969, It’s So Hard To Tell Who's Going To Love You The Best spans generations of classic American songwriting–covering classics by Lead Belly, Fred Neil, and Tim Hardin. While no longer with us in the physical, Karen’s growing musical presence is stronger than ever and worthy of re-examination by both the converted and the uninitiated alike. This new re-release serves as the definitive, all-analog version of Dalton’s stunning debut, featuring remastered audio from the original Capitol masters, the original 1969 artwork in an expanded gatefold jacket, unseen photos by album photographer Joel Brodsky, and an essay interviewing Karen’s friends and music collaborators, from album producer and bassist Harvey Brooks to musician Peter Stampfel of the Holy Modal Rounders.

Why you'll love it...
“Knowing Tammy Wynette’s troubled history, and with 50-plus years of social change since the recording and release of Stand By Your Man, it’s difficult to hear the album and not want to scream: Tammy, get out of there; you’re so much better than him! But that’s not to say that the album, which ascended to No. 2 on Billboard’s Country Albums chart and earned a Country Music Association Album of the Year nomination in 1969, isn’t worth listening to. Wynette’s mournful voice, described by her longtime producer Billy Sherrill as ‘husky and soulful and tearful and dynamic,’ was made for songs like these; frankly, so were her real-life experiences. ‘She lived it, you know. She lived every tear every-body ever heard her sing,’ Sherrill once said of Wynette, and he assembled talented musicians to match her delivery in lush, Nashville Sound-era style.”

Why you'll love it...
After recording demos with Sam Phillips that he considered "too jazzy" Charlie Rich was given a stack of Jerry Lee Lewis records to study and "come back when [he got] that bad". The single "Lonely Weekends" hit Top 30 and earned a gold record for selling one million copies. The album features classics such as "C.C. Rider," "You're Gonna Be Waiting" and "Apple Blossom Time."

Limited to 1000 copies, the VMP exclusive edition of Charlie Rich's Lonely Weekends is pressed on Sky Blue vinyl at Softwax Record Pressing. The AAA 1LP will arrive in a single, direct-to-board jacket.

This reissue comes on 180g. Right Track is a specialized music label based in Beirut - Lebanon. As an IFPI certified member they are the exclusive Licensee and distributor of multiple international and regional labels in addition to a range of Lebanese Artists. From Omar Khorshid’s arabian-funk to Fairuz’s eerie songs, from Ziad Rabani’s proto-disco to lebanese traditional Wadih Al Safi compositions, Right Track is committed to re-releasing the Immortal Arabic music repertoire on 180 g vinyls, delivering the highest possible quality from remastered audio to satisfy the demanding audiophile connoisseurs.

Folksongs and Ballads by Tia Blake & Her Folk-Group, is more than just a “lost classic”. As clear and honest as can be, Folksongs and Ballads is a magnetic record, a refuge like only Nick Drake, Nico, and a few others have been able to create. A graceful, delicately minimalist approach to classic Appalachian and British folk songs.The perfect balance between melancholy and daydream. Originally released only in France in 1971, Ici Bientôt is very pleased to present the first ever reissue on vinyl. When she recorded her only album, Tia Blake was nineteen years old and had just arrived in Paris a year and a half beforehand. She spent most of her time at Disco’Thé, a record shop in the Latin Quarter, a free space, peaceful and inspiring, a hub for students as well as the local artistic community. There, Tia would occasionally sing—when she managed to overcome her shyness. Two young guitarists who were passionate fans of folk music and regulars at the shop began to accompany her, forming “Her Folk Group.” One year later, they cut 11 tracks at Pierre Barouh’s Studios Saravah. Folksongs and Ballads is composed of traditional tunes that have been covered many times, but they’re not the best known folk standards. A collection of stories ranging from the Middle Ages to the 1960s, bringing together sublimely doleful ballads, lamentations for a lost lover, and an unexpected, brilliant version of the road anthem “Plastic Jesus.” Tia Blake's haunting, unaffected voice captivates and comforts us, wrapping us in its cool embrace. Meanwhile, the tasteful, stripped-down, mellow acoustic arrangements provided by the guitarists, reminiscent of Bert Jansch and John Renbourn, occasionally supported by a kena flute, have created the space Tia Blake needed to reinvent these traditional songs. Folksongs and Ballads is a timeless record, deep and unique, a longtime companion for repeated listening, in the vein of works by Sibylle Baier, Bridget St. John and Vashti Bunyan.

Psychedelic, progressive folk-rock masterpiece from 1971, recorded in London by John St. Field aka Jackie Leven (of Doll by Doll fame) but only released in Spain back at the time. Before becoming a cult singer/songwriter in the 90s, Scottish musician Jackie Leven debuted in the early 70s with “Control”, issued under the John St. Field pseudonym due to “problems with the forces of law and order”. Recorded in London and helped by musicians from MAN and other friends (Phil Ryan, Juliet Lawson, Jesse Ballard, Joe Kucera…), the album featured a collection of wonderful songs written by Jackie after his experiences wandering away and taking copious amounts of LSD. Unlike previous reissues, this one features the complete tracklist in original running order and also a new insert with previously unseen photos / memorabilia and recollections from some of the musicians involved.

This reissue comes on 180g. Right Track is a specialized music label based in Beirut - Lebanon. As an IFPI certified member they are the exclusive Licensee and distributor of multiple international and regional labels in addition to a range of Lebanese Artists. From Omar Khorshid’s arabian-funk to Fairuz’s eerie songs, from Ziad Rabani’s proto-disco to lebanese traditional Wadih Al Safi compositions, Right Track is committed to re-releasing the Immortal Arabic music repertoire on 180 g vinyls, delivering the highest possible quality from remastered audio to satisfy the demanding audiophile connoisseurs.

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

On March 4, 1975, Jim Sullivan mysteriously disappeared outside Santa Rosa, New Mexico. His VW bug was found abandoned, his motel room untouched. Some think he got lost. Some think the mafia bumped him. Some even think he was abducted by aliens.

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

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

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

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

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

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

On March 4, 1975, Jim Sullivan mysteriously disappeared outside Santa Rosa, New Mexico. His VW bug was found abandoned, his motel room untouched. Some think he got lost. Some think the mafia bumped him. Some even think he was abducted by aliens.

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

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

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

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

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

* LP available on Standard Black Wax plus Special Limited Color Editions
* First ever reissue of Nancy & Lee’s 1972 classic
* Includes bonus tracks “Machine Gun Kelly” and the previously unreleased “Think I’m Coming Down”
* Newly remastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin
* Vinyl pressed at RTI
* Beautifully packaged and expanded gatefold LP featuring a 20-page booklet
* Q&A with Nancy & GRAMMY®-nominated reissue co-producer Hunter Lea
* Never-before-seen photos from Nancy Sinatra’s personal archive
* CD housed in a digipak and featuring a 28-page booklet
* 8-track also available
* Actual LP pressing color may differ from mock-up image

Light in the Attic Records is proud to present the next installment of the _Nancy Sinatra Archival Series_ with the first ever reissue of the classic 1972 album _Nancy & Lee Again_. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair’s most enduring and ambitious duets including the epic ”Arkansas Coal (Suite),” the sensual “Paris Summer” and the incredibly powerful Dolly Parton-penned “Down From Dover.” Equal parts daring, psychedelic, cinematic, and sweet, _Nancy & Lee Again_ reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come.

_Nancy & Lee Again_ is available in a variety of formats, including vinyl, CD, 8-track, and digital. The vinyl LP, pressed at Record Technology, Inc. (rti), is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist’s personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissue’s Grammyâ®-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, “Machine Gun Kelly” (first time on vinyl) and the previously unreleased “Think I’m Coming Down.”

In addition to the black vinyl pressing, a selection of colorful variants can be found exclusively at NancySinatra.com, LightInTheAttic.net, independent record stores and select online retailers.

A limited-edition merchandise capsule, including a custom chain stitched denim jacket, embroidered pillow, canvas tote and apparel collaboration with LA-based Midnight Rider will accompany the release at Nancy’s Bootique at *NancySinatra.com*.

Nancy’s impact on fashion, music, and culture will also be celebrated at Modernism Week in Palm Springs this February with three events, including a roundtable discussion featuring Kii Arens (Visual Artist), Alison Martino (Vintage Los Angeles), Hunter Lea (Record Producer), Don Randi (The Wrecking Crew), and Amanda Erlinger (daughter of Nancy Sinatra, and co-author of the book _Nancy Sinatra: One For Your Dreams_), a double decker bus tour featuring audio commentary from Nancy at notable locations, and a Nancy Sinatra Tribute street party on Arenas to close out the week’s festivities.

*more About _nancy & LEE AGAIN_:*

The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s _Nancy & Lee Again_, a follow-up to their bestselling duet debut, _Nancy & Lee_. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, _Cowboy in Sweden_. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout _Nancy & Lee Again_, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on _Nancy & Lee Again_ is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”

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

The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.

This definitive reissue of _Nancy & Lee Again_ also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of [Lee’s] drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.

_Nancy & Lee Again_ remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, _Record World_, and _Cash Box_, among others. Yet, _Nancy & Lee Again_ never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the Grammy⮠Hall of Fame. That same year, Sinatra partnered with Light in the Attic for *Nancy Sinatra: Start Walkin’ 1965-1976*, a definitive survey of her most prolific period. Lita has also reissued Sinatra’s classic debut, *Boots*, and her iconic, 1968 album with Lee Hazlewood, *Nancy & Lee*. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

* LP available on Standard Black Wax plus Special Limited Color Editions
* First ever reissue of Nancy & Lee’s 1972 classic
* Includes bonus tracks “Machine Gun Kelly” and the previously unreleased “Think I’m Coming Down”
* Newly remastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin
* Vinyl pressed at RTI
* Beautifully packaged and expanded gatefold LP featuring a 20-page booklet
* Q&A with Nancy & GRAMMY®-nominated reissue co-producer Hunter Lea
* Never-before-seen photos from Nancy Sinatra’s personal archive
* CD housed in a digipak and featuring a 28-page booklet
* 8-track also available
* Actual LP pressing color may differ from mock-up image

Light in the Attic Records is proud to present the next installment of the _Nancy Sinatra Archival Series_ with the first ever reissue of the classic 1972 album _Nancy & Lee Again_. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair’s most enduring and ambitious duets including the epic ”Arkansas Coal (Suite),” the sensual “Paris Summer” and the incredibly powerful Dolly Parton-penned “Down From Dover.” Equal parts daring, psychedelic, cinematic, and sweet, _Nancy & Lee Again_ reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come.

_Nancy & Lee Again_ is available in a variety of formats, including vinyl, CD, 8-track, and digital. The vinyl LP, pressed at Record Technology, Inc. (rti), is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist’s personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissue’s Grammyâ®-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, “Machine Gun Kelly” (first time on vinyl) and the previously unreleased “Think I’m Coming Down.”

In addition to the black vinyl pressing, a selection of colorful variants can be found exclusively at NancySinatra.com, LightInTheAttic.net, independent record stores and select online retailers.

A limited-edition merchandise capsule, including a custom chain stitched denim jacket, embroidered pillow, canvas tote and apparel collaboration with LA-based Midnight Rider will accompany the release at Nancy’s Bootique at *NancySinatra.com*.

Nancy’s impact on fashion, music, and culture will also be celebrated at Modernism Week in Palm Springs this February with three events, including a roundtable discussion featuring Kii Arens (Visual Artist), Alison Martino (Vintage Los Angeles), Hunter Lea (Record Producer), Don Randi (The Wrecking Crew), and Amanda Erlinger (daughter of Nancy Sinatra, and co-author of the book _Nancy Sinatra: One For Your Dreams_), a double decker bus tour featuring audio commentary from Nancy at notable locations, and a Nancy Sinatra Tribute street party on Arenas to close out the week’s festivities.

*more About _nancy & LEE AGAIN_:*

The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s _Nancy & Lee Again_, a follow-up to their bestselling duet debut, _Nancy & Lee_. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, _Cowboy in Sweden_. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout _Nancy & Lee Again_, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on _Nancy & Lee Again_ is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”

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

The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.

This definitive reissue of _Nancy & Lee Again_ also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of [Lee’s] drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.

_Nancy & Lee Again_ remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, _Record World_, and _Cash Box_, among others. Yet, _Nancy & Lee Again_ never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the Grammy⮠Hall of Fame. That same year, Sinatra partnered with Light in the Attic for *Nancy Sinatra: Start Walkin’ 1965-1976*, a definitive survey of her most prolific period. Lita has also reissued Sinatra’s classic debut, *Boots*, and her iconic, 1968 album with Lee Hazlewood, *Nancy & Lee*. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

* LP available on Standard Black Wax plus Special Limited Color Editions * First ever reissue of Nancy & Lee’s 1972 classic * Includes bonus tracks “Machine Gun Kelly” and the previously unreleased “Think I’m Coming Down” * Newly remastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin * Vinyl pressed at RTI * Beautifully packaged and expanded gatefold LP featuring a 20-page booklet * Q&A with Nancy & GRAMMY®-nominated reissue co-producer Hunter Lea * Never-before-seen photos from Nancy Sinatra’s personal archive

Light in the Attic Records is proud to present the next installment of the _Nancy Sinatra Archival Series_ with the first ever reissue of the classic 1972 album _Nancy & Lee Again_. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair’s most enduring and ambitious duets including the epic ”Arkansas Coal (Suite),” the sensual “Paris Summer” and the incredibly powerful Dolly Parton-penned “Down From Dover.” Equal parts daring, psychedelic, cinematic, and sweet, _Nancy & Lee Again_ reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come.

_Nancy & Lee Again_ is available in a variety of formats, including vinyl, CD, 8-track, and digital. The vinyl LP, pressed at Record Technology, Inc. (rti), is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist’s personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissue’s Grammyâ®-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, “Machine Gun Kelly” (first time on vinyl) and the previously unreleased “Think I’m Coming Down.”

In addition to the black vinyl pressing, a selection of colorful variants can be found exclusively at NancySinatra.com, LightInTheAttic.net, independent record stores and select online retailers.

A limited-edition merchandise capsule, including a custom chain stitched denim jacket, embroidered pillow, canvas tote and apparel collaboration with LA-based Midnight Rider will accompany the release at Nancy’s Bootique at *NancySinatra.com*.

Nancy’s impact on fashion, music, and culture will also be celebrated at Modernism Week in Palm Springs this February with three events, including a roundtable discussion featuring Kii Arens (Visual Artist), Alison Martino (Vintage Los Angeles), Hunter Lea (Record Producer), Don Randi (The Wrecking Crew), and Amanda Erlinger (daughter of Nancy Sinatra, and co-author of the book _Nancy Sinatra: One For Your Dreams_), a double decker bus tour featuring audio commentary from Nancy at notable locations, and a Nancy Sinatra Tribute street party on Arenas to close out the week’s festivities.

*more About _nancy & LEE AGAIN_:*

The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s _Nancy & Lee Again_, a follow-up to their bestselling duet debut, _Nancy & Lee_. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, _Cowboy in Sweden_. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout _Nancy & Lee Again_, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on _Nancy & Lee Again_ is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”

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

The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.

This definitive reissue of _Nancy & Lee Again_ also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of [Lee’s] drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.

_Nancy & Lee Again_ remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, _Record World_, and _Cash Box_, among others. Yet, _Nancy & Lee Again_ never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the Grammy⮠Hall of Fame. That same year, Sinatra partnered with Light in the Attic for *Nancy Sinatra: Start Walkin’ 1965-1976*, a definitive survey of her most prolific period. Lita has also reissued Sinatra’s classic debut, *Boots*, and her iconic, 1968 album with Lee Hazlewood, *Nancy & Lee*. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

* First ever reissue of Nancy & Lee’s 1972 classic
* Newly remastered from the original analog tapes by GRAMMY®-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 pair’s most enduring and ambitious duets including the epic ”Arkansas Coal (Suite),” the sensual “Paris Summer” and the incredibly powerful Dolly Parton-penned “Down From Dover.” Equal parts daring, psychedelic, cinematic, and sweet, _Nancy & Lee Again_ reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come.

_Nancy & Lee Again_ is available in a variety of formats, including vinyl, CD, 8-track, and digital. The vinyl LP, pressed at Record Technology, Inc. (rti), is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist’s personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissue’s Grammyâ®-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, “Machine Gun Kelly” (first time on vinyl) and the previously unreleased “Think I’m Coming Down.”

In addition to the black vinyl pressing, a selection of colorful variants can be found exclusively at NancySinatra.com, LightInTheAttic.net, independent record stores and select online retailers.

A limited-edition merchandise capsule, including a custom chain stitched denim jacket, embroidered pillow, canvas tote and apparel collaboration with LA-based Midnight Rider will accompany the release at Nancy’s Bootique at *NancySinatra.com*.

Nancy’s impact on fashion, music, and culture will also be celebrated at Modernism Week in Palm Springs this February with three events, including a roundtable discussion featuring Kii Arens (Visual Artist), Alison Martino (Vintage Los Angeles), Hunter Lea (Record Producer), Don Randi (The Wrecking Crew), and Amanda Erlinger (daughter of Nancy Sinatra, and co-author of the book _Nancy Sinatra: One For Your Dreams_), a double decker bus tour featuring audio commentary from Nancy at notable locations, and a Nancy Sinatra Tribute street party on Arenas to close out the week’s festivities.

*more About _nancy & LEE AGAIN_:*

The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s _Nancy & Lee Again_, a follow-up to their bestselling duet debut, _Nancy & Lee_. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, _Cowboy in Sweden_. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout _Nancy & Lee Again_, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on _Nancy & Lee Again_ is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”

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

The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.

This definitive reissue of _Nancy & Lee Again_ also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of [Lee’s] drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.

_Nancy & Lee Again_ remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, _Record World_, and _Cash Box_, among others. Yet, _Nancy & Lee Again_ never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the Grammy⮠Hall of Fame. That same year, Sinatra partnered with Light in the Attic for *Nancy Sinatra: Start Walkin’ 1965-1976*, a definitive survey of her most prolific period. Lita has also reissued Sinatra’s classic debut, *Boots*, and her iconic, 1968 album with Lee Hazlewood, *Nancy & Lee*. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

* LP available on Standard Black Wax plus Special Limited Color Editions
* First ever reissue of Nancy & Lee’s 1972 classic
* Includes bonus tracks “Machine Gun Kelly” and the previously unreleased “Think I’m Coming Down”
* Newly remastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin
* Vinyl pressed at RTI
* Beautifully packaged and expanded gatefold LP featuring a 20-page booklet
* Q&A with Nancy & GRAMMY®-nominated reissue co-producer Hunter Lea
* Never-before-seen photos from Nancy Sinatra’s personal archive
* CD housed in a digipak and featuring a 28-page booklet
* 8-track also available
* Actual LP pressing color may differ from mock-up image

Light in the Attic Records is proud to present the next installment of the _Nancy Sinatra Archival Series_ with the first ever reissue of the classic 1972 album _Nancy & Lee Again_. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair’s most enduring and ambitious duets including the epic ”Arkansas Coal (Suite),” the sensual “Paris Summer” and the incredibly powerful Dolly Parton-penned “Down From Dover.” Equal parts daring, psychedelic, cinematic, and sweet, _Nancy & Lee Again_ reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come.

_Nancy & Lee Again_ is available in a variety of formats, including vinyl, CD, 8-track, and digital. The vinyl LP, pressed at Record Technology, Inc. (rti), is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist’s personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissue’s Grammyâ®-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, “Machine Gun Kelly” (first time on vinyl) and the previously unreleased “Think I’m Coming Down.”

In addition to the black vinyl pressing, a selection of colorful variants can be found exclusively at NancySinatra.com, LightInTheAttic.net, independent record stores and select online retailers.

A limited-edition merchandise capsule, including a custom chain stitched denim jacket, embroidered pillow, canvas tote and apparel collaboration with LA-based Midnight Rider will accompany the release at Nancy’s Bootique at *NancySinatra.com*.

Nancy’s impact on fashion, music, and culture will also be celebrated at Modernism Week in Palm Springs this February with three events, including a roundtable discussion featuring Kii Arens (Visual Artist), Alison Martino (Vintage Los Angeles), Hunter Lea (Record Producer), Don Randi (The Wrecking Crew), and Amanda Erlinger (daughter of Nancy Sinatra, and co-author of the book _Nancy Sinatra: One For Your Dreams_), a double decker bus tour featuring audio commentary from Nancy at notable locations, and a Nancy Sinatra Tribute street party on Arenas to close out the week’s festivities.

*more About _nancy & LEE AGAIN_:*

The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s _Nancy & Lee Again_, a follow-up to their bestselling duet debut, _Nancy & Lee_. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, _Cowboy in Sweden_. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout _Nancy & Lee Again_, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on _Nancy & Lee Again_ is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”

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

The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.

This definitive reissue of _Nancy & Lee Again_ also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of [Lee’s] drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.

_Nancy & Lee Again_ remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, _Record World_, and _Cash Box_, among others. Yet, _Nancy & Lee Again_ never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the Grammy⮠Hall of Fame. That same year, Sinatra partnered with Light in the Attic for *Nancy Sinatra: Start Walkin’ 1965-1976*, a definitive survey of her most prolific period. Lita has also reissued Sinatra’s classic debut, *Boots*, and her iconic, 1968 album with Lee Hazlewood, *Nancy & Lee*. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

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



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



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

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.

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).

Incredibly cool & rare Turkish 45 from 1973 with super-groovy, psychedelic, jazzy, hot sounds reminding both Rita or Cal Tjader. Not to mention the cover artwork! You will Never find this original in more than VG+, no care what you’re willing to pay. Get this super reissue now and get your party on fire!!! Licensed 1000 copies press.

1st Japanese Pressing.
OBI not included.
Includes original insert and large poster.

Sophisticated & passionate, with flamboyant taste in sunglasses, Cem Karaca once led Istanbul’s music fans through a period of violent political turmoil. Karaca reworked traditional folk lyrics with molten electric bass lines that played up both a poet’s broiling righteousness and also his listeners’ common ground with their elders in Turkey’s history. This is the second album from Karaca, released in 1974, reissued for the first time in Picture Disc with remastered sound. It leads the listener through Karaca’s own musical history, skipping across various collaborations and bands up to his then-current project Dervisan. Can throbbing Anatolian guitars take on the assassins of the Grey Wolves? Imagine a hairy pied piper with R Kelly’s flair for drama, wailing into a microphone over an electric baglama, and you’re ready to enter the bohemian world of Papa Cem.

Originally released as a private cassette only release in 1974, this is the debut album of progressive folk-rock band Spriguns.

Homemade, charming folk-rock with the lovely voice of Mandy Morton, 12-string guitars, dulcimer, mandolin, fiddle… Fabulous covers of “Let No Man Steal Your Thyme”, “Matty Groves” and more!

Formed in the early 70s, Spriguns of Tolgus evolved from the folk duo of Mandy & Mike Morton and the scene centered around their Anchor Folk Club in Cambridge. In 1974, the band (Mike and Mandy plus Rick Thomas and Chris Russon) decided to produce a recording to raise funds for new equipment. Using a small tape recorder and mixing desk, “Rowdy Dowdy Day” was recorded live in the dining room at the band’s rented house. A small number of cassettes were produced and subsequently sold at the Anchor Folk Club.

With the original cassette impossible to find now, we’re glad to present a new vinyl edition.

If there was ever an outsider folk record that truly had it all, here it is! This LP from 1974 is impossible to compare with any LP ever (!), but at the same time, can be compared to some of the most visionary folk LPs ever! Picture (if you can) a combination of early Bob Dylan, Skip Spence, the 1st Gordon Bok LP, TIm Buckley, Lou Reed, Peter Drudzien, Ernest Stoneman, Daniel Jonson, Richard & Mimi Farina, Chris Smither & Phil Ochs (!). But is a record all it's own, with unique & classic songs about loner strangeness, fishermen, other 'heady abstract stuff', Provincetown girls & (possibly) the best JFK tribute ever!. THE Best JFK Tribute Ever! (PLUS!) includes some wild trad songs and the amazing psych folk classic 'In Search of Something'! This was privately pressed in 1974, and unbelievably never reissued until now! This reissue includes a cool bonus track (the only song he wrote & recorded after recording the LP!) and an 8-page booklet with interviews, photos and excerpts from many of his different writings (he is now a well known author!), First pressing of 300 copies with hand-painted covers.

This reissue comes on 180g. Omar Khorshid was the guitarist of Oum Koulsoum. He pays homage to him in this album that mixes modern and traditional influences. Right Track is a specialized music label based in Beirut - Lebanon. As an IFPI certified member they are the exclusive Licensee and distributor of multiple international and regional labels in addition to a range of Lebanese Artists. From Omar Khorshid’s arabian-funk to Fairuz’s eerie songs, from Ziad Rabani’s proto-disco to lebanese traditional Wadih Al Safi compositions, Right Track is committed to re-releasing the Immortal Arabic music repertoire on 180 g vinyls, delivering the highest possible quality from remastered audio to satisfy the demanding audiophile connoisseurs.

Before I’m gone I’d like to see us turn the corner and give up being spoilers of the land . . .

In 1975 Wallace ‘Wally’ Smith Broecker published a paper that popularised the term ‘global warming’ and against a backdrop of change and environmental uncertainty, a musical concept album was commissioned. ‘Wilderness America / A Celebration of the Land’ - is a musical exploration of our place within the cycle of living things. All compositions were specially commissioned for the album and blended with natural sounds recorded in the wild – lending the entire project a conceptual air that still feels fresh today.

The journey begins with the sun rising in the atmospheric haze of 'Dawn' - a track composed by new-age innovator Iasos. Gospel singer Walter Hawkins soon drops in with the soulful but ever so funky 'Metropolis' backed by a heavy array of session musicians with Patrick Gleeson, Ed Bogas and Tom Salisbury all adding their own misty magic to the album. David Riordan is the sorcerer conjuring up many of the compositions and also takes vocal duties on the evocative 'Mountain' and the climatic 'Before I'm Gone'.

‘Wilderness America / A Celebration of the Land’ was born when environmentalist Emily DeSpain Polk assembled a group of California residents to participate in a groundbreaking conservationist project. Christening the group Swap (Small Wilderness Area Preservation) Emily needed funds and began a project to produce a promotional nature based music album. To acquire the financial backing Emily would need to source a musician of some calibre. Contacting Cliff Branch from ‘Warehouse Sound Co.’ she was told the man she was looking for was David Riordan.

David Riordan had been around the music business for several years, first with The Yankee Dollar, then Sugarloaf and then Sweet Pain, he saw huge success with the single 'Green Eyed Lady'. David had worked on Cliff Branch’s 'Warehouse Sound Co. & Friends' albums and then released his solo album, 'Medicine Wheel'. But bored of touring he made the move to more concept-driven albums. First with ‘Christmas in San Francisco’ and then, in quick succession, 'Wilderness America, A Celebration Of The Land'.

Riordan, along with Peter Scott, a music producer friend in San Francisco, began piecing together an idea for the album. They brought in Ed Bogas to do string arrangements and Tom Salisbury to conduct. David had also asked his friend Patrick Gleeson if he knew of any R&B/Gospel singers in the Bay Area, and they soon added gospel singer Walter Hawkins into the mix.

Other than the track ‘Metropolis’, which was recorded in LA, the rest of ‘Wilderness America, A Celebration Of The Land’ was recorded and mixed by Richard Beggs at the San Francisco studio of Francis Ford Coppola. Coppola was filming ‘Apocalypse Now’ at the same time – so in between studio sessions, the musicians were able to view the seemingly never-ending film rushes arriving from the Philippines.

Eventually, the record produced by David Riordan and Peter Scott drifted onto the radar of vinyl obsessives and selectors as several of its key tracks began popping up on mixtapes and sales lists. It wasn’t long before this privately pressed, art-funded masterpiece became something of a holy grail for collectors. At long last, a re-issue of this masterpiece is now available on Ebalunga!!! Records.

2018 Re-mastered, 180g black viny. The single compilation of Barıs Manco from 1972-1975. Originally released in 1976. Psychedelic Sound flavoured by Turkish traditional instruments and anonymous lyrics, Can’t take your ears off the sound that you hear.

Blue Vinyl Limited TO 318 Hand-numbered Copies

Travel back in time to the modern pre-Revolution Teheran and dig this wonderful, ear-catching album from 1976 by Iranian female singer Pari Zangeneh. Traditional Persian folk songs with a lovely, sweet psychedelic flavor with the use of beautiful strings, flutes, charming and tasty drumming, some organ and orchestration, percussions… imagine a Persian version of Mellow Candle or Vashti Bunyan and you’re there! Born in 1939 in Kermanshah (Iran), Pari Zangeneh is a Soprano singer that lost her sight after a car accident in 1972. Her work over the years on restoring traditional Persian music and regional folk songs is invaluable. In 1976 she recorded this very unique album commissioned by Kānoon (Institute for the Intellectual Development of Children and Young Adults), a social organization that produced many kinds of materials (books, films, records) for children in Iran. The arrangements were done by Varoujan (famous for his work with Googoosh, Dariush, etc…) *Sourced from the original masters *Hard cardboard sleeve + OBI

* Includes download card

This - somehow - mythological album from one of Iran’s top sitarist lurches between traditional Eastern forms and more modern Western styles, blending the two into a fascinating fusion of cultures and flavours. Similar to the work of Indian rare groove master Ananda Shankar, the record brings to life the ultimate marriage of funky drums, lush horns, wah-wah guitars and Eastern harmonies. A necessary re-discovery !

Obscure Dutch private pressing from 1977. Laid-back instrumental psychedelic / progressive sounds with jazz-funk-groove and abstract / experimental / Latin-indigenous touches. Stoned homemade atmosphere with treated / distorted electric & acoustic guitars, flute, electric piano, primitive drum machines / homemade electronics...Much in the vein of the experimental-underground scene of France & Germany during the early 70s but actually recorded and released in Holland.
Wild Havana was the project of guitar player Johan Smith, helped by his brother Cor on flute. Influenced by artists like Zappa and Herbie Hancock, Johan recorded the “Wild Havana” album at his home studio on a 4-track, using effect devices developed by himself, like a modified proto-drum machine taken from a Hammond organ. He also used effects like phase shifter, chorus, etc and experimented with putting wool on the guitar strings and electric effects on the mandolin. The result sounded like nothing else at the time.
Buried for many years, we’re excited to bring to life this unique album.