{"title":"Label: Light in the Attic Records","description":"","products":[{"product_id":"lou-reed-words-music-may-1965-standard-edition-lp-vinyl-record","title":"Words \u0026 Music, May 1965 Standard Edition","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eAll tracks previously unreleased\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eProduced in partnership with \u003cem\u003eLaurie Anderson\u003c\/em\u003e and the \u003cem\u003eLou Reed Archive\u003c\/em\u003e \u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eInaugural release in Light in the Attic’s Lou Reed Archive Series\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eFeatures the earliest-known recordings of “I’m Waiting for the Man,” “Pale Blue Eyes\" and “Heroin\" as made famous by The Velvet Underground\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eIncludes seven unheard Lou Reed compositions\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eRemastered from the original analog tapes by GRAMMY®-nominated engineer \u003cem\u003eJohn Baldwin\u003c\/em\u003e \u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePackage designed by multi-GRAMMY®-winning artist \u003cem\u003eMasaki Koike\u003c\/em\u003e \u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eVinyl pressed at RTI\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e \u003cem\u003eSpecial Limited Color Edition\u003c\/em\u003e (pressed on \u003cem\u003eBright Yellow Wax\u003c\/em\u003e)\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eLP includes a 28-page booklet (CD 60-page) featuring lyrics, archival photos, and liner notes by \u003cem\u003eGreil Marcus, Don Fleming, and Jason Stern\u003c\/em\u003e \u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTracks 1-10: Special Color LP Edition \/ Standard LP Edition\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ciframe width=\"320\" height=\"240\" src=\"https:\/\/www.youtube.com\/embed\/UFcrIe7d3uQ\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e \u003ciframe width=\"320\" height=\"240\" src=\"https:\/\/www.youtube.com\/embed\/DPTYzhUHQek\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e“To hear a tape containing their earliest demos, recorded on May 11, 1965, and locked away until now, is to hear traces of things rarely associated with The Velvet Underground: blues and folk, earthy and traditional, uncertain and hesitant… yet bristling with that rusty, caustic, Lou Reed spirit. It is a revelation.” – Will Hodgkinson, MOJO\u003cbr\u003e\u003cbr\u003e\u003cem\u003e\u003cstrong\u003eLight in the Attic Records\u003c\/strong\u003e\u003c\/em\u003e, in cooperation with \u003cem\u003e\u003cstrong\u003eLaurie Anderson\u003c\/strong\u003e\u003c\/em\u003e, proudly announces the inaugural title in their ongoing \u003cem\u003e\u003cstrong\u003eLou Reed Archive Series: Words \u0026amp; Music, May 1965\u003c\/strong\u003e\u003c\/em\u003e. Released in tandem with the late artist’s 80th birthday celebrations, the album offers an extraordinary, unvarnished, and plainly poignant insight into one of America’s true poet-songwriters. Capturing Reed in his formative years, this previously unreleased collection of songs—penned by a young Lou Reed, recorded to tape with the help of future bandmate John Cale, and mailed to himself as a “poor man’s copyright”—remained sealed in its original envelope and unopened for nearly 50 years. Its contents embody some of the most vital, groundbreaking contributions to American popular music committed to tape in the 20th century. Through examination of these songs rooted firmly in the folk tradition, we see clearly Lou’s lasting influence on the development of modern American music – from punk to art-rock and everything in between. A true time capsule, these recordings not only memorialize the nascent sparks of what would become the seeds of the incredibly influential Velvet Underground; they also cement Reed as a true observer with an innate talent for synthesizing and distilling the world around him into pure sonic poetry.\u003cbr\u003e\u003cbr\u003eFeaturing contributions from Reed’s future bandmate, \u003cem\u003e\u003cstrong\u003eJohn Cale\u003c\/strong\u003e\u003c\/em\u003e, Words \u0026amp; Music, May 1965 presents in their entirety the earliest-known recordings of such historic songs as “\u003cem\u003e\u003cstrong\u003eHeroin\u003c\/strong\u003e\u003c\/em\u003e”, “\u003cem\u003e\u003cstrong\u003eI’m Waiting for the Man\u003c\/strong\u003e\u003c\/em\u003e”, and “\u003cem\u003e\u003cstrong\u003ePale Blue Eyes\u003c\/strong\u003e\u003c\/em\u003e”—all of which Reed would eventually record and make indelibly influential with the Velvet Underground. Also included are several more previously-unreleased compositions that offer additional insight into Reed’s creative process and early influences. Produced by \u003cem\u003e\u003cstrong\u003eLaurie Anderson, Don Fleming, Jason Stern, Hal Willner, and Matt Sullivan\u003c\/strong\u003e\u003c\/em\u003e, the album features newly-remastered audio from the original tape by GRAMMY®-nominated engineer, \u003cem\u003e\u003cstrong\u003eJohn Baldwin\u003c\/strong\u003e\u003c\/em\u003e. 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It is a revelation.” – Will Hodgkinson, MOJO\u003cbr\u003e\u003cbr\u003e\u003cem\u003e\u003cstrong\u003eLight in the Attic Records\u003c\/strong\u003e\u003c\/em\u003e, in cooperation with \u003cem\u003e\u003cstrong\u003eLaurie Anderson\u003c\/strong\u003e\u003c\/em\u003e, proudly announces the inaugural title in their ongoing \u003cem\u003e\u003cstrong\u003eLou Reed Archive Series: Words \u0026amp; Music, May 1965\u003c\/strong\u003e\u003c\/em\u003e. Released in tandem with the late artist’s 80th birthday celebrations, the album offers an extraordinary, unvarnished, and plainly poignant insight into one of America’s true poet-songwriters. Capturing Reed in his formative years, this previously unreleased collection of songs—penned by a young Lou Reed, recorded to tape with the help of future bandmate John Cale, and mailed to himself as a “poor man’s copyright”—remained sealed in its original envelope and unopened for nearly 50 years. Its contents embody some of the most vital, groundbreaking contributions to American popular music committed to tape in the 20th century. Through examination of these songs rooted firmly in the folk tradition, we see clearly Lou’s lasting influence on the development of modern American music – from punk to art-rock and everything in between. A true time capsule, these recordings not only memorialize the nascent sparks of what would become the seeds of the incredibly influential Velvet Underground; they also cement Reed as a true observer with an innate talent for synthesizing and distilling the world around him into pure sonic poetry.\u003cbr\u003e\u003cbr\u003eFeaturing contributions from Reed’s future bandmate, \u003cem\u003e\u003cstrong\u003eJohn Cale\u003c\/strong\u003e\u003c\/em\u003e, Words \u0026amp; Music, May 1965 presents in their entirety the earliest-known recordings of such historic songs as “\u003cem\u003e\u003cstrong\u003eHeroin\u003c\/strong\u003e\u003c\/em\u003e”, “\u003cem\u003e\u003cstrong\u003eI’m Waiting for the Man\u003c\/strong\u003e\u003c\/em\u003e”, and “\u003cem\u003e\u003cstrong\u003ePale Blue Eyes\u003c\/strong\u003e\u003c\/em\u003e”—all of which Reed would eventually record and make indelibly influential with the Velvet Underground. Also included are several more previously-unreleased compositions that offer additional insight into Reed’s creative process and early influences. Produced by \u003cem\u003e\u003cstrong\u003eLaurie Anderson, Don Fleming, Jason Stern, Hal Willner, and Matt Sullivan\u003c\/strong\u003e\u003c\/em\u003e, the album features newly-remastered audio from the original tape by GRAMMY®-nominated engineer, \u003cem\u003e\u003cstrong\u003eJohn Baldwin\u003c\/strong\u003e\u003c\/em\u003e. Rounding out the package are new liner notes from acclaimed journalist and author, Greil Marcus, plus in-depth archival notes from Don Fleming and Jason Stern, who oversee the Lou Reed Archive, while the release has been designed by multi-GRAMMY®-winning artist Masaki Koike.\u003c\/p\u003e","brand":"Lou Reed","offers":[{"title":"CD \/ Deluxe","offer_id":41711646245055,"sku":"LITA188-2","price":16.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/products\/LITA188LouReed-Words_Music1965Cover.jpg?v=1658468702"},{"product_id":"lou-reed-words-music-may-1965-deluxe-edition-2lp-vinyl-record","title":"Words \u0026 Music, May 1965 Deluxe Edition","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\u003cul\u003e\n\u003cli\u003eAll tracks previously unreleased\u003c\/li\u003e\n\u003cli\u003eProduced in partnership with Laurie Anderson and the Lou Reed Archive\u003c\/li\u003e\n\u003cli\u003eInaugural release in Light in the Attic’s Lou Reed Archive Series\u003c\/li\u003e\n\u003cli\u003eFeatures the earliest-known recordings of “I’m Waiting for the Man,” “Pale Blue Eyes\" and “Heroin\" as made famous by The Velvet Underground\u003c\/li\u003e\n\u003cli\u003eIncludes seven unheard Lou Reed compositions\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003e\u003cstrong\u003e45 \u003cspan class=\"caps\"\u003eRPM\u003c\/span\u003e 2LP set pressed on Audiophile-Quality 180-gram black vinyl at \u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003e\u003cstrong\u003eIncludes CD containing complete audio from the package, housed in die-cut jacket\u003c\/strong\u003e\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eFeatures the only vinyl release of “I’m Waiting for the Man – May 1965 Alternate Version”\u003c\/li\u003e\n\u003cli\u003eRemastered from the original analog tapes by \u003cem\u003e\u003cstrong\u003eGRAMMY®-nominated engineer John Baldwin\u003c\/strong\u003e\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003ePackage designed by \u003cem\u003e\u003cstrong\u003emulti-GRAMMY®-winning artist Masaki Koike\u003c\/strong\u003e\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eIncludes bonus 7-inch record, housed in die-cut picture sleeve containing the first-ever vinyl release of six unheard tracks recorded between 1958 and 1964, including early demos, a cover of Bob Dylan’s “Don’t Think Twice, It’s All Right,” and a doo-wop serenade recorded in ‘58 when the legendary singer-songwriter was just sixteen-years-old\u003c\/li\u003e\n\u003cli\u003eSaddle-stitched, die-cut 28-page book featuring lyrics, archival photos, and liner notes by \u003cstrong\u003e\u003cem\u003eGreil Marcus, Don Fleming, and Jason Stern\u003c\/em\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003e\u003cstrong\u003eArchival reproduction of a letter written by Reed to Delmore Schwartz, circa 1964\u003c\/strong\u003e\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eEntire package housed in \u003cem\u003e\u003cstrong\u003estylized, die-cut gatefold LP jacket\u003c\/strong\u003e\u003c\/em\u003e manufactured by Stoughton Printing Co.\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003e\u003cstrong\u003eFoil numbered and limited to 7,500 copies worldwide on black vinyl\u003c\/strong\u003e\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e“To hear a tape containing their earliest demos, recorded on May 11, 1965, and locked away until now, is to hear traces of things rarely associated with The Velvet Underground: blues and folk, earthy and traditional, uncertain and hesitant… yet bristling with that rusty, caustic, Lou Reed spirit. It is a revelation.” – Will Hodgkinson, MOJO\u003cbr\u003e\u003cbr\u003e\u003cem\u003e\u003cstrong\u003eLight in the Attic Records\u003c\/strong\u003e\u003c\/em\u003e, in cooperation with \u003cem\u003e\u003cstrong\u003eLaurie Anderson\u003c\/strong\u003e\u003c\/em\u003e, proudly announces the inaugural title in their ongoing \u003cem\u003e\u003cstrong\u003eLou Reed Archive Series: Words \u0026amp; Music, May 1965\u003c\/strong\u003e\u003c\/em\u003e. Released in tandem with the late artist’s 80th birthday celebrations, the album offers an extraordinary, unvarnished, and plainly poignant insight into one of America’s true poet-songwriters. Capturing Reed in his formative years, this previously unreleased collection of songs—penned by a young Lou Reed, recorded to tape with the help of future bandmate John Cale, and mailed to himself as a “poor man’s copyright”—remained sealed in its original envelope and unopened for nearly 50 years. Its contents embody some of the most vital, groundbreaking contributions to American popular music committed to tape in the 20th century. Through examination of these songs rooted firmly in the folk tradition, we see clearly Lou’s lasting influence on the development of modern American music – from punk to art-rock and everything in between. A true time capsule, these recordings not only memorialize the nascent sparks of what would become the seeds of the incredibly influential Velvet Underground; they also cement Reed as a true observer with an innate talent for synthesizing and distilling the world around him into pure sonic poetry.\u003cbr\u003e\u003cbr\u003eFeaturing contributions from Reed’s future bandmate, \u003cem\u003e\u003cstrong\u003eJohn Cale\u003c\/strong\u003e\u003c\/em\u003e, Words \u0026amp; Music, May 1965 presents in their entirety the earliest-known recordings of such historic songs as “\u003cem\u003e\u003cstrong\u003eHeroin\u003c\/strong\u003e\u003c\/em\u003e”, “\u003cem\u003e\u003cstrong\u003eI’m Waiting for the Man\u003c\/strong\u003e\u003c\/em\u003e”, and “\u003cem\u003e\u003cstrong\u003ePale Blue Eyes\u003c\/strong\u003e\u003c\/em\u003e”—all of which Reed would eventually record and make indelibly influential with the Velvet Underground. Also included are several more previously-unreleased compositions that offer additional insight into Reed’s creative process and early influences. Produced by \u003cem\u003e\u003cstrong\u003eLaurie Anderson, Don Fleming, Jason Stern, Hal Willner, and Matt Sullivan\u003c\/strong\u003e\u003c\/em\u003e, the album features newly-remastered audio from the original tape by GRAMMY®-nominated engineer, \u003cem\u003e\u003cstrong\u003eJohn Baldwin\u003c\/strong\u003e\u003c\/em\u003e. Rounding out the package are new liner notes from acclaimed journalist and author, \u003cem\u003e\u003cstrong\u003eGreil Marcus\u003c\/strong\u003e\u003c\/em\u003e, plus in-depth archival notes from \u003cem\u003e\u003cstrong\u003eDon Fleming\u003c\/strong\u003e\u003c\/em\u003e and \u003cem\u003e\u003cstrong\u003eJason Stern\u003c\/strong\u003e\u003c\/em\u003e, who oversee the Lou Reed Archive, while the release has been designed by multi-GRAMMY®-winning artist Masaki Koike.\u003c\/p\u003e\n\u003ciframe height=\"380\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/track\/5RGQJSVKzZMsa6lDyNKfGQ?utm_source=generator\" style=\"border-radius: 12px;\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e","brand":"Lou Reed","offers":[{"title":"2LP \/ Black","offer_id":41715057262783,"sku":"LITA189-BK","price":84.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/products\/LITA189LouReed-Words_MusicCover.jpg?v=1658468377"},{"product_id":"haruomi-hosono-hosono-house-lita-edition-lp-vinyl-record","title":"Hosono House","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eFirst-ever release outside of Japan\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eRemastered from the \u003cem\u003eoriginal analog master tapes\u003c\/em\u003e \u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTranslated liner notes by \u003cem\u003eMasakazu Kitanaka\u003c\/em\u003e \u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAdditional photos by \u003cem\u003eMike Nogami\u003c\/em\u003e \u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePressed on \u003cem\u003eClassic Black Vinyl\u003c\/em\u003e, \u003cem\u003e“Pink Glass” Colored Vinyl\u003c\/em\u003e, and \u003cem\u003e“Blue Seafoam Wave” Colored Vinyl\u003c\/em\u003e \u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eThe unbelievably prolific \u003cem\u003e\u003cstrong\u003eHaruomi Hosono\u003c\/strong\u003e\u003c\/em\u003e is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono has put his unmistakable stamp on hundreds of recordings as a session player, producer, and auteur of his own idiosyncratic musical world. Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of \u003cstrong\u003e\u003cem\u003eApryl Fool\u003c\/em\u003e\u003c\/strong\u003e, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of \u003cem\u003e\u003cstrong\u003eMoby Grape\u003c\/strong\u003e\u003c\/em\u003e and \u003cem\u003e\u003cstrong\u003eBuffalo Springfield\u003c\/strong\u003e\u003c\/em\u003e. The latter was one of the main inspirations for his next group, \u003cstrong\u003e\u003cem\u003eHappy End\u003c\/em\u003e\u003c\/strong\u003e, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums.\u003c\/p\u003e\n\u003cp\u003eAfter Happy End’s amicable breakup in 1973, Hosono released\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eHosono House\u003c\/em\u003e\u003c\/strong\u003e, an intimate slice of Japanese Americana recorded at home with a back-to-basics approach akin to Music from Big Pink or McCartney. While his former band helped pave the way for the rise of “city pop” that reflected upon urban themes and city life, Hosono took a 180-degree turn towards the countryside for his highly-regarded first solo album. Located an hour from Tokyo in Sayama, Saitama Prefecture, the actual\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eHosono House\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ewas one of several American-style houses originally built for the families of troops stationed at the nearby Johnson Air Base, active during the post-war occupation years. By the early ‘70s, this small community had become a hub for creative types looking for a break from Tokyo’s hustle and bustle – and cheaper rent. For Hosono, this was as close as he could get to living in America without leaving his home country. With rooms filled to the edges with recording gear, the house became a live-in studio for Hosono and his crack band – soon to become known as the in-demand session group Tin Pan Alley. The songs on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHosono House\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003edisplay the breadth of Hosono’s talents, from the hushed acoustic folk of “\u003cstrong\u003eRock-A-Bye My Baby\u003c\/strong\u003e” and the country twang of “\u003cem\u003e\u003cstrong\u003eBoku Wa Chotto\u003c\/strong\u003e\u003c\/em\u003e” to the New Orleans funk of “\u003cem\u003e\u003cstrong\u003eFuyu Koe\u003c\/strong\u003e\u003c\/em\u003e” and the unexpected breakbeats in “\u003cem\u003e\u003cstrong\u003eBara To Yajuu\u003c\/strong\u003e\u003c\/em\u003e.” Lauded by artists such as Jim O’Rourke and Devendra Banhart,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHosono House\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eremains a touchstone of the early phase of Hosono’s career.\u003c\/p\u003e\n\u003cp\u003eHosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno-pop group \u003cem\u003e\u003cstrong\u003eYellow Magic Orchestra\u003c\/strong\u003e\u003c\/em\u003e (\u003cspan class=\"caps\"\u003eYMO\u003c\/span\u003e), who made their debut in 1978. Admired by artists ranging from \u003cem\u003e\u003cstrong\u003eHarry Styles\u003c\/strong\u003e\u003c\/em\u003e to \u003cem\u003e\u003cstrong\u003eVan Dyke Parks\u003c\/strong\u003e\u003c\/em\u003e to \u003cem\u003e\u003cstrong\u003eMac DeMarco\u003c\/strong\u003e\u003c\/em\u003e, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eTRACKLIST\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eRock-A-Bye My Baby\u003c\/li\u003e\n\u003cli\u003eBoku Wa Chotto\u003c\/li\u003e\n\u003cli\u003eChoo Choo Gatagoto\u003c\/li\u003e\n\u003cli\u003eOwari No Kisetsu\u003c\/li\u003e\n\u003cli\u003eFuyu Goe\u003c\/li\u003e\n\u003cli\u003eParty\u003c\/li\u003e\n\u003cli\u003eFuku Wa Uchi Oni Wa Soto\u003c\/li\u003e\n\u003cli\u003eJusho Futei Mushoku Tei Shunyu\u003c\/li\u003e\n\u003cli\u003eKoi Wa Momoiro\u003c\/li\u003e\n\u003cli\u003eBara To Yaju\u003c\/li\u003e\n\u003cli\u003eAi Ai Gasa\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e \u003ciframe height=\"380\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/4NU1Wi1CUd416Al7wUucJy?utm_source=generator\" style=\"border-radius: 12px;\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e","brand":"Haruomi Hosono","offers":[{"title":"LP \/ Pink Glass","offer_id":41791020204223,"sku":"LITA173-1-PK","price":44.99,"currency_code":"USD","in_stock":false},{"title":"LP \/ Seafoam Blue Wave","offer_id":41791020236991,"sku":"LITA173-1-BL","price":44.99,"currency_code":"USD","in_stock":false},{"title":"LP \/ Black","offer_id":41791020269759,"sku":"LITA173-1-BK","price":34.99,"currency_code":"USD","in_stock":false},{"title":"CD \/ Standard","offer_id":42445157367999,"sku":"LITA173-2","price":29.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/products\/large_550_tmp_2F1524161787802-jqomfsn51m-e33ac2f3b51537adb558409751cb65a9_2FLITA173_2Blow_2Bres_2Bcover.jpg?v=1657404139"},{"product_id":"various-artists-pacific-breeze-2-japanese-city-pop-aor-boogie-1972-1986-2lp-vinyl-record","title":"Pacific Breeze 2: Japanese City Pop, AOR \u0026 Boogie 1972-1986","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong style=\"font-size: 0.875rem;\"\u003eFollow up to LITA’s critically acclaimed and best-selling 2019 release Pacific Breeze: Japanese City Pop, \u003cspan class=\"caps\"\u003eAOR\u003c\/span\u003e \u0026amp; Boogie 1976-1986\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong style=\"font-size: 0.875rem;\"\u003eNew artwork by renowned illustrator Hiroshi Nagai\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong style=\"font-size: 0.875rem;\"\u003e2xLP housed in a deluxe wide-spine jacket with full-color inner sleeves\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong style=\"font-size: 0.875rem;\"\u003eRemastered audio\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong style=\"font-size: 0.875rem;\"\u003eExtensive artist bios in the oversized fold-out booklet\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong style=\"font-size: 0.875rem;\"\u003eEditions:\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong style=\"font-size: 0.875rem;\"\u003e\"Sunny Seaside\" Splatter Vinyl - \u003cspan style=\"color: #ff2a00;\"\u003eSOLD OUT\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong style=\"font-size: 0.875rem;\"\u003e“LA Twilight” Purple \/ Violet Haze Vinyl - \u003cspan style=\"color: #ff2a00;\"\u003eSOLD OUT\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong style=\"font-size: 0.875rem;\"\u003e“Violet Sky” - \u003cspan style=\"color: #ff2a00;\"\u003eSOLD OUT\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong style=\"font-size: 0.875rem;\"\u003eClassic Black Vinyl - \u003cspan style=\"color: #ff2a00;\"\u003eSOLD OUT\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cli\u003e\u003cstrong\u003eDigital mockups are not an exact representation of colors\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eWhen Light In The Attic released\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003ePacific Breeze: Japanese City Pop, \u003cspan class=\"caps\"\u003eAOR\u003c\/span\u003e \u0026amp; Boogie 1976-1986\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ein 2019, it was the first collection of its kind to be released outside Japan. It proved to be just what music fans had been waiting for—a compilation of sought-after tracks that had been nearly impossible to obtain unless you were well-connected with dealers and collectors, or traveled regularly to the countless record stores in Japan.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePacific Breeze\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eincluded \u003cem\u003e\u003cstrong\u003eMinako Yoshida, Taeko Onuki, Hiroshi Sato, and Haruomi Hosono\u003c\/strong\u003e\u003c\/em\u003e among other key players of ‘70s-’80s Japanese City Pop, the nebulous genre that encompassed an “amalgam of\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"caps\"\u003eAOR\u003c\/span\u003e, R\u0026amp;B, jazz fusion, funk, boogie and disco, all a touch dizzy with tropical euphoria,” as we described it the first time around.\u003c\/p\u003e\n\u003cp\u003eWith\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003ePacific Breeze 2: Japanese City Pop, \u003cspan class=\"caps\"\u003eAOR\u003c\/span\u003e \u0026amp; Boogie 1972-1986\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ewe dig deeper into those sounds of bubble-era Japan. From the proto-City Pop funk of \u003cem\u003e\u003cstrong\u003eBread \u0026amp; Butter\u003c\/strong\u003e\u003c\/em\u003e and \u003cem\u003e\u003cstrong\u003eEiichi Ohtaki\u003c\/strong\u003e\u003c\/em\u003e to the crate-digger favorites \u003cem\u003e\u003cstrong\u003eEri Ohno\u003c\/strong\u003e\u003c\/em\u003e and \u003cem\u003e\u003cstrong\u003ePiper\u003c\/strong\u003e\u003c\/em\u003e, the latest entry in \u003cem\u003e\u003cstrong\u003eLight In The Attic’s Japan Archival Series\u003c\/strong\u003e\u003c\/em\u003e brings another set of sought-after tunes, most of which have never before been available outside of Japan. \u003ca href=\"https:\/\/helixsounds.com\/collections\/tomoko-aran\" title=\"Tomoko Aran\"\u003e\u003cem\u003e\u003cstrong\u003eTomoko Aran\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e and \u003cem\u003e\u003cstrong\u003eAnri\u003c\/strong\u003e\u003c\/em\u003e, also included in this compilation, are just a few of the artists who have gained popularity in recent years thanks to \u003cem\u003e\u003cstrong\u003eVaporwave\u003c\/strong\u003e\u003c\/em\u003e, the meme-genre that heavily samples Japanese City Pop to create its particular aesthetic.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePacific Breeze 2\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eonce again features the artwork of renowned Tokyo-based illustrator \u003cem\u003e\u003cstrong\u003eHiroshi Nagai\u003c\/strong\u003e\u003c\/em\u003e, whose iconic images of resort living have become synonymous with City Pop. Nagai’s urban tropical imagery is a perfect match for the expertly curated tunes, evoking a certain sense of nostalgia for the leisure lifestyles of ‘70s-’80s Tokyo, while simultaneously being perfectly in tune with the current zeitgeist.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eTRACKLIST\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003ePink Shadow - Bread \u0026amp; Butter\u003c\/li\u003e\n\u003cli\u003eYuiriki - Eiichi Ohtaki\u003c\/li\u003e\n\u003cli\u003eVibration (Love Celebration) - Kimiko Kasai\u003c\/li\u003e\n\u003cli\u003eKindaichi Kosuke No Theme - The Mystery Kindaichi Band\u003c\/li\u003e\n\u003cli\u003eHidari Mune No Seiza - Tetsuji Hayashi\u003c\/li\u003e\n\u003cli\u003eLast Summer Whisper - Anri\u003c\/li\u003e\n\u003cli\u003eBlind Curve - Momoko Kikuchi\u003c\/li\u003e\n\u003cli\u003eI'm In Love - Tomoko Aran\u003c\/li\u003e\n\u003cli\u003eKindaichi Kosuke Nishi E Iku - Yu Imai\u003c\/li\u003e\n\u003cli\u003eTokyo Taste - Sadistics\u003c\/li\u003e\n\u003cli\u003eHot Sand - Piper\u003c\/li\u003e\n\u003cli\u003eRainy Saturday Coffee Break - Junko Ohashi \/ Minoya Central Station\u003c\/li\u003e\n\u003cli\u003eSkyfire - Eri Ohno\u003c\/li\u003e\n\u003cli\u003eKanpoo - Yumi Murata\u003c\/li\u003e\n\u003cli\u003eHarumifutou - Kyoko Furuya\u003c\/li\u003e\n\u003cli\u003eBay\/Sky Provincetown 1977 - Yuji Toriyama\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff8000;\"\u003e\u003cem\u003e**Spotify features only some tracks on the album for streaming. The complete album includes 16 tracks.\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe loading=\"lazy\" height=\"380\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/3gZZsx3idZzkBSMJZTCBs5?utm_source=generator\" style=\"border-radius: 12px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Various Artists","offers":[{"title":"2LP \/ Green Splatter","offer_id":42114286616767,"sku":"LITA179-1-3-GN-SPR","price":69.99,"currency_code":"USD","in_stock":false},{"title":"2LP \/ Purple \/ Violet","offer_id":41799993000127,"sku":"LITA179-1-1-VT","price":69.99,"currency_code":"USD","in_stock":false},{"title":"2LP \/ Violet","offer_id":41799992967359,"sku":"LITA179-1-VT","price":69.99,"currency_code":"USD","in_stock":false},{"title":"2LP \/ Black","offer_id":41799993032895,"sku":"LITA179-1-BK","price":59.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/products\/large_550_tmp_2F1582587191271-363ytps8tk9-b70c95fa160ad996f054d47ed297ce79_2Flita179_cvr_300dpi.jpg?v=1657772450"},{"product_id":"nancy-sinatra-lee-hazlewood-nancy-and-lee-lp-vinyl-record","title":"Nancy \u0026 Lee","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eLP available on Standard Black Wax plus a Special Limited Color Editions (Sundown, Sundown Metallic Gold \u0026amp; Clear Wax; Psychedelic Sands Orange\/Red Wax) \u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eFirst ever official reissue of Nancy \u0026amp; Lee’s classic 1968 duet album \u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDefinitive reissue with Nancy’s involvement Includes the bonus tracks, “Tired Of Waiting for You” and “Love Is Strange,” from the album sessions \u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eNewly remastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin \u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eVinyl pressed at RTI \u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eQ\u0026amp;A with Nancy \u0026amp; GRAMMY®-nominated reissue co-producer Hunter Lea \u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eNever-before-seen photos from Nancy Sinatra’s personal archive \u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eBeautifully packaged and expanded gatefold LP featuring a 20-page booklet\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eLight in the Attic\u003c\/strong\u003e\u003c\/em\u003e is thrilled to announce the first official reissue of \u003cem\u003e\u003cstrong\u003eNancy \u0026amp; Lee\u003c\/strong\u003e\u003c\/em\u003e: the highly-influential 1968 duet album from \u003cem\u003e\u003cstrong\u003eNancy Sinatra\u003c\/strong\u003e\u003c\/em\u003e and \u003cem\u003e\u003cstrong\u003eLee Hazlewood\u003c\/strong\u003e\u003c\/em\u003e. This definitive edition of Nancy \u0026amp; 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 \u0026amp; Sylvia in 1956). This release marks the official debut on vinyl for both tracks.\u003c\/p\u003e\n\u003cp\u003eNancy \u0026amp; 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. (\u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e), 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\u0026amp;A with Sinatra, conducted by the reissue’s GRAMMY®-nominated co-producer, Hunter Lea (also available in the CD package).\u003c\/p\u003e\n\u003cp\u003eIn celebration of the release, Nancy Sinatra and fellow musician and longtime friend \u003cem\u003e\u003cstrong\u003eDon Randi\u003c\/strong\u003e\u003c\/em\u003e (\u003cem\u003eThe Wrecking Crew\u003c\/em\u003e) visited Record Technology, Inc. (\u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e) 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\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003eplant manager, Rick Hashimoto is available\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.youtube.com\/watch?v=pnamWlNxZr0\"\u003e\u003cstrong\u003ehere\u003c\/strong\u003e\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003e\u003cspan class=\"caps\"\u003eMORE\u003c\/span\u003e \u003cspan class=\"caps\"\u003eABOUT\u003c\/span\u003e \u003cspan class=\"caps\"\u003eNANCY\u003c\/span\u003e \u0026amp; \u003cspan class=\"caps\"\u003eLEE\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWhen Nancy – the eldest daughter of \u003cem\u003e\u003cstrong\u003eFrank Sinatra\u003c\/strong\u003e\u003c\/em\u003e – 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.\u003c\/p\u003e\n\u003cp\u003eInitially, 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.\u003c\/p\u003e\n\u003cp\u003eRecalling 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.”\u003c\/p\u003e\n\u003cp\u003eBefore 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.\u003c\/p\u003e\n\u003cp\u003eThroughout 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.”\u003c\/p\u003e\n\u003cp\u003eThat je ne sais quoi certainly did work. Upon its release in the spring of 1968, Nancy \u0026amp; 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\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"caps\"\u003eRIAA\u003c\/span\u003e. Over the decades, however, the appeal of Nancy \u0026amp; 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 \u0026amp; Mary Chain, have cited Nancy \u0026amp; Lee as an influence.\u003c\/p\u003e\n\u003cp\u003eIn recent years, Nancy \u0026amp; 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 \u0026amp; 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 \u0026amp; Lee to be “a masterpiece that still ripples in the sonic waves today.”\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"caps\"\u003eNPR\u003c\/span\u003e, 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 \u0026amp; 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.”\u003c\/p\u003e\n\u003cp\u003eToday, 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 \u0026amp; 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.”\u003c\/p\u003e\n\u003cp\u003eSinatra’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,\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003ereissued Sinatra’s classic debut, Boots, while the label will continue to celebrate Sinatra with a variety of special releases, exclusive merch, and more.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eTRACKLIST\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e1.    You've Lost That Lovin' Feelin'\u003cbr\u003e2.    Elusive Dreams\u003cbr\u003e3.    Greenwich Village Folk Song Salesman\u003cbr\u003e4.    Summer Wine\u003cbr\u003e5.    Storybook Children\u003cbr\u003e6.    Sundown, Sundown\u003cbr\u003e7.    Jackson\u003cbr\u003e8.    Some Velvet Morning\u003cbr\u003e9.    Sand\u003cbr\u003e10.    Lady Bird\u003cbr\u003e11.    I've Been Down So Long (It Looks Like Up To Me)\u003cbr\u003e12.    Tired Of Waiting for You (Bonus Track)\u003cbr\u003e13.    Love Is Strange (Bonus Track)\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e \u003ciframe loading=\"lazy\" height=\"380\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/4XI8r5L0ewd7VMsF64YcIl?utm_source=generator\" style=\"border-radius: 12px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Nancy Sinatra \u0026 Lee Hazlewood","offers":[{"title":"LP \/ Gold","offer_id":41977171968191,"sku":"LITA198-1-GD","price":29.99,"currency_code":"USD","in_stock":false},{"title":"LP \/ Black","offer_id":41977150079167,"sku":"LITA198-BK","price":26.99,"currency_code":"USD","in_stock":false},{"title":"LP \/ Orange","offer_id":41977172000959,"sku":"LITA198-OR","price":36.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/products\/large_550_tmp_2F1649365771244-qb7eutyjqp-eb549cd0b90f48745332abb55162bec8_2Flita198_3000px_300dpi.jpg?v=1664515921"},{"product_id":"various-artists-somewhere-between-mutant-pop-electronic-minimalism-shadow-sounds-of-japan-1980-1988-2lp-vinyl-record","title":"Somewhere Between: Mutant Pop, Electronic Minimalism \u0026 Shadow Sounds of Japan 1980-1988","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eFirst-ever officially-licensed compilation of this kind\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eArtwork by noted illustrator\/designer Koichi Sato\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eNew liner notes by Mark “Frosty” McNeill\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDouble LP housed in wide–spine jacket\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eSomewhere Between: Mutant Pop, Electronic Minimalism \u0026amp; Shadow Sounds of Japan 1980–1988\u003c\/strong\u003e\u003c\/em\u003e hovers vibe–wise between two distinct poles within Light In The Attic’s acclaimed \u003cem\u003e\u003cstrong\u003eJapan Archival Series\u003c\/strong\u003e\u003c\/em\u003e—\u003cem\u003e\u003cstrong\u003eKankyō Ongaku: Japanese Ambient, Environmental \u0026amp; New Age Music 1980–1990\u003c\/strong\u003e\u003c\/em\u003e and \u003cem\u003e\u003cstrong\u003ePacific Breeze: Japanese City Pop, \u003cspan class=\"caps\"\u003eAOR\u003c\/span\u003e \u0026amp; Boogie 1976–1986\u003c\/strong\u003e\u003c\/em\u003e. All three albums showcase recordings produced during Japan’s soaring bubble economy of the 1980s, an era in which aesthetic visions and consumerism merged. Music echoed the nation’s prosperity and with financial abundance came the luxury to dream.\u003c\/p\u003e\n\u003cp\u003eSonically, Somewhere Between mines the midpoint between Kankyō Ongaku’s sparkling atmospherics and Pacific Breeze’s metropolitan boogie. The compilation encompasses ambient pop, underground electronics, liminal minimalism, and shadow sounds—all descriptors emphasizing the hazy nature of the nebula. Out–of–focus rhythms wear ethereal accoutrements, ballads are shrouded in static, and angular drums snake skyward on transcendent tones. From the Avant–minimalism of \u003cem\u003e\u003cstrong\u003eMkwaju Ensemble\u003c\/strong\u003e\u003c\/em\u003e and \u003cem\u003e\u003cstrong\u003eYoshio Ojima\u003c\/strong\u003e\u003c\/em\u003e, to the leftfield techno-pop of \u003cem\u003e\u003cstrong\u003eMishio Ogawa\u003c\/strong\u003e\u003c\/em\u003e and \u003cem\u003e\u003cstrong\u003eNoriko Miyamoto\u003c\/strong\u003e\u003c\/em\u003e (featuring members of\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"caps\"\u003eYMO\u003c\/span\u003e), and highlights from the groundbreaking Osaka underground label \u003cem\u003e\u003cstrong\u003eVanity Records\u003c\/strong\u003e\u003c\/em\u003e, these are blurry constellations defying collective categorization.\u003c\/p\u003e\n\u003cp\u003eThese tracks also exist in a space of transition when the major label grip on the Japanese recording market began to give way to the escalation of independents. Thanks to the idyllic economic climate and innovations in domestically–manufactured music gear, creators on the edges were empowered to focus on satisfying their artistic visions in the open headspace of home studios. While labels like \u003cem\u003e\u003cstrong\u003eWarner Music\u003c\/strong\u003e\u003c\/em\u003e and \u003cem\u003e\u003cstrong\u003eNippon Columbia\u003c\/strong\u003e\u003c\/em\u003e explored new sounds through traditional channels, it was possible for Vanity, Balcony, and other indie labels, not to mention self–released artists like Ojima and \u003cem\u003e\u003cstrong\u003eNaoki Asai\u003c\/strong\u003e\u003c\/em\u003e, to publish their work via affordable media such as cassettes, 7\" vinyl, and flexi–discs.\u003c\/p\u003e\n\u003cp\u003eExpertly curated by \u003cem\u003e\u003cstrong\u003eYosuke Kitazawa\u003c\/strong\u003e\u003c\/em\u003e and \u003cstrong\u003e\u003cem\u003eMark “Frosty” McNeill\u003c\/em\u003e\u003c\/strong\u003e (\u003cstrong\u003e\u003cem\u003edublab\u003c\/em\u003e\u003c\/strong\u003e), Somewhere Between is a collection of music, much of it released for the first time outside Japan, that is bound more by energetic vibration than shared history, genre or scene. They are the sounds of transition and searching—a celebration of the freedom found in floating.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eTRACKLIST\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eNoriko Miyamoto - Arrows \/ Eyes\u003c\/li\u003e\n\u003cli\u003eMishio Ogawa - Hikari No Ito Kin No Ito\u003c\/li\u003e\n\u003cli\u003eYoshio Ojima - Days Man\u003c\/li\u003e\n\u003cli\u003eMkwaju Ensemble - Tira-Rin\u003c\/li\u003e\n\u003cli\u003eR.N.A-ORGANISM - WEIMAR 22\u003c\/li\u003e\n\u003cli\u003eNaoki Asai - Yakan Hikou\u003c\/li\u003e\n\u003cli\u003eTakami Hasegawa - Koneko To Watashi\u003c\/li\u003e\n\u003cli\u003eMammy - Mizu No Naka No Himitsu\u003c\/li\u003e\n\u003cli\u003eDip in the Pool - Hasu No Enishi\u003c\/li\u003e\n\u003cli\u003eWha Ha Ha - Akatere\u003c\/li\u003e\n\u003cli\u003eD-Day - Sweet Sultan\u003c\/li\u003e\n\u003cli\u003ePerfect Mother - Dark Disco-Da·Da·Da·Da·Run\u003c\/li\u003e\n\u003cli\u003eNeo Museum - Area\u003c\/li\u003e\n\u003cli\u003eSonoko - Wedding With God (À Nijinski)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e","brand":"Various Artists","offers":[{"title":"2LP \/ Cloudy Clear Purple","offer_id":42022131073215,"sku":"LITA183-1-CLPR","price":59.99,"currency_code":"USD","in_stock":false},{"title":"2LP \/ Purple Cornetto","offer_id":42022131040447,"sku":"LITA183-1-PR-CTO","price":59.99,"currency_code":"USD","in_stock":false},{"title":"2LP \/ Black","offer_id":42022112231615,"sku":"LITA183-1-BK","price":44.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/products\/large_550_tmp_2F1606864266006-r1san12d54-adfc234df546e9172aacd4ae7f41cb30_2Flita183_3000px_72dpi.jpg?v=1666335561"},{"product_id":"pacific-breeze-3-japanese-city-pop-aor-boogie-1975-1987-2lp-vinyl-record","title":"Pacific Breeze 3: Japanese City Pop, AOR \u0026 Boogie 1975-1987","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFEATURES\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eThe latest chapter in the acclaimed Pacific Breeze series!\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eArtwork by renowned illustrator Hiroshi Nagai\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCompiled by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab)\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eNewly remastered audio\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e2xLP housed in a deluxe wide-spine jacket with full-color inner sleeves and custom die-cut OBI\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eExtensive artist bios by Yosuke Kitazawa\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAvailable in three different color variants: Seafoam Green Vinyl, Sunset Pink Vinyl, and Classic Black Vinyl\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDigital mockups are not an exact representation of colors\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDESCRIPTION\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eLight in the Attic\u003c\/strong\u003e\u003c\/em\u003e’s Pacific Breeze series has supplied the world’s growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings—the mesmerizing and nebulous genre of Japanese bubble-era music of the ‘70s-’80s that encompasses \u003cstrong\u003e\u003cem\u003eAOR, R\u0026amp;B, jazz fusion, funk, boogie, and disco\u003c\/em\u003e\u003c\/strong\u003e. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan’s affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as \u003cem\u003e\u003cstrong\u003eVaporwave\u003c\/strong\u003e\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e\u003cem\u003e\u003cstrong\u003ePacific Breeze 3: Japanese City Pop, AOR \u0026amp; Boogie 1975-1987\u003c\/strong\u003e\u003c\/em\u003e marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of \u003cstrong\u003e\u003cem\u003eCity Pop\u003c\/em\u003e\u003c\/strong\u003e to reveal glimmers of the next waves of styles to spring forth from the country’s creative minds. The appearance of \u003cem\u003e\u003cstrong\u003ePizzicato Five\u003c\/strong\u003e\u003c\/em\u003e hints at the emergence of \u003cem\u003e\u003cstrong\u003eShibuya-kei\u003c\/strong\u003e\u003c\/em\u003e while the influence of hip hop and electro as an emerging global trend is also evident here through the prevalence of heavier programmed drum beats on tracks such as “\u003cem\u003e\u003cstrong\u003eHeartbeat\u003c\/strong\u003e\u003c\/em\u003e” by \u003cem\u003e\u003cstrong\u003eMiho Fujiwara\u003c\/strong\u003e\u003c\/em\u003e.\u003cbr\u003e\u003cbr\u003eThis volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from\u003cem\u003e\u003cstrong\u003e Susan, Miharu Koshi, and Chiemi Manabe\u003c\/strong\u003e\u003c\/em\u003e sit alongside sublime funk from \u003cem\u003e\u003cstrong\u003eAtsuko Nina and Naomi Akimoto\u003c\/strong\u003e\u003c\/em\u003e while \u003cem\u003e\u003cstrong\u003eTeresa Noda\u003c\/strong\u003e\u003c\/em\u003e slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by \u003cem\u003e\u003cstrong\u003eParachute\u003c\/strong\u003e \u003c\/em\u003eand \u003cem\u003e\u003cstrong\u003eHiroyuki Namba\u003c\/strong\u003e\u003c\/em\u003e, a synthesizer fantasy from \u003cem\u003e\u003cstrong\u003eOsamu Shoji\u003c\/strong\u003e\u003c\/em\u003e, and magnetic pop by \u003cem\u003e\u003cstrong\u003eMakoto Matsushita and Chu Kosaka\u003c\/strong\u003e\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003eAlthough not front and center, the visionary members of \u003cem\u003e\u003cstrong\u003eYellow Magic Orchestra\u003c\/strong\u003e\u003c\/em\u003e are still very present on Pacific Breeze 3, with \u003cem\u003e\u003cstrong\u003eHaruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi\u003c\/strong\u003e\u003c\/em\u003e taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eTRACKLIST\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eNaomi Akimoto - Bewitched (Are You Leaving Soon)\u003c\/li\u003e\n\u003cli\u003eAtsuko Nina - Tonkachi\u003c\/li\u003e\n\u003cli\u003eMiho Fujiwara - Heartbeat\u003c\/li\u003e\n\u003cli\u003eMiharu Koshi - Scandal Night\u003c\/li\u003e\n\u003cli\u003eChu Kosaka - Shirakechimauze\u003c\/li\u003e\n\u003cli\u003eTeresa Noda - Tropical Love\u003c\/li\u003e\n\u003cli\u003eMakoto Matsushita - Business Man Pt. 1\u003c\/li\u003e\n\u003cli\u003eSusan - Ah! Soka\u003c\/li\u003e\n\u003cli\u003eYukako Hayase - Suiyoubi Madeni Shinitaino\u003c\/li\u003e\n\u003cli\u003eParachute - Kowloon Daily\u003c\/li\u003e\n\u003cli\u003eHiroyuki Namba - Tropical Exposition (Who Done It? Version)\u003c\/li\u003e\n\u003cli\u003ePizzicato Five - Boy Meets Girl\u003c\/li\u003e\n\u003cli\u003eMari Iijima - Love Sick\u003c\/li\u003e\n\u003cli\u003e1986 Omega Tribe - Cosmic Love\u003c\/li\u003e\n\u003cli\u003eOsamu Shoji - Pub Casablanca\u003c\/li\u003e\n\u003cli\u003eChiemi Manabe - Untotooku\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e\u003c\/p\u003e","brand":"Various Artists","offers":[{"title":"2LP \/ Black","offer_id":42115035201727,"sku":"LITA202-1-BK","price":59.99,"currency_code":"USD","in_stock":false},{"title":"2LP \/ Pink","offer_id":42115035103423,"sku":"LITA202-1-PK","price":64.99,"currency_code":"USD","in_stock":false},{"title":"2LP \/ Green","offer_id":42115035136191,"sku":"LITA202-1-GN","price":64.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/products\/large_550_tmp_2F1669757038239-oad99s8pt2-838f4094c31901be385e2cd37768810b_2Flita202_3000px_300dpi.jpg?v=1669974836"},{"product_id":"nancy-sinatra-start-walkin-1965-1976-2lp-vinyl-record","title":"Start Walkin' 1965-1976","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFEATURES\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eNewly remastered from the original analog tapes by GRAMMY®–nominated engineer John Baldwin\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e2xLP pressed at RTI \u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e\"Velvet Morning Sunrise\" Yellow \u0026amp; Orange Vinyl\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eClassic Black Vinyl\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eLimited Numbered Edition \"Summer Wine Sunburst Orange\" Orange \u0026amp; Black Vinyl (#621 \/ 1000) (\u003cem\u003e\u003cspan\u003eLAST COPY!\u003c\/span\u003e\u003c\/em\u003e)\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eFeatures OBI Strip and a 24-Page Booklet\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eExtensive essay by Amanda Petrusich\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eBeautifully packaged in a Gatefold Jacket\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDESCRIPTION\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eLight in the Attic Records\u003c\/strong\u003e\u003c\/em\u003e is proud to present \u003cstrong\u003e\u003cem\u003eNancy Sinatra: Start Walkin’ 1965–1976\u003c\/em\u003e\u003c\/strong\u003e. The definitive new collection surveys Sinatra’s most prolific period over 1965–1976, including her revered collaborations with \u003cstrong\u003e\u003cem\u003eLee Hazlewood\u003c\/em\u003e\u003c\/strong\u003e, over 23 tracks.\u003c\/p\u003e\n\u003cp\u003eRemastered from the original analog tapes by GRAMMY®–nominated engineer \u003cem\u003e\u003cstrong\u003eJohn Baldwin\u003c\/strong\u003e\u003c\/em\u003e, the collection is complemented by liner notes penned by \u003cem\u003e\u003cstrong\u003eAmanda Petrusich\u003c\/strong\u003e\u003c\/em\u003e (author and music critic at \u003cem\u003e\u003cstrong\u003eThe New Yorker\u003c\/strong\u003e\u003c\/em\u003e), featuring never–before–seen photos from Nancy Sinatra’s personal archive, as well as insightful new interviews with Sinatra, as well as a Q\u0026amp;A with archivist and GRAMMY®–nominated reissue co-producer, \u003cstrong\u003e\u003cem\u003eHunter Lea\u003c\/em\u003e\u003c\/strong\u003e. The two-disc vinyl set is presented in a gatefold jacket (featuring a 24–page booklet).\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNancy’s performance of the Lee Hazlewood–penned song “\u003cstrong\u003e\u003cem\u003eThese Boots Are Made for Walkin’\u003c\/em\u003e\u003c\/strong\u003e” was a huge hit in 1966 and became her signature tune. The pair began a three-year run of successful albums, duets, and singles including “\u003cem\u003e\u003cstrong\u003eSugar Town\u003c\/strong\u003e\u003c\/em\u003e,” “\u003cem\u003e\u003cstrong\u003eSome Velvet Morning\u003c\/strong\u003e\u003c\/em\u003e,” “\u003cem\u003e\u003cstrong\u003eSummer Wine\u003c\/strong\u003e\u003c\/em\u003e,” “\u003cem\u003e\u003cstrong\u003eSand\u003c\/strong\u003e\u003c\/em\u003e,” “\u003cem\u003e\u003cstrong\u003eJackson\u003c\/strong\u003e\u003c\/em\u003e,” and the title track to the 1967 James Bond film “\u003cem\u003e\u003cstrong\u003eYou Only Live Twice\u003c\/strong\u003e\u003c\/em\u003e.”\u003cbr\u003e\u003cbr\u003eStart Walkin’ explores Nancy’s recordings with Lee, her inspired collaborations with songwriter \u003cem\u003e\u003cstrong\u003eMac Davis\u003c\/strong\u003e\u003c\/em\u003e (“\u003cstrong\u003e\u003cem\u003eHello L.A., Bye Bye Birmingham\u003c\/em\u003e\u003c\/strong\u003e”), producer \u003cem\u003e\u003cstrong\u003eLenny Waronker\u003c\/strong\u003e\u003c\/em\u003e (“\u003cstrong\u003e\u003cem\u003eHook and Ladder\u003c\/em\u003e\u003c\/strong\u003e”), and the “should’ve been hit” song with arranger\/producer \u003cem\u003e\u003cstrong\u003eBilly Strange\u003c\/strong\u003e\u003c\/em\u003e (“\u003cstrong\u003e\u003cem\u003eHow Are Things In California\u003c\/em\u003e\u003c\/strong\u003e.”)\u003cbr\u003e\u003cbr\u003eOver the years, she has been cited as an influence by countless artists, including \u003cstrong\u003e\u003cem\u003eSonic Youth, Morrissey, Calexico, U2, and Lana Del Rey\u003c\/em\u003e\u003c\/strong\u003e. Her haunting song “\u003cstrong\u003e\u003cem\u003eBang, Bang\u003c\/em\u003e\u003c\/strong\u003e” gained a new legion of fans when it appeared in the opening credits of \u003cem\u003eQuentin Tarantino\u003c\/em\u003e’s 2003 film, \u003cem\u003eKill Bill Volume 1\u003c\/em\u003e.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e\u003c\/p\u003e","brand":"Nancy Sinatra","offers":[{"title":"2LP \/ Yellow \u0026 Orange","offer_id":42169390006463,"sku":"LITA195-1-YLOR-SWL","price":46.99,"currency_code":"USD","in_stock":false},{"title":"2LP \/ Orange \u0026 Black","offer_id":42169776570559,"sku":"LITA195-1-ORBK-SWL","price":124.99,"currency_code":"USD","in_stock":false},{"title":"2LP \/ Black","offer_id":42169242976447,"sku":"LITA195-1-BK","price":37.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/products\/large_550_tmp_2F1603218483868-zprs3r875wi-18ee9d1e6e5bcced33fde7524df399e0_2FLITA_2B195_2B-_2BNancy_2BSinatra_2B-_2BStart_2BWalkin-Hi_2BRes_2BCover.jpg?v=1698649880"},{"product_id":"karen-dalton-in-my-own-time-standard-deluxe-edition-2lp-vinyl-record","title":"In My Own Time - 50th Anniversary (Standard Deluxe Edition)","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003e Two 180-gram, 45 RPM LPs cut from new 2021 transfers and pressed at RTI, featuring bonus tracks from the original album sessions \u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e Previously unreleased 7” single: \"Take Me\" Live at Beat Club, Germany (April 1971) \u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e Repro of 1971 French edition 7” single: Something On Your Mind b\/w One Night Of Love \u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e Both 7” singles pressed at Third Man Pressing and housed in old-style tip-on jackets \u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e 20-page booklet featuring unseen photos and liner notes by Lenny Kaye, plus contributions from Nick Cave and Devendra Banhart \u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e Housed in a special, expanded trifold jacket \u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eKaren Dalton\u003c\/strong\u003e\u003c\/em\u003e’s 1971 album, \u003cem\u003e\u003cstrong\u003eIn My Own Time\u003c\/strong\u003e\u003c\/em\u003e, stands as a true masterpiece by one of music’s most mysterious, enigmatic, and enduringly influential artists. Light in the Attic is honored to celebrate the 50th anniversary of In My Own Time with a special edition of this monumental classic.\u003cbr\u003e\u003cbr\u003eFeaturing Dalton’s interpretations of songs like “\u003cem\u003e\u003cstrong\u003eAre You Leaving for the Country\u003c\/strong\u003e\u003c\/em\u003e,” “\u003cem\u003e\u003cstrong\u003eWhen a Man Loves a Woman\u003c\/strong\u003e\u003c\/em\u003e,” “\u003cem\u003e\u003cstrong\u003eKatie Cruel\u003c\/strong\u003e\u003c\/em\u003e,” and her posthumously recognized signature performance, “\u003cem\u003e\u003cstrong\u003eSomething On Your Mind\u003c\/strong\u003e\u003c\/em\u003e,” will be available in a 50th anniversary Deluxe Edition, which expands exponentially upon Light in the Attic’s 2006 reissue of the album, co-produced by Nicholas Hill.\u003cbr\u003e\u003cbr\u003eThis 50th Anniversary Standard Deluxe Edition features the newly remastered (2021) In My Own Time album, presented on three sides of 45-RPM, 180-gram vinyl pressed at \u003cem\u003e\u003cstrong\u003eRecord Technology Inc. (RTI)\u003c\/strong\u003e\u003c\/em\u003e, with the fourth side showcasing alternate takes from the album sessions. The set also contains two 7-inch singles, featuring previously-unreleased live recordings captured at Germany’s Beat Club in 1971, both pressed at Third Man Record Pressing and housed in tip-on jackets. All audio has been newly remastered by \u003cem\u003e\u003cstrong\u003eDave Cooley\u003c\/strong\u003e\u003c\/em\u003e, while lacquers were cut by \u003cem\u003e\u003cstrong\u003ePhil Rodriguez\u003c\/strong\u003e\u003c\/em\u003e at \u003cem\u003e\u003cstrong\u003eElysian Masters\u003c\/strong\u003e\u003c\/em\u003e. A 20-page booklet—featuring rarely seen photos, liner notes from musician and writer \u003cem\u003e\u003cstrong\u003eLenny Kaye\u003c\/strong\u003e\u003c\/em\u003e, and contributions from \u003cem\u003e\u003cstrong\u003eNick Cave\u003c\/strong\u003e\u003c\/em\u003e and \u003cem\u003e\u003cstrong\u003eDevendra Banhart\u003c\/strong\u003e\u003c\/em\u003e—rounds out the package, which comes housed in a special trifold jacket.\u003cbr\u003e\u003cbr\u003eThe 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 “\u003cem\u003ethe jazz of Ella Fitzgerald and Billie Holiday, the immersion of Nina Simone, the Appalachian keen of Jean Ritchie, [and] the R\u0026amp;B and country that had to seep in as she made her way to New York.\u003c\/em\u003e\"\u003cbr\u003e\u003cbr\u003eArmed 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 \u003cem\u003e\u003cstrong\u003eTim Hardin, Fred Neil, and Richard Tucker\u003c\/strong\u003e\u003c\/em\u003e, whom she later married. \u003cem\u003e\u003cstrong\u003eBob Dylan\u003c\/strong\u003e\u003c\/em\u003e, meanwhile, was instantly taken with her artistry. “\u003cem\u003eMy favorite singer in the place was Karen Dalton\u003c\/em\u003e,” he recalled in Chronicles: Volume One (Simon \u0026amp; Schuster, 2004). “\u003cem\u003eKaren had a voice like Billie Holiday and played the guitar like Jimmy Reed.\u003c\/em\u003e”\u003cbr\u003e\u003cbr\u003eThose 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, \u003cem\u003e\u003cstrong\u003eIt’s So Hard to Tell Who’s Going To Love You The Best\u003c\/strong\u003e\u003c\/em\u003e, 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.\u003cbr\u003e\u003cbr\u003eProducing the album was bassist \u003cem\u003e\u003cstrong\u003eHarvey Brooks\u003c\/strong\u003e\u003c\/em\u003e, 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 “\u003cem\u003esimple, solid and supportive,\u003c\/em\u003e” 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. “\u003cem\u003eI 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.\u003c\/em\u003e”\u003cbr\u003e\u003cbr\u003eDalton, 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\u0026amp;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.\u003cbr\u003e\u003cbr\u003eWhile ‘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 recently acclaimed film documentary \u003cem\u003e\u003cstrong\u003eKaren Dalton: In My Own Time\u003c\/strong\u003e\u003c\/em\u003e, Cave muses on Dalton’s unique appeal: “\u003cem\u003eThere’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.\u003c\/em\u003e” He adds, “\u003cem\u003eShe had a deep and profound and loving soul…you can hear it in her music.\u003c\/em\u003e”\u003cbr\u003e\u003cbr\u003e1–10: Originally released as Just Sunshine – PAS 6008, 1971\u003cbr\u003e11–13: Alternate Takes from album sessions, 1970\/71\u003cbr\u003e14–15: Recorded live at Beat Club, Germany, April 21, 1971\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eTRACKLIST\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e1. Something On Your Mind\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e2. When a Man Loves A Woman\u003cbr\u003e3. In My Own Dream\u003cbr\u003e4. Katie Cruel\u003cbr\u003e5. How Sweet It Is\u003cbr\u003e6. In A Station\u003cbr\u003e7. Take Me\u003cbr\u003e8. Same Old Man\u003cbr\u003e9. One Night of Love\u003cbr\u003e10. Are You Leaving For The Country\u003cbr\u003e11. Something On Your Mind (Alternate Take)\u003cbr\u003e12. In My Own Dream (Alternate Take)\u003cbr\u003e13. Katie Cruel (Alternate Take)\u003cbr\u003e14. One Night Of Love - Live at Beat Club, Germany, April 21, 1971\u003cbr\u003e15. Take Me - Live at Beat Club, Germany, April 21, 1971\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e ","brand":"Karen Dalton","offers":[{"title":"2LP \/ Black","offer_id":42181003018431,"sku":"LITA203-1-BK","price":84.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/products\/large_550_tmp_2F1636404315523-p452atftqym-fee1d2a312bf3f91b430c0f0d2442024_2Flita200_203_3000px.jpg?v=1673906425"},{"product_id":"donnie-joe-emerson-baby-heart-shaped-single-7-inch-lp","title":"Baby (Heart Shaped Single)","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFEATURES\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003e Limited Edition “Baby” Heart Shaped 7-inch vinyl\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eOnly 1,000 copies pressed\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eOut of Print Rarity\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e B-Side Previously unreleased anywhere!\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eResealable PVC Sleeve\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDESCRIPTION\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eLimited Edition \u003cstrong\u003e\u003cem\u003e“Baby” Heart Shaped 7-inch vinyl by Donnie \/amp; Joe Emerson\u003c\/em\u003e\u003c\/strong\u003e. B-Side Previously unreleased anywhere! 1k units produced worldwide and released by \u003cem\u003e\u003cstrong\u003eLight in the Attic Records\u003c\/strong\u003e\u003c\/em\u003e.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eTRACKLIST\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eBaby\u003c\/li\u003e\n\u003cli\u003eTonight\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e\u003c\/p\u003e","brand":"Donnie \u0026 Joe Emerson","offers":[{"title":"7\" \/ Red","offer_id":42195762348223,"sku":"LITA45-046-RD","price":124.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/products\/large_550_tmp_2F1573772267028-0e5gdwd854ym-f6e2247219ccb6f7b73038bc50277439_2FD_26J_2BHeart_2BShaped_2BVinyl_2Bmockup.jpg?v=1701209899"},{"product_id":"public-image-ltd-first-issue-lp-vinyl-record","title":"First Issue","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003e2023 Vinyl Edition\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e1xLP Pressed on Clear Red Vinyl and \u003c\/strong\u003e\u003cb\u003eSilver Vinyl\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eHoused in an expanded Stoughton tip-on Gatefold Jacket\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eFeatures fold-out poster, sticker, and insert\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eIncludes download card for the full album, non-album single B-side “The Cowboy Song”, and an unedited October 1978 BBC audio interview with John Lydon\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eOriginally released in 1978\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eLight in the Attic Records\u003c\/strong\u003e\u003c\/em\u003e' 100th album release, and following the Record Store Day reissue of PiL’s debut single ‘\u003cem\u003ePublic Image\u003c\/em\u003e’, this reissue is the pioneering group’s debut album \u003cstrong\u003eFirst Issue\u003c\/strong\u003e, available for the first time ever in the US.\u003cbr\u003e\u003cbr\u003eIn 1976 \u003cem\u003e\u003cstrong\u003eJohnny Rotten\u003c\/strong\u003e\u003c\/em\u003e and the \u003cem\u003e\u003cstrong\u003eSex Pistols\u003c\/strong\u003e\u003c\/em\u003e set the agenda for punk’s year zero with ‘\u003cem\u003e\u003cstrong\u003eAnarchy In The UK\u003c\/strong\u003e\u003c\/em\u003e’, a song that summed up the spirit, sound, and attitude of the band in one shocking package. Two years later, the Sex Pistols were in tatters, but Rotten was as unsentimental as you’d hope. He reverted to his real name – \u003cem\u003e\u003cstrong\u003eJohn Lydon\u003c\/strong\u003e\u003c\/em\u003e – and set about forming a band whose very identity kicked against press and media manipulation. Featuring bassist \u003cem\u003e\u003cstrong\u003eJah Wobble\u003c\/strong\u003e\u003c\/em\u003e, drummer \u003cem\u003e\u003cstrong\u003eJim Walker\u003c\/strong\u003e\u003c\/em\u003e and guitarist \u003cem\u003e\u003cstrong\u003eKeith Levene\u003c\/strong\u003e\u003c\/em\u003e, his new group was \u003cem\u003e\u003cstrong\u003ePublic Image Limited\u003c\/strong\u003e\u003c\/em\u003e. The public image would be limited.\u003cbr\u003e\u003cbr\u003e\u003cem\u003e\u003cstrong\u003ePiL\u003c\/strong\u003e\u003c\/em\u003e was a very distinct prospect from the Pistols, founded with a greater thought for rhythm, and with a sound that turned the page from snarling punk to a more experimental sound fusing rock, dance, folk, ballet, pop, and dub. But that’s not to say Lydon’s new outfit lacked vitriol. ‘Public Image’ hits out against the notorious British tabloid press, who never gave Lydon an easy ride, and against his own Sex Pistols public image – “\u003cstrong\u003e\u003cem\u003eYou only saw me for the clothes I wore\u003c\/em\u003e\u003c\/strong\u003e”.\u003cbr\u003e\u003cbr\u003eThe debut single (and the album that followed) operated as a theme song and a manifesto: “\u003cstrong\u003e\u003cem\u003e…my entrance\/My own creation\/My grand finale\/My goodbye\u003c\/em\u003e\u003c\/strong\u003e,” as the lyrics had it. It is, essentially, the sound of four people letting loose in a studio – and not caring what anyone else thought.\u003cbr\u003e\u003cbr\u003eThe album was never officially released in the USA back in the day, its sound was considered too un-commercial by major labels for an American release.\u003cbr\u003e\u003cbr\u003e\u003cem\u003e\u003cstrong\u003eFirst Issue\u003c\/strong\u003e\u003c\/em\u003e has been lovingly reproduced from the original UK 1978 release and this special reissue also comes with a clutch of post-punk era treasures. The 2023 LP edition includes an expanded gatefold jacket, an archive replica fold-out poster, a PiL sticker, insert, and Download Card for the album, the archival BBC interview, and “The Cowboy Song.” All of which was approved and coordinated with John Lydon and his personal management.\u003cbr\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eTRACKLIST\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e1. Theme\u003cbr\u003e2. Religion I\u003cbr\u003e3. Religion II\u003cbr\u003e4. Annalisa\u003cbr\u003e5. Public Image\u003cbr\u003e6. Low Life\u003cbr\u003e7. Attack\u003cbr\u003e8. Fodderstompf\u003cbr\u003e9. The Cowboy Song (CD, LP Download Card)\u003cbr\u003e10. Interview w\/ John Lydon, 1978 (CD, LP Download Card)\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e\u003c\/p\u003e","brand":"Public Image Ltd.","offers":[{"title":"LP \/ Transparent Red","offer_id":42195780108479,"sku":"LITA100-1-RD-TPT","price":54.99,"currency_code":"USD","in_stock":false},{"title":"LP \/ Silver","offer_id":42652058157247,"sku":"LITA100-SV","price":49.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/products\/large_550_LITA100thumb325.jpg?v=1674681448"},{"product_id":"nancy-sinatra-lee-hazlewood-nancy-and-lee-again-lp-vinyl-record","title":"Nancy \u0026 Lee Again","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eRELEASE NOTES\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eFirst-ever reissue of Nancy \u0026amp; Lee’s 1972 classic\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e1xLP available on four color editions\u003c\/strong\u003e\u003c\/li\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003e\"\u003cem\u003eBig Red Balloon Swirl\u003c\/em\u003e\" Edition\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eNancy’s Bootique Edition pressed on \"\u003cem\u003eTippy Toes Teal \u0026amp; White Swirl\u003c\/em\u003e\"\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eFanclub Edition pressed on \"\u003cem\u003eGot It Together Again Gold\u003c\/em\u003e\"\u003cbr\u003e\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eExperience Vinyl Edition pressed on Clear with Black \u0026amp; White Hi-Melt\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eClassic Black Vinyl\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cli\u003e\u003cstrong\u003eIncludes bonus tracks “Machine Gun Kelly” and the previously unreleased “Think I’m Coming Down”\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eNewly remastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eVinyl pressed at RTI\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eBeautifully packaged and expanded gatefold LP featuring a 20-page booklet\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eQ\u0026amp;A with Nancy \u0026amp; GRAMMY®-nominated reissue co-producer Hunter Lea\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eNever-before-seen photos from Nancy Sinatra’s personal archive\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eREAD MORE...\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eLight in the Attic Records\u003c\/strong\u003e\u003c\/em\u003e is proud to present the next installment of the \u003cem\u003e\u003cstrong\u003eNancy Sinatra Archival Series\u003c\/strong\u003e\u003c\/em\u003e with the first-ever reissue of the classic 1972 album \u003cem\u003e\u003cstrong\u003eNancy \u0026amp; Lee Again\u003c\/strong\u003e\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eRecorded 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 ”\u003cem\u003e\u003cstrong\u003eArkansas Coal (Suite)\u003c\/strong\u003e\u003c\/em\u003e,” the sensual “Paris Summer” and the incredibly powerful Dolly Parton-penned “Down From Dover.” Equal parts daring, psychedelic, cinematic, and sweet, Nancy \u0026amp; Lee Again reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come.\u003cbr\u003e\u003cbr\u003eNancy \u0026amp; 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\u0026amp;A with Nancy Sinatra, conducted by the reissue’s GRAMMY®-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.”\u003cbr\u003e\u003cbr\u003eNancy’s impact on fashion, music, and culture will also be celebrated at \u003cem\u003e\u003cstrong\u003eModernism Week\u003c\/strong\u003e\u003c\/em\u003e in Palm Springs this February with three events, including a roundtable discussion featuring \u003cem\u003e\u003cstrong\u003eKii Arens\u003c\/strong\u003e\u003c\/em\u003e (Visual Artist), \u003cem\u003e\u003cstrong\u003eAlison Martino\u003c\/strong\u003e\u003c\/em\u003e (Vintage Los Angeles), \u003cem\u003e\u003cstrong\u003eHunter Lea\u003c\/strong\u003e\u003c\/em\u003e (Record Producer), \u003cem\u003e\u003cstrong\u003eDon Randi\u003c\/strong\u003e\u003c\/em\u003e (The Wrecking Crew), and \u003cem\u003e\u003cstrong\u003eAmanda Erlinger\u003c\/strong\u003e\u003c\/em\u003e (daughter of Nancy Sinatra, and co-author of the book \u003cem\u003e\u003cstrong\u003eNancy Sinatra: One For Your Dreams\u003c\/strong\u003e\u003c\/em\u003e), a double-decker bus tour featuring audio commentary from Nancy at notable locations, and a \u003cem\u003e\u003cstrong\u003eNancy Sinatra Tribute\u003c\/strong\u003e\u003c\/em\u003e street party on Arenas to close out the week’s festivities.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eMORE ABOUT NANCY \u0026amp; LEE AGAIN:\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eThe 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 \u0026amp; Lee Again, a follow-up to their bestselling duet debut, Nancy \u0026amp; 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.\u003cbr\u003e\u003cbr\u003eNot long after the critical acclaim and chart success of Nancy \u0026amp; 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.\u003cbr\u003e\u003cbr\u003eReturning 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.\u003cbr\u003e\u003cbr\u003eThe 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 \u0026amp; 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.\u003cbr\u003e\u003cbr\u003eOne of the most emotionally-charged moments on Nancy \u0026amp; 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.\u003cbr\u003e\u003cbr\u003eAnother 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.’”\u003cbr\u003e\u003cbr\u003eThe 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.\u003cbr\u003e\u003cbr\u003eThe 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.\u003cbr\u003e\u003cbr\u003eThis definitive reissue of Nancy \u0026amp; 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 \u0026amp; 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.\u003cbr\u003e\u003cbr\u003eNancy \u0026amp; 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 \u0026amp; 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.\u003cbr\u003e\u003cbr\u003eFive 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 \u0026amp; Lee. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eTRACKLIST\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eArkansas Coal (Suite)\u003c\/li\u003e\n\u003cli\u003eBig Red Balloon\u003c\/li\u003e\n\u003cli\u003eFriendship Train\u003c\/li\u003e\n\u003cli\u003eParis Summer\u003c\/li\u003e\n\u003cli\u003eCongratulations\u003c\/li\u003e\n\u003cli\u003eDown From Dover\u003c\/li\u003e\n\u003cli\u003eDid You Ever?\u003c\/li\u003e\n\u003cli\u003eTippy Toes\u003c\/li\u003e\n\u003cli\u003eBack On The Road\u003c\/li\u003e\n\u003cli\u003eGot It Together\u003c\/li\u003e\n\u003cli\u003eMachine Gun Kelly (bonus track, first time on vinyl)\u003c\/li\u003e\n\u003cli\u003eThink I'm Coming Down (bonus track, previously unreleased)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003ciframe style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/79ZtznPmq6uW1NuOyaYqKb?utm_source=generator\" width=\"100%\" height=\"352\" loading=\"lazy\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\"\u003e\u003c\/iframe\u003e","brand":"Nancy Sinatra \u0026 Lee Hazlewood","offers":[{"title":"LP \/ Teal \/ White Swirl","offer_id":42281093857471,"sku":"LITA199-TEWH-SWL","price":24.98,"currency_code":"USD","in_stock":true},{"title":"LP \/ Gold","offer_id":42281093824703,"sku":"LITA199-GD","price":24.98,"currency_code":"USD","in_stock":true},{"title":"LP \/ Red Swirl","offer_id":42281093890239,"sku":"LITA199-RD-SWL","price":24.98,"currency_code":"USD","in_stock":false},{"title":"LP \/ Clear Black White Hi-Melt","offer_id":42387506200767,"sku":"LITA199-1-5-CLBKWH-HM","price":24.98,"currency_code":"USD","in_stock":false},{"title":"LP \/ Black","offer_id":42281089859775,"sku":"LITA199-BK","price":19.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/products\/large_550_tmp_2F1674083385494-opfm8kfke1c-6447dc37d5dd53b1becdbf5aedd35c80_2Flita199_hiRez.jpg?v=1678956190"},{"product_id":"pacific-breeze-3-double-sided-vinyl-slipmat-12-inch","title":"Pacific Breeze 3 Double-Sided Vinyl Slipmat","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eDouble Sided 21 oz vinyl slipmat featuring Pacific Breeze 3 album cover on Side A \/ Light in the Attic + Pacific Breeze Logos on Side B\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eArtwork by renowned illustrator Hiroshi Nagai\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/helixsounds.com\/collections\/pacific-breeze-series\" title=\"Pacific Breeze Series\"\u003eAbout Pacific Breeze Series\u003c\/a\u003e:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eLight in the Attic’s Pacific Breeze series has supplied the world’s growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings—the mesmerizing and nebulous genre of Japanese bubble-era music of the ‘70s-’80s that encompasses AOR, R\u0026amp;B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan’s affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave.\u003cbr\u003e\u003cbr\u003ePacific Breeze 3: Japanese City Pop, AOR \u0026amp; Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country’s creative minds. The appearance of Pizzicato Five hints at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend is also evident here through the prevalence of heavier programmed drum beats on tracks such as “Heartbeat” by Miho Fujiwara.\u003cbr\u003e\u003cbr\u003eThis volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi, and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka.\u003cbr\u003e\u003cbr\u003eAlthough not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.\u003cbr\u003e\u003c\/p\u003e","brand":"Light in the Attic Records","offers":[{"title":"12\" \/ Blue \/ Yellow \/ 21 oz.","offer_id":42283329716415,"sku":"LITA202-4-16","price":16.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/products\/large_550_tmp_2F1669759642105-xrjlizxz2cl-29ab25b81775f24931cae148fa3c5c31_2Flita202_slipmat_both.jpg?v=1679014200"},{"product_id":"nancy-sinatra-boots-lp-vinyl-record","title":"Boots","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eNewly remastered from the original analog tapes by GRAMMY®–nominated engineer John Baldwin\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e1xLP Pressed on Classic Black Vinyl and Exclusive Limited Edition \"So Long, Babe Blue\" Swirl Vinyl\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eBeautifully packaged and expanded gatefold LP featuring a 20–page booklet\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eVinyl pressed at RTI\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eNever–before–seen photos from Nancy’s personal archive\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eThe definitive reissue of Nancy’s debut album.\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e“\u003cem\u003eDumb stuff, as Lee used to call it. Dumb doesn’t mean stupid. It means human and understandable. It was the sound of three guitars, drums, and bass. It was simple, very, very simple. I can still see the room, the studio. With Carol Kaye, Glen Campbell, Donnie Owens… I can still see them all sitting there and chunking away. I guess simple was the best way to explain it, uncomplicated.\u003c\/em\u003e” – \u003cstrong\u003e\u003cem\u003eNancy Sinatra\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e\u003cstrong\u003eLight in the Attic\u003c\/strong\u003e\u003c\/em\u003e is proud to present the next installment of the \u003cem\u003e\u003cstrong\u003eNancy Sinatra Archival Series\u003c\/strong\u003e\u003c\/em\u003e with a deluxe reissue of Nancy’s first album, Boots.\u003cbr\u003e\u003cbr\u003eThe \u003cstrong\u003e\u003cem\u003e1966 debut million-selling debut LP\u003c\/em\u003e\u003c\/strong\u003e, introduced the sassy, blonde, go-go booted icon. Built around her Lee Hazlewood-penned hits, “These Boots Are Made for Walkin’” and “\u003cem\u003e\u003cstrong\u003eSo Long, Babe\u003c\/strong\u003e\u003c\/em\u003e,” the folk-rock era milestone album features songs by The Beatles, The Rolling Stones, Bob Dylan, Hazlewood, and more. The catchy and jangly pop hooks performed by the famed Los Angeles session musicians, \u003cem\u003e\u003cstrong\u003eThe Wrecking Crew\u003c\/strong\u003e\u003c\/em\u003e and \u003cem\u003e\u003cstrong\u003eBilly Strange\u003c\/strong\u003e\u003c\/em\u003e’s innovative arrangements provided the perfect sound to help Nancy capture the attention of the world. The new reissue includes two bonus tracks recorded during the album sessions, the non-album b-side “\u003cem\u003e\u003cstrong\u003eThe City Never Sleeps At Night\u003c\/strong\u003e\u003c\/em\u003e” and the previously unreleased “\u003cem\u003e\u003cstrong\u003eFor Some\u003c\/strong\u003e\u003c\/em\u003e.”\u003cbr\u003e\u003cbr\u003eRemastered from the original analog tapes by GRAMMY®-nominated engineer \u003cem\u003e\u003cstrong\u003eJohn Baldwin\u003c\/strong\u003e\u003c\/em\u003e, the reissue is complemented by a new Q\u0026amp;A interview with Nancy and GRAMMY®-nominated reissue co-producer \u003cem\u003e\u003cstrong\u003eHunter Lea\u003c\/strong\u003e\u003c\/em\u003e.\u003cbr\u003e\u003cbr\u003eThe vinyl set is presented in an expanded gatefold jacket (featuring a 20-page booklet), with special color editions available exclusively at NancySinatra.com, LightInTheAttic.net, and independent record stores.\u003c\/p\u003e\n\u003ch3\u003e\n\u003cspan style=\"text-decoration: underline;\"\u003eTRACKLIST\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eAs Tears Go By\u003c\/li\u003e\n\u003cli\u003eDay Tripper\u003c\/li\u003e\n\u003cli\u003eI Move Around\u003c\/li\u003e\n\u003cli\u003eIt Ain't Me Babe\u003c\/li\u003e\n\u003cli\u003eThese Boots Are Made For Walkin'\u003c\/li\u003e\n\u003cli\u003eIn My Room\u003c\/li\u003e\n\u003cli\u003eLies\u003c\/li\u003e\n\u003cli\u003eSo Long, Babe\u003c\/li\u003e\n\u003cli\u003eFlowers On The Wall\u003c\/li\u003e\n\u003cli\u003eIf He'd Love Me\u003c\/li\u003e\n\u003cli\u003eRun For Your Life\u003c\/li\u003e\n\u003cli\u003eThe City Never Sleeps At Night (Bonus Track)\u003c\/li\u003e\n\u003cli\u003eFor Some (Bonus Track)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e \u003ciframe style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/4qyuqoJb1ffoE11trJgsXc?utm_source=generator\" width=\"100%\" height=\"352\" loading=\"lazy\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\"\u003e\u003c\/iframe\u003e","brand":"Nancy Sinatra","offers":[{"title":"LP \/ Blue Swirl","offer_id":42288424288447,"sku":"LITA197-1-BYBL-SWL","price":24.98,"currency_code":"USD","in_stock":true},{"title":"LP \/ Black","offer_id":42288448372927,"sku":"LITA197-1-BK","price":19.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/LITA197-NancySinatra-Boots-Cover.jpg?v=1698649900"},{"product_id":"donnie-and-joe-emerson-dreamin-wild-lp-vinyl-record","title":"Dreamin' Wild","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003e2023 Reissue Edition\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eIncludes newly expanded artwork\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDetailed liner notes by Dave Segal, interviewing the Emersons plus unseen photos, lyrics and OBI\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eLP includes 20-page booklet\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eLP pressed at RTI and housed in a gatefold jacket\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSpecial LP color edition pressed on Transparent Blue Vinyl\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003ePacific Northwest\u003c\/strong\u003e\u003c\/em\u003e isolation mixed with wide-eyed ambition, a strong sense of family and the gift of music proved to be quite the combination for teenage brothers \u003cem\u003e\u003cstrong\u003eDonnie and Joe Emerson\u003c\/strong\u003e\u003c\/em\u003e. Originally released in 1979, \u003cstrong\u003e\u003cem\u003eDreamin’ Wild\u003c\/em\u003e\u003c\/strong\u003e is the sonic vision of the talented Emerson boys, recorded in a family built home studio in rural Washington State. Situated in the unlikely blink-and-you-missed-it town of Fruitland and far removed from the late 1970s punk movement and the larger disco boom, Donnie and Joe tilled their own musical soil, channeling bedroom pop jams, raw funk, and yacht rock.\u003c\/p\u003e\n\u003cp\u003eSpurred on their high school’s music program, Donnie and Joe received a further push from their lifelong farmer father, who drew up a contract stating that he’d support his sons lofty ambitions with their very own recording studio as long as they focused on original material, sage advice for a man with zero experience in the music business. After taking out a second mortgage to help cover costs, \u003cem\u003e\u003cstrong\u003eDon Sr.\u003c\/strong\u003e\u003c\/em\u003e also built his children a 300-capacity concert hall (dubbed \u003cem\u003e\u003cstrong\u003eCamp Jammin’\u003c\/strong\u003e\u003c\/em\u003e) replete with ticket booth, stage, and fully functioning snack bar. The only problem was that the projected audience never quite materialized, despite a prime time TV profile entitled “\u003cem\u003e\u003cstrong\u003eThe Rock And Roll Farmers\u003c\/strong\u003e\u003c\/em\u003e” from nearby Spokane, Washington. Even the Emerson brother’s school pals were nonplussed at their privately pressed long player; hand distributed to local music stores, but not as far as Seattle, five hours away from their rural home. Somewhat rejected by the muted response, but never surrendering, both Donnie and Joe continued down a musical path and are still active as performers today.\u003c\/p\u003e\n\u003cp\u003eThis rare slice of bedroom-funk gets the usual \u003cem\u003e\u003cstrong\u003eLight In The Attic\u003c\/strong\u003e\u003c\/em\u003e treatment with newly remastered audio, detailed liner notes, and expanded original album art with loads of photos from the Emerson’s collection. Be sure to also check out the short documentary \u003ca title=\"The Rock-n-Roll Farmers: Donnie \u0026amp; Joe Emerson\" href=\"https:\/\/www.youtube.com\/watch?v=mbK8QOgr7_8\" target=\"_blank\"\u003e\u003cstrong\u003e\u003cem\u003eThe Rock-n-Roll Farmers\u003c\/em\u003e\u003c\/strong\u003e\u003c\/a\u003e.\u003c\/p\u003e\n\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/mbK8QOgr7_8\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eGood Time\u003c\/li\u003e\n\u003cli\u003eGive Me The Chance\u003c\/li\u003e\n\u003cli\u003eBaby\u003c\/li\u003e\n\u003cli\u003eFeels Like the Sun\u003c\/li\u003e\n\u003cli\u003eLove Is\u003c\/li\u003e\n\u003cli\u003eDon't Go Lovin' Nobody Else\u003c\/li\u003e\n\u003cli\u003eDream Full of Dreams\u003c\/li\u003e\n\u003cli\u003eMy Heart\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eLISTEN\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e","brand":"Donnie \u0026 Joe Emerson","offers":[{"title":"LP \/ Black","offer_id":42307583803583,"sku":"LITA082-1-BK","price":19.99,"currency_code":"USD","in_stock":true},{"title":"LP \/ Transparent Blue","offer_id":42307592192191,"sku":"LITA082-1-BL","price":44.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/products\/large_550_Donnie_JoeEmerson_DreaminWild_325.jpg?v=1680575116"},{"product_id":"dreamin-wild-picture-disc-edition-lp-vinyl-record","title":"Dreamin' Wild - Picture Disc Edition","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003e2023 Reissue Edition\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eLathe Cut Picture Disc by Red Spade Records\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSide A features Dreamin’ Wild album cover\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSide B features Donnie OR Joe (\u003cem\u003eRandomly Selected\u003c\/em\u003e)\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003ePacific Northwest\u003c\/strong\u003e\u003c\/em\u003e isolation mixed with wide-eyed ambition, a strong sense of family and the gift of music proved to be quite the combination for teenage brothers \u003cem\u003e\u003cstrong\u003eDonnie and Joe Emerson\u003c\/strong\u003e\u003c\/em\u003e. Originally released in 1979, \u003cstrong\u003e\u003cem\u003eDreamin’ Wild\u003c\/em\u003e\u003c\/strong\u003e is the sonic vision of the talented Emerson boys, recorded in a family built home studio in rural Washington State. Situated in the unlikely blink-and-you-missed-it town of Fruitland and far removed from the late 1970s punk movement and the larger disco boom, Donnie and Joe tilled their own musical soil, channeling bedroom pop jams, raw funk, and yacht rock.\u003c\/p\u003e\n\u003cp\u003eSpurred on their high school’s music program, Donnie and Joe received a further push from their lifelong farmer father, who drew up a contract stating that he’d support his sons lofty ambitions with their very own recording studio as long as they focused on original material, sage advice for a man with zero experience in the music business. After taking out a second mortgage to help cover costs, \u003cem\u003e\u003cstrong\u003eDon Sr.\u003c\/strong\u003e\u003c\/em\u003e also built his children a 300-capacity concert hall (dubbed \u003cem\u003e\u003cstrong\u003eCamp Jammin’\u003c\/strong\u003e\u003c\/em\u003e) replete with ticket booth, stage, and fully functioning snack bar. The only problem was that the projected audience never quite materialized, despite a prime time TV profile entitled “\u003cem\u003e\u003cstrong\u003eThe Rock And Roll Farmers\u003c\/strong\u003e\u003c\/em\u003e” from nearby Spokane, Washington. Even the Emerson brother’s school pals were nonplussed at their privately pressed long player; hand distributed to local music stores, but not as far as Seattle, five hours away from their rural home. Somewhat rejected by the muted response, but never surrendering, both Donnie and Joe continued down a musical path and are still active as performers today.\u003c\/p\u003e\n\u003cp\u003eThis rare slice of bedroom-funk gets the usual \u003cem\u003e\u003cstrong\u003eLight In The Attic\u003c\/strong\u003e\u003c\/em\u003e treatment with newly remastered audio, detailed liner notes, and expanded original album art with loads of photos from the Emerson’s collection. Be sure to also check out the short documentary \u003ca href=\"https:\/\/www.youtube.com\/watch?v=mbK8QOgr7_8\" title=\"The Rock-n-Roll Farmers: Donnie \u0026amp; Joe Emerson\" target=\"_blank\"\u003e\u003cstrong\u003e\u003cem\u003eThe Rock-n-Roll Farmers\u003c\/em\u003e\u003c\/strong\u003e\u003c\/a\u003e.\u003c\/p\u003e\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/mbK8QOgr7_8\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eGood Time\u003c\/li\u003e\n\u003cli\u003eGive Me The Chance\u003c\/li\u003e\n\u003cli\u003eBaby\u003c\/li\u003e\n\u003cli\u003eFeels Like the Sun\u003c\/li\u003e\n\u003cli\u003eLove Is\u003c\/li\u003e\n\u003cli\u003eDon't Go Lovin' Nobody Else\u003c\/li\u003e\n\u003cli\u003eDream Full of Dreams\u003c\/li\u003e\n\u003cli\u003eMy Heart\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eLISTEN\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ciframe loading=\"lazy\" height=\"352\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/4v9R5sk4HQ0X1krbEis34P?utm_source=generator\" style=\"border-radius: 12px;\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e","brand":"Donnie \u0026 Joe Emerson","offers":[{"title":"LP \/ Picture Disc","offer_id":42307626434751,"sku":"LITA082-1-PIC","price":69.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/products\/tmp_2F1676406730639-wgcb8s9bp3p-24a4bd3ba0cdd1e77d3f59539c7007c6_2Flita082_picDisc_front_mockup_v1.jpg?v=1680577213"},{"product_id":"baby-heart-shaped-single-1-7-inch-vinyl-record","title":"Baby (Heart Shaped Single)","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003e Limited Edition “Baby” Heart Shaped 7-inch vinyl\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eB-Side Previously unreleased anywhere!\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eResealable PVC Sleeve\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eDonnie \u0026amp; Joe Emerson\u003c\/strong\u003e\u003c\/em\u003e’s classic “\u003cstrong\u003e\u003cem\u003eBaby\u003c\/em\u003e\u003c\/strong\u003e” is found on the a-side, while the previously unreleased song “\u003cem\u003e\u003cstrong\u003eTonight\u003c\/strong\u003e\u003c\/em\u003e” is featured on the b-side. Both songs were recorded at the Emerson’s home studio in Fruitland, Washington, circa 1979.\u003c\/p\u003e\n\u003cp\u003eLimited Edition \u003cstrong\u003e\u003cem\u003e“Baby” Heart Shaped 7-inch vinyl \u003c\/em\u003e\u003c\/strong\u003ereleased by \u003cem\u003e\u003cstrong\u003eLight in the Attic Records\u003c\/strong\u003e\u003c\/em\u003e.\u003c\/p\u003e\n\u003ciframe loading=\"lazy\" height=\"352\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/track\/62wdQ5CInFr7cjISqrr46f?utm_source=generator\" style=\"border-radius: 12px;\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e","brand":"Donnie \u0026 Joe Emerson","offers":[{"title":"7\" \/ Blue","offer_id":42307638231231,"sku":"LITA45-046-BL","price":19.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/products\/large_550_tmp_2F1675789347338-d2lz3w371wl-e034bd8651c7d30c6191649b452f0f52_2FLITA45-046-1-1_mockup.jpg?v=1701209916"},{"product_id":"acetone-1992-2001-2lp-vinyl-record","title":"1992 - 2001","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003e2023 Color Edition pressed on Pool Haze wax\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eFirst-time band anthology\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eIncludes 9 unreleased tracks\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAudio restored and remastered from original tapes\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDouble LP housed in a gatefold jacket\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eLiner notes by Sam Sweet\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAlso available on Classic Black Vinyl\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e“Acetone is into it for what they get out of it. Their music reflects who they are, and that’s so rare in music today. It’s a soul music thing.” – Jason Pierce (Spiritualized)\u003cbr\u003e\u003cbr\u003e“Acetone is one of my all-time favorite bands. Their music is still as electrifying and beautiful now as it was back then.” – Hope Sandoval (Mazzy Star)\u003cbr\u003e\u003cbr\u003e“A lovely mix of what would it be like if Dick Dale and Neil Young played with Isaac Hayes and The Velvet Underground. A seminal American band.” – Richard Ashcroft (The Verve)\u003cbr\u003e\u003cbr\u003eThis fall, the independent literary press All Night Menu will publish Sam Sweet’s Hadley Lee Lightcap, a nonfiction novel that traces the backstories of the three members in Acetone, a band that played in Los Angeles for nine years. Though few heard them, their recordings are time capsules of who they were, how they lived, and where they came from. Light In the Attic has partnered with All Night Menu to present Acetone 1992-2001, the first anthology of the trio’s music. The book and the album will be released concurrently on September 22.\u003cbr\u003e\u003cbr\u003eCounting their early years in the scuzz-rock band Spinout, whose sole self-titled release came out in 1991 on Delicious Vinyl, guitarist Mark Lightcap, bassist Richie Lee, and drummer Steve Hadley played together for a total of 15 years. They disbanded in July 2001, when Lee committed suicide in the garage next to the house where the trio practiced. Afterward, Rolling Stone ran a short obituary saying Acetone’s albums were “well received” but “failed to make any waves.” It was the first and only time they were featured in the national music press.\u003cbr\u003e\u003cbr\u003eBetween 1993 and 2001 the trio released two LPs and an EP on Vernon Yard—a Virgin subsidiary—and two LPs on Vapor, the L.A.-based label founded by Neil Young and manager Elliott Roberts. In that span, they were selected to tour with Oasis, Mazzy Star, The Verve, and Spiritualized. Against a rising tide of post-Nirvana grunge and slipshod indie rock, Acetone tapped into a timeless Southern California groove by fusing elements of psychedelia, surf, and country.\u003cbr\u003e\u003cbr\u003eThey rehearsed endlessly in an empty bedroom in northeast Los Angeles, recording hours of music onto cassettes that were subsequently stuffed into shoeboxes and left in a shed behind the drummer’s house. Those tapes are being released for the first time in this anthology, which also includes highlights from Acetone’s official releases. Taken together, the songs form a companion soundtrack to Sam Sweet’s book, which maps the character of Los Angeles as a place through the lens of these three unique characters bonded by music.\u003cbr\u003e\u003cbr\u003e“I think our music is all about moods and feeling but hopefully it will get as weird as it possibly can,” said Richie Lee in 1997. “We want things to get weird in the way that you could hear an Acetone song and know that no one else in the world could make that kind of music but us.”\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eShaker\u003c\/li\u003e\n\u003cli\u003eAll The Time\u003c\/li\u003e\n\u003cli\u003eLouise\u003c\/li\u003e\n\u003cli\u003eReturn From The Ice\u003c\/li\u003e\n\u003cli\u003eHow Sweet I Roamed\u003c\/li\u003e\n\u003cli\u003eGerms\u003c\/li\u003e\n\u003cli\u003eShore Power\u003c\/li\u003e\n\u003cli\u003eAlways Late\u003c\/li\u003e\n\u003cli\u003eThings Are Gonna Be Alright (demo)\u003c\/li\u003e\n\u003cli\u003eMidnight Cowboy\u003c\/li\u003e\n\u003cli\u003eChew\u003c\/li\u003e\n\u003cli\u003eToo Much Time\u003c\/li\u003e\n\u003cli\u003eVibrato\u003c\/li\u003e\n\u003cli\u003ePico\u003c\/li\u003e\n\u003cli\u003eStray (demo)\u003c\/li\u003e\n\u003cli\u003eSmokey\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eLISTEN\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003ciframe loading=\"lazy\" height=\"352\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/6vUZbXDPOX59fKA8hacgyW?utm_source=generator\" style=\"border-radius: 12px;\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Acetone","offers":[{"title":"2LP \/ Blue","offer_id":42323470549183,"sku":"LITA159-BL","price":44.98,"currency_code":"USD","in_stock":true},{"title":"2LP \/ Black","offer_id":42573462470847,"sku":"LITA159-BK","price":34.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/products\/826853015912.jpg?v=1699817199"},{"product_id":"pacific-breeze-3-lithograph-poster","title":"Pacific Breeze Volume 3 Lithograph [Poster]","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eLimited Edition\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e24″ × 24″ Pacific Breeze 3 Lithograph Poster Print\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eArtwork by renowned illustrator Hiroshi Nagai\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eThis item ships separately\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eABOUT PACIFIC BREEZE SERIES\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eLight in the Attic’s Pacific Breeze series has supplied the world’s growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings—the mesmerizing and nebulous genre of Japanese bubble-era music of the ‘70s-’80s that encompasses AOR, R\u0026amp;B, jazz fusion, funk, boogie, and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan’s affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave.\u003cbr\u003e\u003cbr\u003ePacific Breeze 3: Japanese City Pop, AOR \u0026amp; Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country’s creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend is also evident here through the prevalence of heavier programmed drum beats on tracks such as “Heartbeat” by Miho Fujiwara.\u003cbr\u003e\u003cbr\u003eThis volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi, and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka.\u003cbr\u003e\u003cbr\u003eAlthough not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.\u003c\/p\u003e","brand":"Hiroshi Nagai","offers":[{"title":"24\"x24\"","offer_id":42465001046207,"sku":"LITA202-4-LITH","price":89.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/products\/826853020213.jpg?v=1681836222"},{"product_id":"various-artists-native-north-america-vol-1-aboriginal-folk-rock-and-country-1966-1985-box-set-3lp-vinyl-record","title":"Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966–1985","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003e2016 Grammy's Best Historical Album Nominee\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e34 tracks newly remastered\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDeluxe 3xLP set includes a 60-page book housed in a “Tip-On” slipcase with three “Tip-On” jackets\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eIncludes comprehensive liner notes, artist interviews, unseen archival photos, and lyrics (with translations)\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eVinyl pressed at RTI\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eLiner notes by Kevin “Sipreano” Howes\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/fpnnwYn93UA\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eLargely unheard, criminally undocumented, but at their core, utterly revolutionary, the recordings of the diverse North American Aboriginal community will finally take their rightful place in our collective history in the form of \u003cem\u003e\u003cstrong\u003eNative North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966–1985\u003c\/strong\u003e\u003c\/em\u003e. An anthology of music that was once near-extinct and off-the-grid is now available for all to hear, in what is, without a doubt, Light In The Attic’s most ambitious and historically significant project in the label’s 12-year journey.\u003cbr\u003e\u003cbr\u003eNative North America (Vol. 1) features music from the Indigenous peoples of Canada and the northern United States, recorded in the turbulent decades between 1966 to 1985. It represents the fusion of shifting global popular culture and a reawakening of Aboriginal spirituality and expression. The majority of this material has been widely unavailable for decades, hindered by lack of distribution or industry support and by limited mass media coverage, until now. You’ll hear Arctic garage rock from the Nunavik region of northern Quebec, melancholy Yup’ik folk from Alaska, and hushed country blues from the Wagmatcook First Nation reserve in Nova Scotia. You’ll hear echoes of \u003cstrong\u003e\u003cem\u003eNeil Young, Velvet Underground, Leonard Cohen, Creedence Clearwater Revival, Johnny Cash\u003c\/em\u003e\u003c\/strong\u003e, and more among the songs, but injected with Native consciousness, storytelling, poetry, history, and ceremony.\u003cbr\u003e\u003cbr\u003eThe stories behind the music presented on Native North America (Vol. 1) range from standard rock-and-roll dreams to transcendental epiphanies. They have been collected with love and respect by Vancouver-based record archaeologist and curator \u003cem\u003e\u003cstrong\u003eKevin “Sipreano” Howes\u003c\/strong\u003e\u003c\/em\u003e in a 15-year quest to unearth the history that falls between the notes of this unique music. Tirelessly, Howes scoured obscure, remote areas for the original vinyl recordings and the artists who made them, going so far as to send messages in Inuktitut over community radio airwaves in hopes that these lost cultural heroes would resurface.\u003cbr\u003e\u003cbr\u003eWith cooperation and guidance from the artists, producers, family members, and behind-the-scenes players, Native North America (Vol. 1) sheds real light on the painful struggles and deep traditions of the greater Indigenous community and the significance of its music. The songs speak of joy and spirituality but also tell of real tragedy and strife, like that of Algonquin\/Mohawk artist \u003cem\u003e\u003cstrong\u003eWilly Mitchell\u003c\/strong\u003e\u003c\/em\u003e, whose music career was sparked by a bullet to the head from the gun of a trigger-happy police officer, or those of Inuk singer-songwriter Willie Thrasher, who was robbed of his family and traditional Inuit culture by the residential school system.\u003cbr\u003e\u003cbr\u003eConsidering the financially motivated destruction of our environment, the conservative political landscape, and corporate bottom-line dominance, it’s bittersweet to report that the revolutionary songs featured on Native North America hold as much meaning today as when they were originally recorded. Dedicated to legendary Mi’kmaq singer-songwriter and poet \u003cstrong\u003e\u003cem\u003eWillie Dunn\u003c\/em\u003e\u003c\/strong\u003e, featured on the anthology but who sadly passed away during its making, Native North America (Vol. 1) is only the beginning. A companion set featuring a crucial selection of folk, rock, and country from the United States Lower 48 is currently in production.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eWillie Dunn - I Pity The Country\u003c\/li\u003e\n\u003cli\u003eJohn Angaiak - I'll Rock You To The Rhythm Of The Ocean\u003c\/li\u003e\n\u003cli\u003eSugluk - Fall Away\u003c\/li\u003e\n\u003cli\u003eSikumiut - Sikumiut\u003c\/li\u003e\n\u003cli\u003eWillie Thrasher - Spirit Child\u003c\/li\u003e\n\u003cli\u003eWilly Mitchell - Call Of The Moose\u003c\/li\u003e\n\u003cli\u003eLloyd Cheechoo - James Bay\u003c\/li\u003e\n\u003cli\u003eAlexis Utatnaq - Maqaivvigivalauqtavut\u003c\/li\u003e\n\u003cli\u003eBrian Davey - Dreams Of Ways\u003c\/li\u003e\n\u003cli\u003eMorley Loon - N'Doheeno\u003c\/li\u003e\n\u003cli\u003ePeter Frank - Little Feather\u003c\/li\u003e\n\u003cli\u003eErnest Monias - Tormented Soul\u003c\/li\u003e\n\u003cli\u003eEric Landry - Out Of The Blue\u003c\/li\u003e\n\u003cli\u003eDavid Campbell - Sky-Man And The Moon\u003c\/li\u003e\n\u003cli\u003eWillie Dunn - Son Of The Sun\u003c\/li\u003e\n\u003cli\u003eShingoose - Silver River\u003c\/li\u003e\n\u003cli\u003eWilly Mitchell And Desert River Band - Kill'n Your Mind\u003c\/li\u003e\n\u003cli\u003ePhillippe McKenzie - Mistashipu\u003c\/li\u003e\n\u003cli\u003eWillie Thrasher - Old Man Carver\u003c\/li\u003e\n\u003cli\u003eLloyd Cheechoo - Winds Of Change\u003c\/li\u003e\n\u003cli\u003eThe Chieftones - I Shouldn't Have Did What I Done\u003c\/li\u003e\n\u003cli\u003eSugluk - I Didn't Know\u003c\/li\u003e\n\u003cli\u003eLawrence Martin - I Got My Music\u003c\/li\u003e\n\u003cli\u003eGordon Dick - Siwash Rock\u003c\/li\u003e\n\u003cli\u003eWilly Mitchell And Desert River Band - Birchbark Letter\u003c\/li\u003e\n\u003cli\u003eWilliam Tagoona - Anaanaga\u003c\/li\u003e\n\u003cli\u003eLeland Bell - Messenger\u003c\/li\u003e\n\u003cli\u003eSaddle Lake Drifting Cowboys - Modern Rock\u003c\/li\u003e\n\u003cli\u003eWillie Thrasher - We Got To Take You Higher\u003c\/li\u003e\n\u003cli\u003eSikumiut - Utirumavunga\u003c\/li\u003e\n\u003cli\u003eSugluk - Ajuinnarasuarsunga\u003c\/li\u003e\n\u003cli\u003eJohn Angaiak - Hey, Hey, Hey, Brother\u003c\/li\u003e\n\u003cli\u003eGroupe Folklorique Montagnais - Tshekuan Mak Tshetutamak\u003c\/li\u003e\n\u003cli\u003eWillie Dunn - Peruvian Dream (Part 2)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eLISTEN\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ciframe loading=\"lazy\" height=\"352\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/20uFRx6K8E7YtRsbiRJyen?utm_source=generator\" style=\"border-radius: 12px;\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e","brand":"Various Artists","offers":[{"title":"3LP \/ Black","offer_id":42324737491135,"sku":"LITA103-1-BK","price":89.99,"currency_code":"USD","in_stock":false},{"title":"3LP \/ Clear","offer_id":42324745486527,"sku":"LITA103-1-CL","price":97.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/products\/tmp_2F1449521975587-bc2jk87ouma38fr-3086c10817a272a87bcdad174e572d28_2Funnamed.gif?v=1681839683"},{"product_id":"the-shaggs-philosophy-of-the-world-lp-vinyl-record","title":"Philosophy Of The World","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFEATURES\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eThe BEST WORST music you'll ever hear \u0026amp; ranked as #5 on Kurt Cobain’s top 50 favorite albums\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eLiner notes by legendary musician, writer, and compiler, Lenny Kaye (Patti Smith, Nuggets)\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eInsert features unseen photos and ephemera\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eArtwork restored and expanded to a gatefold jacket\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eNewly remastered\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDESCRIPTION\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eIn 1968, three sisters from Fremont, New Hampshire strapped on their instruments and declared themselves \u003cem\u003e\u003cstrong\u003eThe Shaggs\u003c\/strong\u003e\u003c\/em\u003e. At that moment began a peculiar tale that would last far beyond the group’s five-year run. \u003cstrong\u003e\u003cem\u003eDot, Betty, and Helen\u003c\/em\u003e\u003c\/strong\u003e (and occasionally \u003cem\u003e\u003cstrong\u003eRachel\u003c\/strong\u003e\u003c\/em\u003e, the fourth sister) played in the group at the insistence of their father, \u003cstrong\u003e\u003cem\u003eAustin Wiggin Jr.\u003c\/em\u003e\u003c\/strong\u003e, who was convinced they were going to be big. Years earlier, Austin’s mother gave him a palm reading, predicting that her son would marry a strawberry blonde woman, that he would have two sons after his mother died, and that his daughters would form a popular music outfit. The first two became reality, so Austin was certain the third would follow suit.\u003c\/p\u003e\n\u003cp\u003eWith pure confidence and his mother’s bold prediction, Austin decided that his daughters would forgo attending the local high school in favor of home-schooling interspersed with a strict regiment of instrumental and vocal practice, along with jumping jacks and sit-ups. Soon after The Shaggs would enter \u003cstrong\u003e\u003cem\u003eFleetwood Recording studios in Revere, Massachusetts\u003c\/em\u003e\u003c\/strong\u003e to record their sole album, \u003cstrong\u003e\u003cem\u003ePhilosophy Of The World\u003c\/em\u003e\u003c\/strong\u003e, a collection of garage rock tunes that balanced charm and discordance in equal measure. Austin would spend most of his savings not only on the session but also on the manufacturing costs to press up to 1,000 copies of the album (900 of which mysteriously vanished upon completion).\u003c\/p\u003e\n\u003cp\u003eThroughout the album, simple truths are revealed through the pen of sister Dot, the songwriter of the band. The rich people want what the poor people got, just as the poor people want what the rich people got. Your parents love you. There is happiness in nearness and sadness in the farness.\u003c\/p\u003e\n\u003cp\u003eThe album failed to fulfill Austin’s expectations of rock stardom, though the group remained together until their father’s death, performing frequently at the Fremont town hall and a local nursing home, no further albums were released. That might have been the end of it until rock band \u003cstrong\u003e\u003cem\u003eNRBQ\u003c\/em\u003e\u003c\/strong\u003e discovered a copy at a Massachusetts radio station and re-released it in 1980. \u003cstrong\u003e\u003cem\u003eRolling Stone\u003c\/em\u003e\u003c\/strong\u003e’s reviewer at the time described it as “\u003cstrong\u003e\u003cem\u003ethe most stunningly awful wonderful record I’ve heard in ages\u003c\/em\u003e\u003c\/strong\u003e”.\u003c\/p\u003e\n\u003cp\u003eNearly 50 years later, the album ranks among the most polarizing LPs of all time. Some said it was the worst thing ever made. Others felt it was one of the great long players of the 20th century. \u003cstrong\u003e\u003cem\u003eFrank Zappa\u003c\/em\u003e\u003c\/strong\u003e famously dubbed the band “\u003cstrong\u003e\u003cem\u003ebetter than The Beatles\u003c\/em\u003e\u003c\/strong\u003e”, while \u003cstrong\u003e\u003cem\u003eKurt Cobain\u003c\/em\u003e\u003c\/strong\u003e placed the album at #5 on his list of Top 50 favorite albums. Original copies of the album fetch for $10,000.\u003c\/p\u003e\n\u003cp\u003eDecades later and one could argue that maybe Austin was right all along. We’re all here, still enthralled by the purity of \u003cstrong\u003e\u003cspan style=\"text-decoration: underline;\"\u003eThe Shaggs\u003c\/span\u003e\u003c\/strong\u003e.\u003cbr\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003ePhilosophy Of The World\u003c\/li\u003e\n\u003cli\u003eThat Little Sports Car\u003c\/li\u003e\n\u003cli\u003eWho Are Parents\u003c\/li\u003e\n\u003cli\u003eMy Pal Foot Foot\u003c\/li\u003e\n\u003cli\u003eMy Companion\u003c\/li\u003e\n\u003cli\u003eI'm So Happy When You're Near\u003c\/li\u003e\n\u003cli\u003eThings I Wonder\u003c\/li\u003e\n\u003cli\u003eSweet Thing\u003c\/li\u003e\n\u003cli\u003eIt's Halloween\u003c\/li\u003e\n\u003cli\u003eWhy Do I Feel\u003c\/li\u003e\n\u003cli\u003eWhat Should I Do\u003c\/li\u003e\n\u003cli\u003eWe Have A Savior\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eLISTEN\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e","brand":"The Shaggs","offers":[{"title":"LP \/ Yellow Smoke","offer_id":45486453620927,"sku":"LITA151-YL-SMK","price":34.99,"currency_code":"USD","in_stock":true},{"title":"LP \/ Black","offer_id":42335592906943,"sku":"LITA151-1-BK","price":29.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/71tghcDDIaL._AC_SL1200.jpg?v=1682794436"},{"product_id":"haruomi-hosono-cochin-moon-reissue-lp-vinyl-record","title":"Cochin Moon","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eFirst ever release outside of Japan\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTranslated interview with Haruomi Hosono\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eRemastered from the original analog master tapes\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e1xLP pressed on Opaque Yellow Vinyl\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eHoused in a Gatefold Jacket\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eFeatures Printed Fold-Out Insert \u0026amp; OBI Strip\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eOriginal Release Year: 1978\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eThe unbelievably prolific \u003cstrong\u003e\u003cem\u003eHaruomi Hosono\u003c\/em\u003e\u003c\/strong\u003e is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter, and producer.\u003c\/p\u003e\n\u003cp\u003eHosono's solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group \u003cstrong\u003e\u003cem\u003eYellow Magic Orchestra (YMO)\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eReleased in September 1978, a mere two months before YMO's debut,\u003cstrong\u003e\u003cem\u003e Cochin Moon\u003c\/em\u003e\u003c\/strong\u003e is a clear precursor to the groundbreaking synth and sequencer-dominated sounds that would come to define the iconic trio. Credited to Hosono and Pop Art legend \u003cstrong\u003e\u003cem\u003eTadanori Yokoo\u003c\/em\u003e\u003c\/strong\u003e (who created the cover art), Cochin Moon is a \u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003efictional soundtrack\u003c\/strong\u003e\u003c\/span\u003e to a journey into unknown worlds, inspired by Hosono and Yokoo's trip to India.\u003c\/p\u003e\n\u003cp\u003eInitially, the album was to be a kind of ethnographic musical document, using found sounds and field recordings made by Hosono himself. Instead, after Yokoo introduced Hosono to the sounds of \u003cstrong\u003e\u003cem\u003eKraftwerk\u003c\/em\u003e\u003c\/strong\u003e and \u003cem\u003e\u003cstrong\u003ekrautrock\u003c\/strong\u003e \u003c\/em\u003eduring the trip, Cochin Moon became something much stranger.\u003c\/p\u003e\n\u003cp\u003eCreated almost entirely on synthesizers and sequencers with the help of future YMO collaborators \u003cstrong\u003e\u003cem\u003eRyuichi Sakamoto\u003c\/em\u003e\u003c\/strong\u003e and \u003cem\u003e\u003cstrong\u003eHideki Matsutake\u003c\/strong\u003e\u003c\/em\u003e, the music on the album is the perfect encapsulation of Hosono's concept of \"\u003cem\u003e\u003cstrong\u003esightseeing music\u003c\/strong\u003e\u003c\/em\u003e,\" transporting the listener to an exotic place that may or may not exist.\u003c\/p\u003e\n\u003cp\u003eAdmired by artists ranging from \u003cstrong\u003e\u003cem\u003eVan Dyke Parks\u003c\/em\u003e\u003c\/strong\u003e to \u003cem\u003e\u003cstrong\u003eMac DeMarco\u003c\/strong\u003e\u003c\/em\u003e, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eTRACKLIST\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eMalabar Hotel: Ground Floor... Triangle Circuit On The Sea-Forest\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eMalabar Hotel: Upper Floor...Moving Triangle\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eMalabar Hotel: Roof Garden...Revel Attack\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eHepatitis\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eHum Ghar Sajan\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eMadam Consul General Of Madras\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e \u003ciframe loading=\"lazy\" height=\"380\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/68IsinNsMQKlrDWSw5FBPC?utm_source=generator\" style=\"border-radius: 12px;\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Haruomi Hosono","offers":[{"title":"LP \/ Yellow","offer_id":42357117943999,"sku":"LITA174-1-YL","price":64.99,"currency_code":"USD","in_stock":false},{"title":"LP \/ Black","offer_id":43681933131967,"sku":"LITA174-BK","price":54.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/LITA174-HaruomiHosono-CochinMoonAlbumCover.jpg?v=1684371257"},{"product_id":"haruomi-hosono-cochin-moon-cd","title":"Cochin Moon [CD]","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eFirst ever release outside of Japan\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTranslated interview with Haruomi Hosono\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eRemastered from the original analog master tapes\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAlso available on \u003ca title=\"Haruomi Hosono - Cochin Moon (Yellow Vinyl)\" href=\"https:\/\/helixsounds.com\/products\/haruomi-hosono-cochin-moon-reissue-lp\"\u003eYellow Vinyl\u003c\/a\u003e\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eOriginal Release Year: 1978\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eThe unbelievably prolific \u003cstrong\u003e\u003cem\u003eHaruomi Hosono\u003c\/em\u003e\u003c\/strong\u003e is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter, and producer.\u003c\/p\u003e\n\u003cp\u003eHosono's solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group \u003cstrong\u003e\u003cem\u003eYellow Magic Orchestra (YMO)\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eReleased in September 1978, a mere two months before YMO's debut,\u003cstrong\u003e\u003cem\u003e Cochin Moon\u003c\/em\u003e\u003c\/strong\u003e is a clear precursor to the groundbreaking synth and sequencer-dominated sounds that would come to define the iconic trio. Credited to Hosono and Pop Art legend \u003cstrong\u003e\u003cem\u003eTadanori Yokoo\u003c\/em\u003e\u003c\/strong\u003e (who created the cover art), Cochin Moon is a \u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003efictional soundtrack\u003c\/strong\u003e\u003c\/span\u003e to a journey into unknown worlds, inspired by Hosono and Yokoo's trip to India.\u003c\/p\u003e\n\u003cp\u003eInitially, the album was to be a kind of ethnographic musical document, using found sounds and field recordings made by Hosono himself. Instead, after Yokoo introduced Hosono to the sounds of \u003cstrong\u003e\u003cem\u003eKraftwerk\u003c\/em\u003e\u003c\/strong\u003e and \u003cem\u003e\u003cstrong\u003ekrautrock\u003c\/strong\u003e \u003c\/em\u003eduring the trip, Cochin Moon became something much stranger.\u003c\/p\u003e\n\u003cp\u003eCreated almost entirely on synthesizers and sequencers with the help of future YMO collaborators \u003cstrong\u003e\u003cem\u003eRyuichi Sakamoto\u003c\/em\u003e\u003c\/strong\u003e and \u003cem\u003e\u003cstrong\u003eHideki Matsutake\u003c\/strong\u003e\u003c\/em\u003e, the music on the album is the perfect encapsulation of Hosono's concept of \"\u003cem\u003e\u003cstrong\u003esightseeing music\u003c\/strong\u003e\u003c\/em\u003e,\" transporting the listener to an exotic place that may or may not exist.\u003c\/p\u003e\n\u003cp\u003eAdmired by artists ranging from \u003cstrong\u003e\u003cem\u003eVan Dyke Parks\u003c\/em\u003e\u003c\/strong\u003e to \u003cem\u003e\u003cstrong\u003eMac DeMarco\u003c\/strong\u003e\u003c\/em\u003e, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eTRACKLIST\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e1. Hotel Malabar Ground Floor …Triangle Circuit On The Sea-Forest…\u003cbr\u003e2. Hotel Malabar Upper Floor …Moving Triangle…\u003cbr\u003e3. Hotel Malabar Roof Garden …Revel Attack…\u003cbr\u003e4. Hepatitis\u003cbr\u003e5. Hum Ghar Sajan\u003cbr\u003e6. Madam Consul General Of Madras\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e \u003ciframe style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/68IsinNsMQKlrDWSw5FBPC?utm_source=generator\" width=\"100%\" height=\"380\" loading=\"lazy\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\"\u003e\u003c\/iframe\u003e","brand":"Haruomi Hosono","offers":[{"title":"CD \/ Standard","offer_id":42366144315583,"sku":"LITA174-2","price":16.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/LITA174-HaruomiHosono-CochinMoonAlbumCover_5e996c83-6217-4ce8-8d54-94b8473c515e.jpg?v=1685134882"},{"product_id":"jim-sullivan-ufo-lp-vinyl-record","title":"U.F.O.","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003eUltra rare 1969 private press psych-folk-rock masterpiece – featuring the legendary Wrecking Crew (Beach Boys, Phil Spector)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eNewly remastered\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eLacquers cut by John Golden Mastering\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003ePlated at Record Technology Inc. (RTI)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eIncludes deep booklet with liner notes by Andria Lisle, rare photos, archival materials, and full lyrics (LP: 16-pgs, CD: 48-pgs)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eNew Color LP Edition pressed on \u003c\/b\u003e\u003cem\u003e\u003cstrong\u003eAlien Highways Splatter\u003c\/strong\u003e\u003c\/em\u003e\u003cb\u003e colored vinyl (Blue with Black Splatter)\u003c\/b\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eIn March 1975, \u003cstrong\u003eJim Sullivan\u003c\/strong\u003e mysteriously disappeared outside \u003cstrong\u003eSanta Rosa, New Mexico\u003c\/strong\u003e. His VW bug was found abandoned, his motel room untouched. Some think he got lost in the desert. Some think he fell foul of a local family with alleged mafia ties. Some think he was abducted by aliens.\u003c\/p\u003e\n\u003cp\u003eBy coincidence – or perhaps not – Jim’s 1969 debut album was titled \u003cem\u003e\u003cstrong\u003eU.F.O.\u003c\/strong\u003e\u003c\/em\u003e Released in tiny numbers on a private label, it too was truly lost, until Seattle’s \u003cstrong\u003eLight In The Attic Records\u003c\/strong\u003e began a years-long quest to give it the full release it deserves – and to solve the mystery of Sullivan’s disappearance. Only one of those things happened.\u003c\/p\u003e\n\u003cp\u003eFor record collectors, some albums are considered impossible to get hold of, records so rare you could sit on eBay for years and not get a sniff of a copy. \u003cem\u003e\u003cstrong\u003eU.F.O.\u003c\/strong\u003e\u003c\/em\u003e is one of those albums. A seventh son, \u003cstrong\u003eJim Sullivan\u003c\/strong\u003e was a West Coast should-have-been, an Irish-American former high school quarterback whose gift for storytelling earned him cult status in the Malibu bar where he performed nightly. Sullivan was always on the edge of fame; hanging out with movie stars like \u003cstrong\u003eHarry Dean Stanton\u003c\/strong\u003e, performing on the \u003cstrong\u003eJose Feliciano\u003c\/strong\u003e show, and even stealing a cameo in the ultimate hippie movie, \u003cem\u003e\u003cstrong\u003eEasy Rider\u003c\/strong\u003e\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eFriend and actor \u003cstrong\u003eAl Dobbs\u003c\/strong\u003e thought he could change all that, and founded a label – \u003cem\u003e\u003cstrong\u003eMonnie Records\u003c\/strong\u003e\u003c\/em\u003e – to release Jim’s album, enlisting the assistance of \u003cstrong\u003ePhil Spector\u003c\/strong\u003e’s legendary sessioneers \u003cstrong\u003eThe Wrecking Crew\u003c\/strong\u003e to do so. That’s \u003cstrong\u003eDon Randi\u003c\/strong\u003e, \u003cstrong\u003eEarl Palmer\u003c\/strong\u003e, and \u003cstrong\u003eJimmy Bond\u003c\/strong\u003e you can hear, the latter also acting as producer and arranger.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eU.F.O.\u003c\/strong\u003e\u003c\/em\u003e was a different beast to the one-man-and-his-guitar stuff \u003cstrong\u003eJim\u003c\/strong\u003e had been doing on stage; instead, it was a fully realized album of scope and imagination, a \u003cem\u003efolk-rock\u003c\/em\u003e record with its head in the stratosphere. Sullivan's voice is deep and expressive like \u003cstrong\u003eFred Neil\u003c\/strong\u003e's with a weathered and worldly Americana sound like \u003cstrong\u003eJoe South\u003c\/strong\u003e, pop songs that aren't happy - but filled with despair. The album is punctuated with a string section (that recalls \u003cstrong\u003eDavid Axelrod\u003c\/strong\u003e), other times a Wurlitzer piano provides the driving groove (as if Memphis great \u003cstrong\u003eJim Dickinson\u003c\/strong\u003e was running the show). \u003cem\u003e\u003cstrong\u003eU.F.O.\u003c\/strong\u003e\u003c\/em\u003e is a slice of American pop music filtered from the murky depths of Los Angeles, by way of the deep south.\u003c\/p\u003e\n\u003cp\u003eWith no music industry contacts, the record went largely unnoticed, and \u003cstrong\u003eJim\u003c\/strong\u003e simply moved on, releasing a further album on the \u003cstrong\u003ePlayboy\u003c\/strong\u003e label in 1972. But by 1975, his marriage breaking up, \u003cstrong\u003eJim\u003c\/strong\u003e left, for \u003cstrong\u003eNashville\u003c\/strong\u003e and the promise of a new life as a sessioneer in the home of C\u0026amp;W. That’s where it gets hazy.\u003c\/p\u003e\n\u003cp\u003eWe know he was stopped by cops for swerving on the highway in \u003cstrong\u003eSanta Rosa\u003c\/strong\u003e, some 15 hours after setting off. We know he was taken to a local police station, found to be sober, and told to go to the local \u003cstrong\u003eLa Mesa Motel\u003c\/strong\u003e to get some rest, which he did. Some time later, his car was spotted on a ranch belonging to the local \u003cstrong\u003eGenetti\u003c\/strong\u003e family, who confronted him about his business there. The next day his car was found 26 miles down the road, abandoned. His car and his hotel room contained, among other things, his twelve-string guitar, his wallet, his clothes, and several copies of his second album, but no note, and no \u003cstrong\u003eJim\u003c\/strong\u003e. It was as if he had simply vanished into thin air.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJim\u003c\/strong\u003e’s family traveled out to join search parties looking for him, the local papers printed missing person stories, but the search proved fruitless. Around the same time, the local sheriff retired and the \u003cstrong\u003eGenettis\u003c\/strong\u003e moved to \u003cstrong\u003eHawaii\u003c\/strong\u003e. \u003cstrong\u003eJim\u003c\/strong\u003e’s manager \u003cstrong\u003eRobert 'Buster' Ginter\u003c\/strong\u003e later stated that during the early morning hours of a long evening, \u003cstrong\u003eJim\u003c\/strong\u003e and \u003cstrong\u003eBuster\u003c\/strong\u003e were talking about what would you do if they had to disappear. \u003cstrong\u003eJim\u003c\/strong\u003e said he'd walk into the desert and never come back.\u003c\/p\u003e\n\u003cp\u003eTracking down the truth behind \u003cstrong\u003eJim\u003c\/strong\u003e’s mystery became an obsession of \u003cstrong\u003eLight In The Attic\u003c\/strong\u003e’s \u003cstrong\u003eMatt Sullivan\u003c\/strong\u003e (no relation) when he happened upon a copy of the album and fell in love. He took on a cross-country pilgrimage in search of master tapes and truth, and came back with neither, despite hundreds of phone calls, e-mails, letters, faxes, private detectives, telepathy, palm readings, and meetings with \u003cstrong\u003eJim\u003c\/strong\u003e’s wife, son, and producer. Thanks to superb digital mastering techniques, \u003cstrong\u003eLight In The Attic\u003c\/strong\u003e is still able to present a clean, near-perfect copy of \u003cstrong\u003eJim\u003c\/strong\u003e’s masterpiece for general consumption for the first time. Enjoy. And remember, beyond the mystery, there’s the music.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eJerome\u003c\/li\u003e\n\u003cli\u003ePlain As Your Eyes Can See\u003c\/li\u003e\n\u003cli\u003eRoll Back The Time\u003c\/li\u003e\n\u003cli\u003eWhistle Stop\u003c\/li\u003e\n\u003cli\u003eRosey\u003c\/li\u003e\n\u003cli\u003eHighways\u003c\/li\u003e\n\u003cli\u003eU.F.O.\u003c\/li\u003e\n\u003cli\u003eSo Natural\u003c\/li\u003e\n\u003cli\u003eJohnny\u003c\/li\u003e\n\u003cli\u003eSandman\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eLISTEN\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ciframe style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/6zaVaNAjvlN583TtOJIpZu?utm_source=generator\" width=\"100%\" height=\"352\" loading=\"lazy\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\"\u003e\u003c\/iframe\u003e","brand":"Jim Sullivan","offers":[{"title":"LP \/ Blue Black Splatter","offer_id":42366715592895,"sku":"LITA206-BLBK-SPR","price":34.98,"currency_code":"USD","in_stock":true},{"title":"LP \/ Black","offer_id":42366715560127,"sku":"LITA206-BK","price":24.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/LITA206-JimSullivan-U.F.O_Cover.jpg?v=1685251408"},{"product_id":"itll-all-be-over-supreme-jubilees-lp-vinyl-record","title":"It'll All Be Over","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003eFirst-ever vinyl reissue\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e\u003cb\u003e1xLP pressed on Opaque Maroon \u0026amp; Transparent Yellow Swirl Vinyl\u003c\/b\u003e\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eHoused in an expanded Gatefold Jacket\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e24bit \/ 96kHz remastering\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eLiner notes by Jessica Hundley interviewing the band, plus rare archive photographs\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e\u003cb\u003eOriginally released in 1980\u003c\/b\u003e\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003ciframe width=\"325\" height=\"183\" src=\"\/\/www.youtube.com\/embed\/BqHZThZF_4o?rel=0\" frameborder=\"0\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eIf God had a disco, the DJ would be playing California gospel-soul group \u003cstrong\u003eThe Supreme Jubilees\u003c\/strong\u003e. “We won’t have to cry no more,” the tuxedo-clad group would sing, in high, angelic vocals over smooth grooves. “It’ll all be over.” Prepare to dance and contemplate death all at the same time.\u003c\/p\u003e\n\u003cp\u003eA band of brothers and cousins, the group was founded from two families: brothers \u003cstrong\u003eJoe\u003c\/strong\u003e and \u003cstrong\u003eDave Kingsby\u003c\/strong\u003e plus Dave’s son \u003cstrong\u003eDavid Kingsby Jr.\u003c\/strong\u003e, and keyboardist \u003cstrong\u003eLeonard Sanders\u003c\/strong\u003e plus his brothers \u003cstrong\u003ePhillips\u003c\/strong\u003e (drummer), \u003cstrong\u003eTim\u003c\/strong\u003e (bassist), and \u003cstrong\u003eMelvin\u003c\/strong\u003e (tenor). The Sanders clan grew up singing together in the Witness of Jesus Christ church in Fresno CA, where dad \u003cstrong\u003eMarion\u003c\/strong\u003e was pastor. Guitarist \u003cstrong\u003eLarry Price\u003c\/strong\u003e–who belonged to neither family–completed the line-up that recorded the group’s first–and, prophetically, only–album, \u003cstrong\u003e\"It’ll All Be Over\"\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eReleased in 1980 on the group’s own \u003cstrong\u003eS\u0026amp;K (Sanders \u0026amp; Kingsby)\u003c\/strong\u003e label, \u003cstrong\u003e\u003cem\u003eIt’ll All Be Over\u003c\/em\u003e\u003c\/strong\u003e pinpoints a fatalistic mood exemplified by the title. Its lyrics drawn from the Old Testament, its sound from the church by way of the disco, and it’s a feel captured by the album cover–a low, orange sun setting over the Pacific ocean. It is, as Jessica Hundley observes in the brand-new liner notes, “both apocalyptic and seductive.”\u003c\/p\u003e\n\u003cp\u003eMaking the album was not easy. Sessions began in \u003cstrong\u003eTrac Record Co\u003c\/strong\u003e, a country and western studio in Fresno, CA, where the engineer was so put out by the group’s requests for heavier bass in the mix, he stopped the session and kicked them out. They left with four songs–one side of the album–and the record was completed at \u003cstrong\u003eSierra Recording Studio\u003c\/strong\u003e in Visalia, CA. Leonard Sanders reported having a spiritual encounter in his sleep while in Visalia; the next day he recorded his part of the album’s title track in a single take.\u003c\/p\u003e\n\u003cp\u003eAfter the LP was pressed, the group took their music on tour, first in California, where they played with acts including the Gospel Keynotes, The Jackson Southernaires, and the Mighty Clouds of Joy, and then on an ill-fated trip to Texas. A follow-up album was planned for 1981, but it never materialized; having slept sometimes a dozen to a room in Texas, the men in the band were reluctant to leave jobs, wives, and kids for the hardship of the road. The group simply fizzled out, even if the friendships never did.\u003c\/p\u003e\n\u003cp\u003eA copy of the album sold to a fan on that Texan tour made its way to a San Antonio record store, where it was discovered nearly three decades later by collector \u003cstrong\u003eDavid Haffner\u003c\/strong\u003e (\u003cstrong\u003eFriends of Sound\u003c\/strong\u003e). He managed to track down the Kingsby-Sanders clan at a Fourth Of July barbecue in Fresno in 2004. And he eventually introduced the group to \u003cstrong\u003eLight In The Attic Records\u003c\/strong\u003e, which now presents the album, restored, remastered, and available to the public for the first time.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eIt'll All Be Over\u003c\/li\u003e\n\u003cli\u003eDo You Believe\u003c\/li\u003e\n\u003cli\u003eThank You Lord\u003c\/li\u003e\n\u003cli\u003eI Am On The Lord's Side\u003c\/li\u003e\n\u003cli\u003eYou Don't Know\u003c\/li\u003e\n\u003cli\u003eStanding In The Need Of Prayer\u003c\/li\u003e\n\u003cli\u003eGot A Right\u003c\/li\u003e\n\u003cli\u003eWe'll Understand\u003c\/li\u003e\n\u003cli\u003eStop Today\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eLISTEN\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ciframe loading=\"lazy\" height=\"352\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/3CLdAhzRYwIIf06iDSvlPA?utm_source=generator\" style=\"border-radius: 12px;\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e","brand":"Supreme Jubilees","offers":[{"title":"LP \/ Maroon Yellow Swirl","offer_id":42391840981183,"sku":"LITA120-MNYL-SWL","price":30.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/LITA120-SupremeJubilees-It_llAllBeOver.jpg?v=1687380328"},{"product_id":"is-it-love-or-desire-betty-davis-cd","title":"Is It Love Or Desire  [CD]","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003eBetty’s previously unreleased 1976 album!\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eCD housed in a digipak\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eFeaturing expanded booklet\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e\u003cb\u003eAlso available on \u003ca title=\"Is It Love Or Desire Vinyl Edition\" href=\"https:\/\/helixsounds.com\/products\/is-it-love-or-desire\"\u003eVinyl\u003c\/a\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eBetty Davis was a musical maverick with vision. Image, substance, sex, and grit combined with a badass band that could deliver the funk bed backbone to the sultry music between the sheets. After cutting two notorious discs for the Just Sunshine label (\"Betty Davis\" and \"They Say I'm Different\"), and \"Nasty Gal\" for Island Records, Davis went to work on her most personal and expressive record yet. After capturing 10 hard-hitting tracks in 1976 at the remote Studio In The Country (Louisiana), a creative difference with her then-label caused the platter to be unexpectedly shelved. Davis would cut one final album and soon retreat from the music business, completely disappearing from the public eye.\u003c\/p\u003e\n\u003cp\u003e\"Is It Love Or Desire\" is a little-known gem in the Davis catalog. Mastered from the original tapes, and untouched for over 30 years, this release features detailed liner notes, the originally intended artwork housed in a lavishly packaged digipak, rare photos, archival material, and recent interviews with Davis and her skin-tight band Funk House.\u003c\/p\u003e\n\u003cp\u003eNever bootlegged, never released, never heard until now, the secret story of this lost album will finally enter the history books and cement this bold soul sister's contributions to music and popular culture. It's time to get down…\u003c\/p\u003e\n\u003cp\u003eLong live Betty Davis!\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eIs It Love Or Desire\u003c\/li\u003e\n\u003cli\u003eWhorey Angel\u003c\/li\u003e\n\u003cli\u003eIt's So Good\u003c\/li\u003e\n\u003cli\u003eCrashin' From Passion\u003c\/li\u003e\n\u003cli\u003eWhen Romance Says Goodbye\u003c\/li\u003e\n\u003cli\u003eBottom Of The Barrel\u003c\/li\u003e\n\u003cli\u003eStars Starve\u003c\/li\u003e\n\u003cli\u003eYou Know\u003c\/li\u003e\n\u003cli\u003eLet's Get Personal\u003c\/li\u003e\n\u003cli\u003eBar Hoppin'\u003c\/li\u003e\n\u003cli\u003eFor My Man\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eLISTEN\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e","brand":"Betty Davis","offers":[{"title":"CD \/ Digipak","offer_id":42399041224895,"sku":"LITA047-2-STD","price":16.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/bettydavis_isitloveordesire_974x_916580bb-140b-42e8-96a1-ee5e7a94406a.jpg?v=1697508691"},{"product_id":"betty-davis-betty-davis-cd","title":"Betty Davis [CD]","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003eBetty’s classic full-length debut!\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eCD housed in a digipak and featuring expanded booklet including rare photos, lyrics, and new 2022 liner notes by Danielle Maggio interviewing Betty\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e\u003cb\u003eAlso available on \u003ca href=\"https:\/\/helixsounds.com\/products\/betty-davis-betty-davis-lp-vinyl-record\" title=\"Betty Davis - Betty Davis Vinyl Record\"\u003eVinyl\u003c\/a\u003e \u003c\/b\u003e\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eOne can hardly imagine the genre-busting, culture-crossing musical magic of \u003cstrong\u003eOutkast, Prince, Erykah Badu, Rick James, The Roots\u003c\/strong\u003e, or even the early \u003ca title=\"Red Hot Chili Peppers\" href=\"https:\/\/helixsounds.com\/collections\/vendors?q=Red%20Hot%20Chili%20Peppers\"\u003e\u003cstrong\u003eRed Hot Chili Peppers\u003c\/strong\u003e\u003c\/a\u003e without the influence of R\u0026amp;B pioneer \u003cstrong\u003eBetty Davis\u003c\/strong\u003e. Her style of raw and revelatory punk-funk defies any notions that women can't be visionaries in the worlds of rock and pop. In recent years, rappers from \u003cstrong\u003eIce Cube\u003c\/strong\u003e to \u003cstrong\u003eTalib Kweli\u003c\/strong\u003e to \u003cstrong\u003eLudacris\u003c\/strong\u003e have rhymed over her intensely strong but sensual music.\u003c\/p\u003e\n\u003cp\u003eThere is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago - we live in an age that's been profoundly changed by flamboyant flaunting of female sexuality: from \u003cstrong\u003eParlet\u003c\/strong\u003e to \u003cstrong\u003eMadonna\u003c\/strong\u003e, \u003cstrong\u003eLil Kim\u003c\/strong\u003e to \u003cstrong\u003eKelis\u003c\/strong\u003e. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile, and towering Afro, who could you possibly have compared her to? \u003cstrong\u003eMarva Whitney\u003c\/strong\u003e had the voice but not the independence. \u003cstrong\u003eLabelle\u003c\/strong\u003e wouldn't get sexy with their 'Lady Marmalade' for another year while \u003cstrong\u003eMillie Jackson\u003c\/strong\u003e wasn't 'Feelin' Bitchy' until 1977. Even \u003cstrong\u003eTina Turner\u003c\/strong\u003e, the most obvious predecessor to Betty's fierce style wasn't completely out of Ike's shadow until later in the decade.\u003c\/p\u003e\n\u003cp\u003eMs. Davis's unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song 'Uptown' for the \u003cstrong\u003eChambers Brothers\u003c\/strong\u003e before marrying \u003cstrong\u003eMiles Davis\u003c\/strong\u003e in the late '60s, influencing him with psychedelic rock, and introducing him to \u003cstrong\u003eJimi Hendrix\u003c\/strong\u003e -- personally inspiring the classic album '\u003cstrong\u003eBitches Brew\u003c\/strong\u003e.'\u003c\/p\u003e\n\u003cp\u003eBut her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got \u003cstrong\u003eThe Commodores\u003c\/strong\u003e signed to \u003cstrong\u003eMotown\u003c\/strong\u003e. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, \u003cstrong\u003eMarc Bolan\u003c\/strong\u003e of \u003cstrong\u003eT. Rex\u003c\/strong\u003e urged the creative dynamo to start writing for herself. A common thread throughout Betty's career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn't fit with the vision. She would eventually say no to \u003cstrong\u003eEric Clapton\u003c\/strong\u003e as her album producer, seeing him as too banal.\u003c\/p\u003e\n\u003cp\u003eIn 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as '\u003cstrong\u003eIf I'm In Luck I Might Get Picked Up\u003c\/strong\u003e' and '\u003cstrong\u003eGame Is My Middle Name\u003c\/strong\u003e.' The album \u003cstrong\u003eBetty Davis\u003c\/strong\u003e was recorded with \u003cstrong\u003eSly \u0026amp; The Family Stone's\u003c\/strong\u003e rhythm section, sharply produced by Sly Stone drummer \u003cstrong\u003eGreg Errico\u003c\/strong\u003e, and featured backing vocals from \u003cstrong\u003eSylvester\u003c\/strong\u003e and the \u003cstrong\u003ePointer Sisters\u003c\/strong\u003e.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eIf I'm In Luck I Might Get Picked Up\u003c\/li\u003e\n\u003cli\u003eWalkin Up The Road\u003c\/li\u003e\n\u003cli\u003eAnti Love Song\u003c\/li\u003e\n\u003cli\u003eYour Man My Man\u003c\/li\u003e\n\u003cli\u003eOoh Yea\u003c\/li\u003e\n\u003cli\u003eSteppin In Her I. Miller Shoes\u003c\/li\u003e\n\u003cli\u003eGame Is My Middle Name\u003c\/li\u003e\n\u003cli\u003eIn The Meantime\u003c\/li\u003e\n\u003cli\u003eCome Take Me (Digital Only Bonus Track)\u003c\/li\u003e\n\u003cli\u003eYou Won't See Me In The Morning (Digital Only Bonus Track)\u003c\/li\u003e\n\u003cli\u003eI Will Take That Ride (Digital Only Bonus Track)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eLISTEN\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ciframe loading=\"lazy\" height=\"352\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/6fNx8ioP99WoRiLidrqrmz?utm_source=generator\" style=\"border-radius: 12px;\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e","brand":"Betty Davis","offers":[{"title":"CD \/ Digipak","offer_id":42399041257663,"sku":"LITA026-2-DIGI","price":14.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/LITA026-BettyDavis-BettyDavis_FrontCover_e127c735-e9ba-4fc2-a789-0f3b8945ec4c.jpg?v=1687563639"},{"product_id":"they-say-im-different-betty-davis-cd","title":"They Say I'm Different [CD]","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003eBetty’s sophomore masterpiece!\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eCD housed in a digipak and features expanded booklet including rare photos, lyrics, and new 2022 liner notes by Danielle Maggio interviewing Betty\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e\u003cb\u003eAlso available on \u003ca href=\"https:\/\/helixsounds.com\/products\/they-say-im-different-betty-davis-lp\" title=\"Betty Davis - They Say I'm Different\"\u003eVinyl\u003c\/a\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eOne can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R\u0026amp;B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can't be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.\u003c\/p\u003e\n\u003cp\u003eThere is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago - we live in an age that's been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile, and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn't get sexy with their 'Lady Marmalade' for another year while Millie Jackson wasn't Feelin' Bitchy until 1977. Even Tina Turner, the most obvious predecessor to Betty's fierce style wasn't completely out of Ike's shadow until later in the decade.\u003c\/p\u003e\n\u003cp\u003eMs. Davis's unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song 'Uptown' for the Chambers Brothers before marrying Miles Davis in the late '60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix -- personally inspiring the classic album _Bitches Brew_.\u003c\/p\u003e\n\u003cp\u003eBut her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty's career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn't fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.\u003c\/p\u003e\n\u003cp\u003eHer 1974 sophomore album _They Say I'm Different_ features a worthy-of-framing futuristic cover challenging David Bowie's science fiction funk with real rocking soul-fire, kicked off with the savagely sexual 'Shoo-B-Doop and Cop Him' (later sampled by Ice Cube). Her follow-up is full of classic cuts like 'Don't Call Her No Tramp' and the hilarious, hard, deep funk of 'He Was A Big Freak.'\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eShoo-B-Doop and Cop Him\u003c\/li\u003e\n\u003cli\u003eHe Was a Big Freak\u003c\/li\u003e\n\u003cli\u003eYour Mama Wants Ya Back\u003c\/li\u003e\n\u003cli\u003eDon't Call Her No Tramp\u003c\/li\u003e\n\u003cli\u003eGit In There\u003c\/li\u003e\n\u003cli\u003eThey Say I'm Different\u003c\/li\u003e\n\u003cli\u003e70's Blues\u003c\/li\u003e\n\u003cli\u003eSpecial People\u003c\/li\u003e\n\u003cli\u003eHe Was a Big Freak (Record Plant Rough Mixes - Digital Only Bonus Track)\u003c\/li\u003e\n\u003cli\u003eDon't Call Her No Tramp (Record Plant Rough Mixes - Digital Only Bonus Track)\u003c\/li\u003e\n\u003cli\u003eGit In There (Record Plant Rough Mixes - Digital Only Bonus Track)\u003c\/li\u003e\n\u003cli\u003e70's Blues (Record Plant Rough Mixes - Digital Only Bonus Track)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eLISTEN\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e","brand":"Betty Davis","offers":[{"title":"CD \/ Digipak","offer_id":42399041290431,"sku":"LITA027-2-DIGI","price":27.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/LITA027-BettyDavis-TheySayI_mDifferent_FrontCover_05df2b77-8765-4b48-a598-7f05c3af6f5d.jpg?v=1698650025"},{"product_id":"crashin-from-passion-betty-davis-cd","title":"Crashin' From Passion [CD]","description":"\u003ch3\u003e** This is a BACKORDER item. Please read our policies before ordering. Check our website for Est. Ship Date.\u003c\/h3\u003e\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003eNewly remastered\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eFeaturing Herbie Hancock, Martha Reeves, Alphonse Mouzon, Chuck Rainey, Patryce “Choc’let” Banks, Carlos Morales, and members of The Pointer Sisters\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eCD Booklet features new liner notes by Danielle Maggio interviewing Betty, plus unseen photos and lyrics\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eAlso available on \u003ca href=\"https:\/\/helixsounds.com\/products\/crashin-from-passion-betty-davis-lp\" title=\"Betty Davis - Crashin' From Passion Vinyl\"\u003eVinyl\u003c\/a\u003e\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eIn the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music - a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic, and in full control, Betty paved the way for generations of future artists who said “funk you” to the music industry and social norms.\u003c\/p\u003e\n\u003cp\u003eIn 1979, when Davis entered an L.A. studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, Is It Love Or Desire, Davis was dropped from her label, and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project.\u003c\/p\u003e\n\u003cp\u003eWith renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce “Choc’let” Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin’ From Passion, was her most musically diverse, blending elements of reggae and calypso (“I’ve Danced Before”), jazz (“Hangin’ Out in Hollywood,” “Tell Me a Few Things”), dark synth-pop (“She’s a Woman”), and even disco (“All I Do Is Think of You”). Equally exploratory are Davis’ vocals, as she trades in her signature sass and snarls for more nuanced stylings.\u003c\/p\u003e\n\u003cp\u003eAmong the album’s few funk tracks is “Quintessence of Hip,” in which Davis hails musicians like Bob Dylan, Billie Holiday, Stevie Wonder, and John Coltrane, while deftly integrating elements of their work. The song also offers a moment of stark vulnerability, as she sings, “Isn’t rich? Isn’t it queer? Losing my timing so late in my career.” It would prove to be a prophetic line in the months to follow.\u003c\/p\u003e\n\u003cp\u003eThe mixing process was mired by artistic differences and then cut short, amid the death of Davis’ beloved father. Bereft and exasperated, Davis returned home for the funeral, setting into motion her retirement from the music industry. Crashin’ From Passion, meanwhile, would be shelved for 15 years and licensed for a CD-only release, without Davis’ consent, in the ‘90s. This 2023 edition of the album, made with Davis’ full approval and cooperation, marks its first official release and first time ever on vinyl. The package was designed by GRAMMY®-winning artist, Masaki Koike, while the album cover features an incredible shot of Betty captured in London in the mid-1970s by renowned photographer Kate Simon.\u003c\/p\u003e\n\u003cp\u003eCrashin’ From Passion was remastered by Grammy nominated engineer Dave Cooley at Elysian Masters and pressed on vinyl at Record Technology, Inc. (RTI). The accompanying booklet includes a treasure trove of rare photos from the era, plus lyrics, and new liner notes by writer, ethnomusicologist, and Betty’s close friend, Danielle Maggio, who integrates interviews that she conducted with Davis, marking her last ever interviews.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eQuintessence Of Hip\u003c\/li\u003e\n\u003cli\u003eShe's A Woman\u003c\/li\u003e\n\u003cli\u003eNo Good At Falling In Love\u003c\/li\u003e\n\u003cli\u003eTell Me A Few Things\u003c\/li\u003e\n\u003cli\u003eI've Danced Before\u003c\/li\u003e\n\u003cli\u003eYou Make Me Feel So Good\u003c\/li\u003e\n\u003cli\u003eI Need A Whole Lot Of Love\u003c\/li\u003e\n\u003cli\u003eHangin' Out In Hollywood\u003c\/li\u003e\n\u003cli\u003eAll I Do Is Think Of You\u003c\/li\u003e\n\u003cli\u003eCrashin' From Passion\u003c\/li\u003e\n\u003cli\u003eYou Take Me For Granted\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eLISTEN\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e","brand":"Betty Davis","offers":[{"title":"CD \/ Standard","offer_id":42399041323199,"sku":"LITA196-2-STD","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/LITA196-BettyDavis-Crashin_FromPassion_Cover_ff0fd3bd-f4e6-4e80-a83e-592e368d67e8.jpg?v=1687687265"},{"product_id":"betty-davis-betty-davis-lp-vinyl-record","title":"Betty Davis","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003eBetty’s classic full-length debut!\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eLP available on Standard Black Wax and Coke Bottle Clear Wax\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eExpanded vinyl edition featuring gatefold jacket\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eFeatures a 20-page booklet including rare photos, lyrics, and new 2022 liner notes by Danielle Maggio interviewing Betty\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eVinyl plated at RTI\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eOne can hardly imagine the genre-busting, culture-crossing musical magic of \u003cstrong\u003eOutkast, Prince, Erykah Badu, Rick James, The Roots\u003c\/strong\u003e, or even the early \u003ca href=\"https:\/\/helixsounds.com\/collections\/vendors?q=Red%20Hot%20Chili%20Peppers\" title=\"Red Hot Chili Peppers\"\u003e\u003cstrong\u003eRed Hot Chili Peppers\u003c\/strong\u003e\u003c\/a\u003e without the influence of R\u0026amp;B pioneer \u003cstrong\u003eBetty Davis\u003c\/strong\u003e. Her style of raw and revelatory punk-funk defies any notions that women can't be visionaries in the worlds of rock and pop. In recent years, rappers from \u003cstrong\u003eIce Cube\u003c\/strong\u003e to \u003cstrong\u003eTalib Kweli\u003c\/strong\u003e to \u003cstrong\u003eLudacris\u003c\/strong\u003e have rhymed over her intensely strong but sensual music.\u003c\/p\u003e\n\u003cp\u003eThere is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago - we live in an age that's been profoundly changed by flamboyant flaunting of female sexuality: from \u003cstrong\u003eParlet\u003c\/strong\u003e to \u003cstrong\u003eMadonna\u003c\/strong\u003e, \u003cstrong\u003eLil Kim\u003c\/strong\u003e to \u003cstrong\u003eKelis\u003c\/strong\u003e. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile, and towering Afro, who could you possibly have compared her to? \u003cstrong\u003eMarva Whitney\u003c\/strong\u003e had the voice but not the independence. \u003cstrong\u003eLabelle\u003c\/strong\u003e wouldn't get sexy with their 'Lady Marmalade' for another year while \u003cstrong\u003eMillie Jackson\u003c\/strong\u003e wasn't 'Feelin' Bitchy' until 1977. Even \u003cstrong\u003eTina Turner\u003c\/strong\u003e, the most obvious predecessor to Betty's fierce style wasn't completely out of Ike's shadow until later in the decade.\u003c\/p\u003e\n\u003cp\u003eMs. Davis's unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song 'Uptown' for the \u003cstrong\u003eChambers Brothers\u003c\/strong\u003e before marrying \u003cstrong\u003eMiles Davis\u003c\/strong\u003e in the late '60s, influencing him with psychedelic rock, and introducing him to \u003cstrong\u003eJimi Hendrix\u003c\/strong\u003e -- personally inspiring the classic album '\u003cstrong\u003eBitches Brew\u003c\/strong\u003e.'\u003c\/p\u003e\n\u003cp\u003eBut her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got \u003cstrong\u003eThe Commodores\u003c\/strong\u003e signed to \u003cstrong\u003eMotown\u003c\/strong\u003e. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, \u003cstrong\u003eMarc Bolan\u003c\/strong\u003e of \u003cstrong\u003eT. Rex\u003c\/strong\u003e urged the creative dynamo to start writing for herself. A common thread throughout Betty's career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn't fit with the vision. She would eventually say no to \u003cstrong\u003eEric Clapton\u003c\/strong\u003e as her album producer, seeing him as too banal.\u003c\/p\u003e\n\u003cp\u003eIn 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as '\u003cstrong\u003eIf I'm In Luck I Might Get Picked Up\u003c\/strong\u003e' and '\u003cstrong\u003eGame Is My Middle Name\u003c\/strong\u003e.' The album \u003cstrong\u003eBetty Davis\u003c\/strong\u003e was recorded with \u003cstrong\u003eSly \u0026amp; The Family Stone's\u003c\/strong\u003e rhythm section, sharply produced by Sly Stone drummer \u003cstrong\u003eGreg Errico\u003c\/strong\u003e, and featured backing vocals from \u003cstrong\u003eSylvester\u003c\/strong\u003e and the \u003cstrong\u003ePointer Sisters\u003c\/strong\u003e.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eIf I'm In Luck I Might Get Picked Up\u003c\/li\u003e\n\u003cli\u003eWalkin Up The Road\u003c\/li\u003e\n\u003cli\u003eAnti Love Song\u003c\/li\u003e\n\u003cli\u003eYour Man My Man\u003c\/li\u003e\n\u003cli\u003eOoh Yea\u003c\/li\u003e\n\u003cli\u003eSteppin In Her I. Miller Shoes\u003c\/li\u003e\n\u003cli\u003eGame Is My Middle Name\u003c\/li\u003e\n\u003cli\u003eIn The Meantime\u003c\/li\u003e\n\u003cli\u003eCome Take Me (Digital Only Bonus Track)\u003c\/li\u003e\n\u003cli\u003eYou Won't See Me In The Morning (Digital Only Bonus Track)\u003c\/li\u003e\n\u003cli\u003eI Will Take That Ride (Digital Only Bonus Track)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eLISTEN\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e","brand":"Betty Davis","offers":[{"title":"LP \/ Coke Bottle Clear","offer_id":42399045320895,"sku":"LITA026-1-CL","price":39.98,"currency_code":"USD","in_stock":true},{"title":"LP \/ Black","offer_id":42399045288127,"sku":"LITA026-1-BK","price":29.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/LITA026-BettyDavis-BettyDavis_FrontCover.jpg?v=1703889973"},{"product_id":"they-say-im-different-betty-davis-lp","title":"They Say I'm Different","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFEATURES\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003eBetty’s sophomore masterpiece!\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eLP available on Standard Black Wax and Special Limited Clear Orange Color Edition\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eExpanded vinyl edition featuring gatefold jacket and 20-page booklet including rare photos, lyrics, and new 2022 liner notes by Danielle Maggio interviewing Betty\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eVinyl plated at RTI\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDESCRIPTION\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eOne can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R\u0026amp;B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can't be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.\u003c\/p\u003e\n\u003cp\u003eThere is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago - we live in an age that's been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile, and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn't get sexy with their 'Lady Marmalade' for another year while Millie Jackson wasn't Feelin' Bitchy until 1977. Even Tina Turner, the most obvious predecessor to Betty's fierce style wasn't completely out of Ike's shadow until later in the decade.\u003c\/p\u003e\n\u003cp\u003eMs. Davis's unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song 'Uptown' for the Chambers Brothers before marrying Miles Davis in the late '60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix -- personally inspiring the classic album _Bitches Brew_.\u003c\/p\u003e\n\u003cp\u003eBut her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty's career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn't fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.\u003c\/p\u003e\n\u003cp\u003eHer 1974 sophomore album _They Say I'm Different_ features a worthy-of-framing futuristic cover challenging David Bowie's science fiction funk with real rocking soul-fire, kicked off with the savagely sexual 'Shoo-B-Doop and Cop Him' (later sampled by Ice Cube). Her follow-up is full of classic cuts like 'Don't Call Her No Tramp' and the hilarious, hard, deep funk of 'He Was A Big Freak.'\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eShoo-B-Doop and Cop Him\u003c\/li\u003e\n\u003cli\u003eHe Was a Big Freak\u003c\/li\u003e\n\u003cli\u003eYour Mama Wants Ya Back\u003c\/li\u003e\n\u003cli\u003eDon't Call Her No Tramp\u003c\/li\u003e\n\u003cli\u003eGit In There\u003c\/li\u003e\n\u003cli\u003eThey Say I'm Different\u003c\/li\u003e\n\u003cli\u003e70's Blues\u003c\/li\u003e\n\u003cli\u003eSpecial People\u003c\/li\u003e\n\u003cli\u003eHe Was a Big Freak (Record Plant Rough Mixes - Digital Only Bonus Track)\u003c\/li\u003e\n\u003cli\u003eDon't Call Her No Tramp (Record Plant Rough Mixes - Digital Only Bonus Track)\u003c\/li\u003e\n\u003cli\u003eGit In There (Record Plant Rough Mixes - Digital Only Bonus Track)\u003c\/li\u003e\n\u003cli\u003e70's Blues (Record Plant Rough Mixes - Digital Only Bonus Track)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eLISTEN\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e","brand":"Betty Davis","offers":[{"title":"LP \/ Black","offer_id":42399045353663,"sku":"LITA027-1-BK","price":36.99,"currency_code":"USD","in_stock":false},{"title":"LP \/ Clear Orange","offer_id":42399045386431,"sku":"LITA027-1-1-CLOR","price":44.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/LITA027-BettyDavis-TheySayI_mDifferent_FrontCover.jpg?v=1698650018"},{"product_id":"crashin-from-passion-betty-davis-lp","title":"Crashin' From Passion","description":"\u003ch3\u003e** This is a BACKORDER item. Please read our policies before ordering. Check our website for Est. Ship Date.\u003c\/h3\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003eFirst time on vinyl. \u003c\/b\u003e\u003cb\u003eNewly remastered\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e1xLP pressed on three color variants\u003c\/b\u003e\u003c\/li\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003eClear Purple Crush Vinyl\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eTransparent Red Vinyl (Retail Edition)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eClassic Black Vinyl\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cli\u003e\u003cb\u003eVinyl pressed at RTI\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eHoused in a Gatefold Jacket\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eBooklet features new liner notes by Danielle Maggio interviewing Betty, plus unseen photos and lyrics\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eFeaturing Herbie Hancock, Martha Reeves, Alphonse Mouzon, Chuck Rainey, Patryce “Choc’let” Banks, Carlos Morales, and members of The Pointer Sisters\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eIn the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music - a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic, and in full control, Betty paved the way for generations of future artists who said “funk you” to the music industry and social norms.\u003c\/p\u003e\n\u003cp\u003eIn 1979, when Davis entered an L.A. studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, Is It Love Or Desire, Davis was dropped from her label, and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project.\u003c\/p\u003e\n\u003cp\u003eWith renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce “Choc’let” Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin’ From Passion, was her most musically diverse, blending elements of reggae and calypso (“I’ve Danced Before”), jazz (“Hangin’ Out in Hollywood,” “Tell Me a Few Things”), dark synth-pop (“She’s a Woman”), and even disco (“All I Do Is Think of You”). Equally exploratory are Davis’ vocals, as she trades in her signature sass and snarls for more nuanced stylings.\u003c\/p\u003e\n\u003cp\u003eAmong the album’s few funk tracks is “Quintessence of Hip,” in which Davis hails musicians like Bob Dylan, Billie Holiday, Stevie Wonder, and John Coltrane, while deftly integrating elements of their work. The song also offers a moment of stark vulnerability, as she sings, “Isn’t rich? Isn’t it queer? Losing my timing so late in my career.” It would prove to be a prophetic line in the months to follow.\u003c\/p\u003e\n\u003cp\u003eThe mixing process was mired by artistic differences and then cut short, amid the death of Davis’ beloved father. Bereft and exasperated, Davis returned home for the funeral, setting into motion her retirement from the music industry. Crashin’ From Passion, meanwhile, would be shelved for 15 years and licensed for a CD-only release, without Davis’ consent, in the ‘90s. This 2023 edition of the album, made with Davis’ full approval and cooperation, marks its first official release and first time ever on vinyl. The package was designed by GRAMMY®-winning artist, Masaki Koike, while the album cover features an incredible shot of Betty captured in London in the mid-1970s by renowned photographer Kate Simon.\u003c\/p\u003e\n\u003cp\u003eCrashin’ From Passion was remastered by Grammy-nominated engineer Dave Cooley at Elysian Masters and pressed on vinyl at Record Technology, Inc. (RTI). The accompanying booklet includes a treasure trove of rare photos from the era, plus lyrics, and new liner notes by writer, ethnomusicologist, and Betty’s close friend, Danielle Maggio, who integrates interviews that she conducted with Davis, marking her last ever interviews.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eQuintessence Of Hip\u003c\/li\u003e\n\u003cli\u003eShe's A Woman\u003c\/li\u003e\n\u003cli\u003eNo Good At Falling In Love\u003c\/li\u003e\n\u003cli\u003eTell Me A Few Things\u003c\/li\u003e\n\u003cli\u003eI've Danced Before\u003c\/li\u003e\n\u003cli\u003eYou Make Me Feel So Good\u003c\/li\u003e\n\u003cli\u003eI Need A Whole Lot Of Love\u003c\/li\u003e\n\u003cli\u003eHangin' Out In Hollywood\u003c\/li\u003e\n\u003cli\u003eAll I Do Is Think Of You\u003c\/li\u003e\n\u003cli\u003eCrashin' From Passion\u003c\/li\u003e\n\u003cli\u003eYou Take Me For Granted\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eLISTEN\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ciframe style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/3E0htzDrjoCxe1Gh2VLvKn?utm_source=generator\" width=\"100%\" height=\"352\" loading=\"lazy\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\"\u003e\u003c\/iframe\u003e","brand":"Betty Davis","offers":[{"title":"LP \/ Clear Red","offer_id":42399045484735,"sku":"LITA196-1-2-CLRD","price":39.99,"currency_code":"USD","in_stock":true},{"title":"LP \/ Clear Purple","offer_id":42399045451967,"sku":"LITA196-1-1-CLPR","price":39.99,"currency_code":"USD","in_stock":false},{"title":"LP \/ Black","offer_id":42399045419199,"sku":"LITA196-1-BK","price":32.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/LITA196-BettyDavis-Crashin_FromPassion_Cover.jpg?v=1687510868"},{"product_id":"is-it-love-or-desire","title":"Is It Love Or Desire","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003eBetty’s previously unreleased 1976 album!\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eLP available on 3 variants\u003c\/b\u003e\u003c\/li\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003eStandard Black Wax \u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eSpecial Gold Color Edition\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eLimited Color Vinyl (Silver Metallic)\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cli\u003e\u003cb\u003eExpanded vinyl edition featuring gatefold jacket and booklet including rare photos and lyrics\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eVinyl plated at RTI\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eAlso available on \u003ca href=\"https:\/\/admin.shopify.com\/store\/helix-sounds\/products?selectedView=all\u0026amp;query=IS%20IT%20LOVE%20or%20desire\" title=\"Is It Love Or Desire Compact Disc Edition\"\u003eCompact Disc\u003c\/a\u003e\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eBetty Davis was a musical maverick with vision. Image, substance, sex, and grit combined with a badass band that could deliver the funk bed backbone to the sultry music between the sheets. After cutting two notorious discs for the Just Sunshine label (\"Betty Davis\" and \"They Say I'm Different\"), and \"Nasty Gal\" for Island Records, Davis went to work on her most personal and expressive record yet. After capturing 10 hard-hitting tracks in 1976 at the remote Studio In The Country (Louisiana), a creative difference with her then-label caused the platter to be unexpectedly shelved. Davis would cut one final album and soon retreat from the music business, completely disappearing from the public eye.\u003c\/p\u003e\n\u003cp\u003e\"Is It Love Or Desire\" is a little-known gem in the Davis catalog. Mastered from the original tapes, and untouched for over 30 years, this release features detailed liner notes, the originally intended artwork housed in a lavishly packaged digipak, rare photos, archival material, and recent interviews with Davis and her skin-tight band Funk House.\u003c\/p\u003e\n\u003cp\u003eNever bootlegged, never released, never heard until now, the secret story of this lost album will finally enter the history books and cement this bold soul sister's contributions to music and popular culture. It's time to get down…\u003c\/p\u003e\n\u003cp\u003eLong live Betty Davis!\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eIs It Love Or Desire\u003c\/li\u003e\n\u003cli\u003eWhorey Angel\u003c\/li\u003e\n\u003cli\u003eIt's So Good\u003c\/li\u003e\n\u003cli\u003eCrashin' From Passion\u003c\/li\u003e\n\u003cli\u003eWhen Romance Says Goodbye\u003c\/li\u003e\n\u003cli\u003eBottom Of The Barrel\u003c\/li\u003e\n\u003cli\u003eStars Starve\u003c\/li\u003e\n\u003cli\u003eYou Know\u003c\/li\u003e\n\u003cli\u003eLet's Get Personal\u003c\/li\u003e\n\u003cli\u003eBar Hoppin'\u003c\/li\u003e\n\u003cli\u003eFor My Man\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eLISTEN\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ciframe loading=\"lazy\" height=\"352\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/7nx1Q8vvT25B12kYpy9VXJ?utm_source=generator\" style=\"border-radius: 12px;\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e","brand":"Betty Davis","offers":[{"title":"LP \/ Gold","offer_id":42399145754815,"sku":"LITA047-1-GDMT","price":39.98,"currency_code":"USD","in_stock":true},{"title":"LP \/ Silver","offer_id":42399145722047,"sku":"LITA047-1-SVMT","price":39.98,"currency_code":"USD","in_stock":true},{"title":"LP \/ Black","offer_id":42399143002303,"sku":"LITA047-1-BK","price":29.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/LITA047-BettyDavis-IsItLoveOrDesire_FrontCover.jpg?v=1687517502"},{"product_id":"time-and-place-lee-moses-lp-splatter","title":"Time and Place","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003eNewly remastered\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eHoused in an expanded gatefold Stoughton tip-on jacket\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eIncludes new liner notes by Sarah Sweeney\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003ePressed on Psychedelic Soul Splatter Wax\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eLee Moses\u003c\/strong\u003e was a huge talent and if he’d had the big hit album he richly deserved, \"\u003cstrong\u003eTime And Place\u003c\/strong\u003e\" would’ve been it. A self-taught multi-instrumentalist, Moses cut his teeth in the clubs of Atlanta, the ‘Motown of the South’, where he frequently performed alongside his contemporary Gladys Knight (who reportedly wanted him for the Pips, but couldn’t pin him down).\u003c\/p\u003e\n\u003cp\u003eIt was, however, in New York in the ‘60s that Moses made his greatest bid to find the solo fame he desired. Moses began working there as a session player, even playing frequently with a pre-fame Jimi Hendrix, but his close relationship with producer and Atlanta native Johnny Brantley eventually saw him getting his own break via a series of 45s in 1967 – most notably with covers of Joe Simon’s 'My Adorable One', The Four Tops’ 'Reach Out, I’ll Be There' and The Beatles’ 'Day Tripper'.\u003c\/p\u003e\n\u003cp\u003eIt was 1971 before Moses’ dream of being at stage front was realized when he released his Brantley-produced LP _Time And Place_ for Maple Records. Recorded with a band including members of The Ohio Players and Moses’ own backing group The Deciples, it was, nonetheless, Moses himself whose star quality shone through, via his scratchy guitar riffs, his throat-ripping vocals, and the stirring mood that permeates the LP’s heady mix of Funk, Soul, and R\u0026amp;B.\u003c\/p\u003e\n\u003cp\u003eThe LP did no business, and Moses’ dream quickly crumbled. Though details on his life are scarce, it’s believed he fled New York disenchanted with the music industry, feeling he’d been double-crossed by Brantley both in credit and remuneration for the countless records he’d played on. Back in Atlanta, Moses returned to playing the clubs, married twice, and fell into depression and drug dependency. He died in 1997 at the age of 56.\u003c\/p\u003e\n\u003cp\u003e\"Time And Place\" soon became a much sought-after item for collectors, and its cult has continued to grow over the years. Here, we re-present it on deluxe vinyl, with brand new liner notes from Sarah Sweeney including interviews with Moses’ sister and his closest collaborator, the singer and guitarist Hermon Hitson. Through them, Moses becomes a little – but just a little – less of an enigma.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eHey Joe\u003c\/li\u003e\n\u003cli\u003eFree At Last\u003c\/li\u003e\n\u003cli\u003eWhat You Don't Want Me To Be\u003c\/li\u003e\n\u003cli\u003eGot That Will\u003c\/li\u003e\n\u003cli\u003eWould You Give Up Everything\u003c\/li\u003e\n\u003cli\u003eTime And Place\u003c\/li\u003e\n\u003cli\u003eCalifornia Dreaming\u003c\/li\u003e\n\u003cli\u003eAdorable One\u003c\/li\u003e\n\u003cli\u003eEvery Boy And Girl\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ciframe loading=\"lazy\" height=\"352\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/54daOPIltD5nDPP3bWzEXQ?utm_source=generator\" style=\"border-radius: 12px;\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e","brand":"Lee Moses","offers":[{"title":"LP \/ Yellow Black Splatter","offer_id":42415010676927,"sku":"FDR630-YLBK-SPR","price":29.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/FDR630-LeeMoses-TimeandPlace.jpg?v=1689048916"},{"product_id":"dreamin-wild-original-motion-picture-soundtrack-various-artists-lp","title":"Dreamin’ Wild (Original Motion Picture Soundtrack)","description":"\u003ch3\u003e** This is a BACKORDER item. Please read our policies before ordering. Check our website for Est. Ship Date.\u003c\/h3\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003eFeaturing exclusive performances by Donnie Emerson and Noah Jupe, score selections by Leopold Ross, plus vintage classics from \u003ca title=\"Donnie \u0026amp; Joe Emerson\" href=\"https:\/\/helixsounds.com\/collections\/artist-donnie-joe-emerson\"\u003eDonnie \u0026amp; Joe Emerson\u003c\/a\u003e\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eIncludes the original version of the cult-classic hit, “Baby”\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e1xLP pressed on Classic Black Vinyl\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eHoused in a Gatefold Jacket\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eMastered by John Baldwin at Infrasonic Sound\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eDirected by Bill Pohlad, Dreamin’ Wild, stars Casey Affleck, Zooey Deschanel, Beau Bridges, Noah Jupe, Walton Goggins, and Chris Messina\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eMovie lands in North American theaters on August 4th\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/CV9Q05R66Nc\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAcclaimed label \u003cstrong\u003eLight in the Attic\u003c\/strong\u003e proudly partners with \u003cstrong\u003eRiver Road, Zurich Avenue,\u003c\/strong\u003e and \u003cstrong\u003eRoadside Attractions\u003c\/strong\u003e to release \u003cstrong\u003e\u003cem\u003eDreamin’ Wild Original Motion Picture Soundtrack\u003c\/em\u003e\u003c\/strong\u003e. The film follows the real-life story of brothers \u003cstrong\u003eDonnie \u0026amp; Joe Emerson\u003c\/strong\u003e, whose teenage dreams of rock stardom suddenly came true 30 years later. The soundtrack blends vintage recordings by Donnie \u0026amp; Joe (including the cult favorite \u003cstrong\u003e“Baby”\u003c\/strong\u003e) with exclusive new performances by \u003cstrong\u003eDonnie Emerson, Nancy Sophia Emerson,\u003c\/strong\u003e and actor \u003cstrong\u003eNoah Jupe,\u003c\/strong\u003e plus original score selections by composer \u003cstrong\u003eLeopold Ross\u003c\/strong\u003e (\u003cem\u003eBlack Mirror, A Million Little Pieces\u003c\/em\u003e).\u003c\/p\u003e\n\u003cp\u003eJupe, who portrays a young Donnie Emerson, re-recorded several of the duo’s classic songs for the film, including their debut single, \u003cstrong\u003e“Thoughts in My Mind.”\u003c\/strong\u003e The wistful ballad, which was written and recorded while the brothers were still in high school, was originally released in 1977 on their own Enterprise \u0026amp; Co. label.\u003c\/p\u003e\n\u003cp\u003eThe soundtrack also includes \u003cstrong\u003e“When A Dream Is Beautiful,”\u003c\/strong\u003e a new song by husband-and-wife duo Donnie Emerson and Nancy Sophia Emerson, and recorded in Nashville by the film’s music producer and multi-GRAMMY® winner \u003cstrong\u003eDave Cobb\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eAlso available are Donnie \u0026amp; Joe’s 1979 album, \u003cstrong\u003e\u003cem\u003eDreamin’ Wild\u003c\/em\u003e\u003c\/strong\u003e, as well as the acclaimed 2014 collection \u003cstrong\u003e\u003cem\u003eStill Dreamin’ Wild: The Lost Recordings 1979-81\u003c\/em\u003e\u003c\/strong\u003e, which culls highlights from the brothers’ prolific collection of songs. Additionally, fans can find exclusive Donnie \u0026amp; Joe merch at DonnieAndJoe.com.\u003c\/p\u003e\n\u003cp\u003eAdapted from a profile by journalist \u003cstrong\u003eSteven Kurutz\u003c\/strong\u003e and written, directed, and produced by Oscar® and Emmy®-nominee \u003cstrong\u003eBill Pohlad\u003c\/strong\u003e (whose extensive credits include \u003cem\u003eBrokeback Mountain\u003c\/em\u003e, \u003cem\u003e12 Years a Slave\u003c\/em\u003e, and the Brian Wilson biopic \u003cem\u003eLove \u0026amp; Mercy\u003c\/em\u003e), \u003cem\u003eDreamin’ Wild\u003c\/em\u003e stars Academy Award® winner \u003cstrong\u003eCasey Affleck\u003c\/strong\u003e, Emmy®-nominee \u003cstrong\u003eZooey Deschanel\u003c\/strong\u003e, Emmy®-nominee \u003cstrong\u003eWalton Goggins, Chris Messina, Noah Jupe, Jack Dylan Grazer,\u003c\/strong\u003e plus Emmy® and Grammy Award®-winner \u003cstrong\u003eBeau Bridges\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eA true story of love and redemption, \u003cem\u003eDreamin’ Wild\u003c\/em\u003e centers around Donnie Emerson (Affleck\/Jupe), a middle-aged singer-songwriter who learns that a record label is interested in reissuing the album that he and his brother recorded as teens in rural Washington State. Suddenly, the Emerson brothers find themselves thrust into the spotlight, as their 30-year-old album is hailed as a lost masterpiece. While the album’s rediscovery brings hopes of second chances, it also unearths long-buried emotions as Donnie, his wife Nancy (Deschanel), brother Joe (Goggins\/Grazer), and father Don Sr. (Bridges) come to terms with the past and their newly found fame.\u003c\/p\u003e\n\u003cp\u003eNamed for the brothers’ 1979 debut album, \u003cem\u003eDreamin’ Wild\u003c\/em\u003e is a River Road – Innisfree Production, produced by Academy Award®-winner Jim Burke, Academy® and Emmy®-nominee Pohlad, Kim Roth, Viviana Vezzani, and Karl Spoerri. Casey Affleck served as executive producer, alongside Emmy®-nominee Christa Workman, Dan Clifton, Steven Snyder, and Tobias Gutzwiller.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMore about Donnie \u0026amp; Joe Emerson:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBrothers \u003cstrong\u003eDonnie and Joe Emerson\u003c\/strong\u003e grew up on a 1600-acre farm in Fruitland, WA with dreams of musical stardom. Far removed from the punk and disco scenes of the late ‘70s, the boys’ inspiration primarily came from a tractor radio, which they listened to for hours on end while working the fields. In between farm duties and high school, the brothers spent their remaining time on music, with Donnie serving as the primary songwriter, vocalist, guitarist, and keyboardist, and Joe holding down the beat on drums.\u003c\/p\u003e\n\u003cp\u003eDonnie \u0026amp; Joe’s parents encouraged their sons’ talents – so much so that they leveraged the family farm in order to build a state-of-the-art recording studio, where the brothers self-produced their debut album, \u003cstrong\u003e\u003cem\u003eDreamin’ Wild\u003c\/em\u003e\u003c\/strong\u003e. Released in 1979 on their own Enterprise \u0026amp; Co. label, the album offered a lo-fi blend of FM rock, pop, soul, and funk – evoking such contemporaries as Marvin Gaye, Hall \u0026amp; Oates, and the Brothers Johnson in songs like \u003cstrong\u003e“Good Time,” “Dream Full of Dreams,”\u003c\/strong\u003e and \u003cstrong\u003e“Baby.”\u003c\/strong\u003e Despite the Emersons’ passions, however, \u003cem\u003eDreamin’ Wild\u003c\/em\u003e wasn’t the bestseller that they envisioned. In fact, it tanked, nearly bankrupting the family in the process. Donnie and Joe’s dreams \u003cem\u003edid\u003c\/em\u003e actually come true though. It just took three decades and a heavy dose of kismet.\u003c\/p\u003e\n\u003cp\u003eAround 2008, record collector, actor, and \u003cem\u003eOut of the Bubbling Desk\u003c\/em\u003e blogger Jack Fleischer discovered a copy of the LP at a Spokane antique shop. Initially intrigued by the jacket image (which features the boys in flashy, Elvis-style jumpsuits), Fleischer was blown away by what he heard. Before long, word began to spread about the Emerson brothers, while their soulful ballad “Baby” became a viral hit, eliciting multiple cover versions (most popularly by Ariel Pink \u0026amp; Dâm-Funk). Since its digital release, the track has been streamed over 30 million times on Spotify.\u003c\/p\u003e\n\u003cp\u003eIn 2012, Light in the Attic brought \u003cem\u003eDreamin’ Wild\u003c\/em\u003e to the masses, giving the Emerson brothers a second chance at stardom and an outpouring of long-overdue accolades, including features in the \u003cem\u003eNew York Times, Los Angeles Times,\u003c\/em\u003e and \u003cem\u003eThe Guardian\u003c\/em\u003e, a shout-out from Jimmy Fallon, and praise from the likes of \u003cem\u003ePitchfork\u003c\/em\u003e, which called the 1979 album “A godlike symphony to teen-hood.”\u003c\/p\u003e\n\u003cp\u003eThe Emersons’ inspiring story caught the ears of writer, director, and producer \u003cstrong\u003eBill Pohlad\u003c\/strong\u003e, who recently told \u003cem\u003e\u003cspan class=\"caps\"\u003ePEOPLE\u003c\/span\u003e\u003c\/em\u003e, “Being able to go deep to explore this amazing family was the real reason that I was drawn to this material. \u003cem\u003eDreamin’ Wild\u003c\/em\u003e ultimately became a story about family, faith, and forgiveness for me.”\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eGood Time - Donnie \u0026amp; Joe Emerson\u003c\/li\u003e\n\u003cli\u003eKids To School - Leopold Ross\u003c\/li\u003e\n\u003cli\u003eBaby - Donnie \u0026amp; Joe Emerson\u003c\/li\u003e\n\u003cli\u003eDonnie Rehearsal Tape - Donnie Emerson \u0026amp; Leopold Ross\u003c\/li\u003e\n\u003cli\u003eDream Full Of Dreams - Donnie \u0026amp; Joe Emerson\u003c\/li\u003e\n\u003cli\u003eNY Times Montage - Leopold Ross\u003c\/li\u003e\n\u003cli\u003eChina Grove - Noah Jupe\u003c\/li\u003e\n\u003cli\u003eThoughts In My Mind - Noah Jupe\u003c\/li\u003e\n\u003cli\u003eTender Is The Night - Donnie Emerson\u003c\/li\u003e\n\u003cli\u003eDon't Go Lovin' Nobody Else - Donnie \u0026amp; Joe Emerson\u003c\/li\u003e\n\u003cli\u003eRehearsal Freakout - Leopold Ross\u003c\/li\u003e\n\u003cli\u003eGive Me A Chance - Noah Jupe\u003c\/li\u003e\n\u003cli\u003ePhotoshoot - Leopold Ross\u003c\/li\u003e\n\u003cli\u003eWhen A Dream Is Beautiful - Donnie Emerson \u0026amp; Nancy Sophia Emerson\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003eStream Available August 4th, 2023 on Desktop \u0026amp; Mobile\u003c\/em\u003e\u003c\/p\u003e","brand":"Various Artists","offers":[{"title":"LP \/ Black","offer_id":42427878572223,"sku":"LITA216-BK","price":31.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/LITA216-VariousArtists-Dreamin_Wild_OriginalMotionPictureSoundtrack.jpg?v=1690508190"},{"product_id":"i-am-the-center-private-issue-new-age-3lp","title":"I Am The Center: Private Issue New Age Music In America 1950-1990","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003e3xLP housed in slipcase w\/ 3 tip-on jackets, and a 20-page book\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eNotes by Douglas Mcgowan featuring interviews with artists and includes rare archive photos\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eArtwork by Gilbert Williams and Janaia Donaldson\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e2 unreleased tracks, 7 others previously only on cassette\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eVinyl cut by John Golden. Pressed at RTI\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eRemastered from original sources at 24 bit\/ 96 kHz\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/71ELPd7qBx0\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cem\u003e“Sound created the universe. It wasn’t a word. Sound created atoms; sound and light are the original manifesting principles for worlds… A musician sources that primeval, eternal sound, and it comes out as music.”\u003c\/em\u003e – \u003cstrong\u003e\u003cem\u003eConstance Demby\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eForget everything you know, or think you know, about new age, a genre that has become one of the defining musical-archaeological explorations of the past decade.\u003cbr\u003e\u003cbr\u003eI Am The Center: Private Issue New Age In America, 1950-1990 is the first major anthology to survey the golden age of new age and reveal the unbelievable truth about the genre.\u003cbr\u003e\u003cbr\u003eFor new age, at its best, is a reverberation of psychedelic music, and great by any standard. This is analog, handmade music communicating soul and spirit, often done on limited means and without commercial potential, self-published and self-distributed. Before it became big business and devolved into the spaced-out elevator music we know and loathe today, this was the real thing.\u003cbr\u003e\u003cbr\u003eFrom mathematical musical algorithms to airport murder mysteries to Henry Mancini and Bugs Bunny, the connections to mainstream culture run in curious directions. (Did you know, for instance, that a track from the first modern private press new age album is featured on the Blade Runner soundtrack? It’s called “Pompeii, 76 A.D.”, and we’ve got it here.)\u003cbr\u003e\u003cbr\u003eI Am The Center is a knowing, but never cynical overview that invites listeners at last to the mainspring of a misunderstood genre’s greatest lights. Many of the biggest names are present — Iasos, inter-dimentional channeler of “paradise music”; Laraaji, discovered by Brian Eno playing for spare change in Washington Square Park; and the recently famous JD Emmanuel, icon to a new generation of drone, ambient, noise musicians. Call it what you will — before it was anything else, it was new age.\u003cbr\u003e\u003cbr\u003eLovingly conceived and lavishly presented, I Am The Center features stunning paintings by the legendary visual artist Gilbert Williams, and liner notes by producer Douglas Mcgowan, who weaves the words and images of the wizards and sorceresses of new age into a prismatic portrait of music that can finally be recognized for what it is: great American folk art.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eUnderground\u003c\/li\u003e\n\u003cli\u003ePrologue\u003c\/li\u003e\n\u003cli\u003eVampire Killer\u003c\/li\u003e\n\u003cli\u003eStalker\u003c\/li\u003e\n\u003cli\u003eWicked Child\u003c\/li\u003e\n\u003cli\u003eWalking On The Edge\u003c\/li\u003e\n\u003cli\u003eHeart Of Fire\u003c\/li\u003e\n\u003cli\u003eOut Of Time\u003c\/li\u003e\n\u003cli\u003eNothing To Lose\u003c\/li\u003e\n\u003cli\u003ePoison Mind\u003c\/li\u003e\n\u003cli\u003eBlack Night\u003c\/li\u003e\n\u003cli\u003eVoyager\u003c\/li\u003e\n\u003cli\u003eLifting Off - Joanna Brouk\u003c\/li\u003e\n\u003cli\u003eAs The Earth Kissed The Moon (excerpt) - Michael Stearns\u003c\/li\u003e\n\u003cli\u003eTien Fu: Heaven's Gate (excerpt) - Aeoliah\u003c\/li\u003e\n\u003cli\u003eBlue Spirals - Daniel Kobialka\u003c\/li\u003e\n\u003cli\u003eTwo Souls Dance - Larkin\u003c\/li\u003e\n\u003cli\u003eLi Sun - Judith Tripp\u003c\/li\u003e\n\u003cli\u003eLunar Eclipse (excerpt) - Mark Banning\u003c\/li\u003e\n\u003cli\u003eWaterfall Winds - Alice Damon\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e\u003ciframe style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/5J6elnQWSwhzzD6Zo6QZso?utm_source=generator\" width=\"100%\" height=\"352\" loading=\"lazy\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\"\u003e\u003c\/iframe\u003e","brand":"Various Artists","offers":[{"title":"3LP \/ Black","offer_id":42628366991551,"sku":"LITA107-BK","price":94.98,"currency_code":"USD","in_stock":true},{"title":"3LP \/ Clear Yellow","offer_id":42439801798847,"sku":"LITA107-CLYL","price":114.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/LITA107-VariousArtists-IAmTheCenter.jpg?v=1691391610"},{"product_id":"keep-walkin-singles-demos-and-rarities-1965-1978-nancy-sinatra-2lp","title":"Keep Walkin’: Singles, Demos \u0026 Rarities 1965-1978","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003eDouble LP available on Classic Black Vinyl \u0026amp; Special Limited Color Editions\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e\u003cb\u003eLight in the Attic Color Edition - Pressed on Zodiac Blue\u003c\/b\u003e\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003eHighway Song Edition - Pressed on Yellow Wax\u003c\/b\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eDefinitive collection of Nancy's rare singles, demos, and previously unreleased cuts\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eIncludes 3 previously unreleased tracks, plus 3 tracks making their vinyl debut\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eDeep booklet includes new Q\u0026amp;As with Nancy \u0026amp; 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\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eFeatures audio freshly remastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eVinyl pressed at RTI\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eDouble LP housed in a gatefold jacket with a 24-page book\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eLight in the Attic\u003c\/strong\u003e continues to celebrate the influential career of singer, actress, activist, and icon Nancy Sinatra with a captivating new collection, \"\u003cstrong\u003eKeep Walkin’: Singles, Demos \u0026amp; Rarities 1965-1978\u003c\/strong\u003e\". 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.\u003c\/p\u003e\n\u003cp\u003eThe 2-LP set, pressed at Record Technology, Inc. (RTI), is presented in an expanded gatefold jacket and accompanied by a 24-page booklet (also included in the CD edition as a 40-page booklet), featuring an array of photos from the artist’s personal collection, as well as a new in-depth Q\u0026amp;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. In addition to the classic black vinyl pressing, a selection of colorful variants can be found exclusively at \u003ca href=\"https:\/\/www.nancysinatra.com\/\"\u003e NancySinatra.com\u003c\/a\u003e, \u003ca href=\"https:\/\/lightintheattic.net\/shelves\/Nancy%20Sinatra\"\u003e LightInTheAttic.net\u003c\/a\u003e, independent record stores, and select online retailers, while limited-edition merchandise, including apparel, accessories, and more are also available at Nancy’s Bootique at \u003ca href=\"https:\/\/www.nancysinatra.com\/\"\u003e NancySinatra.com\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\"Keep Walkin’: Singles, Demos \u0026amp; 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 \u0026amp; Lee\"), limited-edition merch, and other special releases.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eMore on \"Keep Walkin’: Singles, Demos \u0026amp; Rarities 1965-1978\":\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIn 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.\u003c\/p\u003e\n\u003cp\u003eOver 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 \u0026amp; 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.”\u003c\/p\u003e\n\u003cp\u003eWhile 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.”\u003c\/p\u003e\n\u003cp\u003eLea 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.”\u003c\/p\u003e\n\u003cp\u003eAmong 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.\u003c\/p\u003e\n\u003cp\u003e\"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\u0026amp;B stars like Ruth Brown and LaVern Baker.\u003c\/p\u003e\n\u003cp\u003eThe 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 \u0026amp; 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.”\u003c\/p\u003e\n\u003cp\u003eNancy 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.”\u003c\/p\u003e\n\u003cp\u003eListeners 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!”\u003c\/p\u003e\n\u003cp\u003eOffering 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.\u003c\/p\u003e\n\u003cp\u003eSpeaking 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 \u0026amp; Lee. They had something very special that they could get out of each other. It was a good team.”\u003c\/p\u003e\n\u003cp\u003eHe 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.”\u003c\/p\u003e\n\u003cp\u003eAfter 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.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eThe City Never Sleeps At Night\u003c\/li\u003e\n\u003cli\u003eThe Last Of The Secret Agents\u003c\/li\u003e\n\u003cli\u003eMy Baby Cried All Night Long\u003c\/li\u003e\n\u003cli\u003eShades\u003c\/li\u003e\n\u003cli\u003eIn Our Time\u003c\/li\u003e\n\u003cli\u003eLove Eyes\u003c\/li\u003e\n\u003cli\u003eRockin' Rock and Roll (1st TIME ON VINYL)\u003c\/li\u003e\n\u003cli\u003eThis Town\u003c\/li\u003e\n\u003cli\u003eTony Rome\u003c\/li\u003e\n\u003cli\u003e100 Years\u003c\/li\u003e\n\u003cli\u003eSee The Little Children\u003c\/li\u003e\n\u003cli\u003eSomething Pretty (PREVIOUSLY UNRELEASED)\u003c\/li\u003e\n\u003cli\u003eDo I Hear A Waltz (PREVIOUSLY UNRELEASED)\u003c\/li\u003e\n\u003cli\u003eDrummer Man\u003c\/li\u003e\n\u003cli\u003eZodiac Blues (1st TIME ON VINYL)\u003c\/li\u003e\n\u003cli\u003eHighway Song\u003c\/li\u003e\n\u003cli\u003eAre You Growing Tired Of My Love\u003c\/li\u003e\n\u003cli\u003eFlowers In The Rain\u003c\/li\u003e\n\u003cli\u003eGlory Road\u003c\/li\u003e\n\u003cli\u003eAin't No Sunshine\u003c\/li\u003e\n\u003cli\u003eEasy Evil (1st TIME ON VINYL)\u003c\/li\u003e\n\u003cli\u003eSugar Me\u003c\/li\u003e\n\u003cli\u003eKinky Love\u003c\/li\u003e\n\u003cli\u003eDolly and Hawkeye\u003c\/li\u003e\n\u003cli\u003eI Just Can't Help Believing (PREVIOUSLY UNRELEASED)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e","brand":"Nancy Sinatra","offers":[{"title":"2LP \/ Black","offer_id":42461651271871,"sku":"LITA208-BK","price":21.98,"currency_code":"USD","in_stock":false},{"title":"2LP \/ Yellow","offer_id":42465003569343,"sku":"LITA208-YL","price":22.98,"currency_code":"USD","in_stock":true},{"title":"2LP \/ Teal","offer_id":42465003536575,"sku":"LITA208-TE","price":33.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/LITA208-NancySinatra-KeepWalkin_Singles_Demos_Rarities1965-1978.jpg?v=1698649893"},{"product_id":"keep-walkin-singles-demos-and-rarities-1965-1978-nancy-sinatra-cd","title":"Keep Walkin’: Singles, Demos \u0026 Rarities 1965-1978 [CD \u0026 8-Track]","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003eDefinitive collection of Nancy's rare singles, demos, and previously unreleased cuts\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eIncludes 3 previously unreleased tracks, plus 3 tracks making their vinyl debut\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eDeep booklet includes new Q\u0026amp;As with Nancy \u0026amp; 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\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eFeatures audio freshly remastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eCD includes a 40-page booklet\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e8-Track available on Pink, Yellow, Blue or White (Randomly selected)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eDue to limited capacity the full tracklist is not included on the 8-Track\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eLight in the Attic\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003econtinues to celebrate the influential career of singer, actress, activist, and icon Nancy Sinatra with a captivating new collection, \"\u003cstrong\u003eKeep Walkin’: Singles, Demos \u0026amp; Rarities 1965-1978\u003c\/strong\u003e\". 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.\u003c\/p\u003e\n\u003cp\u003eThe 2-LP set, pressed at Record Technology, Inc. (RTI), is presented in an expanded gatefold jacket and accompanied by a 24-page booklet (also included in the CD edition as a 40-page booklet), featuring an array of photos from the artist’s personal collection, as well as a new in-depth Q\u0026amp;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. In addition to the classic black vinyl pressing, a selection of colorful variants can be found exclusively at\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.nancysinatra.com\/\"\u003eNancySinatra.com\u003c\/a\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/lightintheattic.net\/shelves\/Nancy%20Sinatra\"\u003eLightInTheAttic.net\u003c\/a\u003e, independent record stores, and select online retailers, while limited-edition merchandise, including apparel, accessories, and more are also available at Nancy’s Bootique at\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.nancysinatra.com\/\"\u003eNancySinatra.com\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\"Keep Walkin’: Singles, Demos \u0026amp; 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 \u0026amp; Lee\"), limited-edition merch, and other special releases.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eMore on \"Keep Walkin’: Singles, Demos \u0026amp; Rarities 1965-1978\":\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIn 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.\u003c\/p\u003e\n\u003cp\u003eOver 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 \u0026amp; 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.”\u003c\/p\u003e\n\u003cp\u003eWhile 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.”\u003c\/p\u003e\n\u003cp\u003eLea 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.”\u003c\/p\u003e\n\u003cp\u003eAmong 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.\u003c\/p\u003e\n\u003cp\u003e\"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\u0026amp;B stars like Ruth Brown and LaVern Baker.\u003c\/p\u003e\n\u003cp\u003eThe 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 \u0026amp; 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.”\u003c\/p\u003e\n\u003cp\u003eNancy 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.”\u003c\/p\u003e\n\u003cp\u003eListeners 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!”\u003c\/p\u003e\n\u003cp\u003eOffering 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.\u003c\/p\u003e\n\u003cp\u003eSpeaking 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 \u0026amp; Lee. They had something very special that they could get out of each other. It was a good team.”\u003c\/p\u003e\n\u003cp\u003eHe 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.”\u003c\/p\u003e\n\u003cp\u003eAfter 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.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eThe City Never Sleeps At Night\u003c\/li\u003e\n\u003cli\u003eThe Last Of The Secret Agents\u003c\/li\u003e\n\u003cli\u003eMy Baby Cried All Night Long\u003c\/li\u003e\n\u003cli\u003eShades\u003c\/li\u003e\n\u003cli\u003eIn Our Time\u003c\/li\u003e\n\u003cli\u003eLove Eyes\u003c\/li\u003e\n\u003cli\u003eRockin' Rock and Roll (1st TIME ON VINYL)\u003c\/li\u003e\n\u003cli\u003eThis Town\u003c\/li\u003e\n\u003cli\u003eTony Rome\u003c\/li\u003e\n\u003cli\u003e100 Years\u003c\/li\u003e\n\u003cli\u003eSee The Little Children\u003c\/li\u003e\n\u003cli\u003eSomething Pretty (PREVIOUSLY UNRELEASED)\u003c\/li\u003e\n\u003cli\u003eDo I Hear A Waltz (PREVIOUSLY UNRELEASED)\u003c\/li\u003e\n\u003cli\u003eDrummer Man\u003c\/li\u003e\n\u003cli\u003eZodiac Blues (1st TIME ON VINYL)\u003c\/li\u003e\n\u003cli\u003eHighway Song\u003c\/li\u003e\n\u003cli\u003eAre You Growing Tired Of My Love\u003c\/li\u003e\n\u003cli\u003eFlowers In The Rain\u003c\/li\u003e\n\u003cli\u003eGlory Road\u003c\/li\u003e\n\u003cli\u003eAin't No Sunshine\u003c\/li\u003e\n\u003cli\u003eEasy Evil (1st TIME ON VINYL)\u003c\/li\u003e\n\u003cli\u003eSugar Me\u003c\/li\u003e\n\u003cli\u003eKinky Love\u003c\/li\u003e\n\u003cli\u003eDolly and Hawkeye\u003c\/li\u003e\n\u003cli\u003eI Just Can't Help Believing (PREVIOUSLY UNRELEASED)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e","brand":"Nancy Sinatra","offers":[{"title":"8-Track \/ Random","offer_id":42465007370431,"sku":"LITA208-8-RND","price":44.99,"currency_code":"USD","in_stock":false},{"title":"CD \/ Standard","offer_id":42461651370175,"sku":"LITA 208-2-STD","price":16.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/lita208_frCvr_3000px.jpg?v=1693289678"},{"product_id":"keep-walkin-autographed-print-nancy-sinatra-poster","title":"Keep Walkin' Autographed Print","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003eBACKORDER\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e18x24 Heavy stock photo print poster\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003ePhoto by Ron Joy\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eHand-autographed by Nancy Sinatra\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eHand numbered edition of 200 units worldwide\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDESCRIPTION\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eAUTOGRAPHED Limited Edition 18x24 heavy stock photo print. Photo by Ron Joy.\u003c\/p\u003e","brand":"Nancy Sinatra","offers":[{"title":"18″×24″","offer_id":42465000849599,"sku":"LITA 208-PK","price":78.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/826853208420.png?v=1693273424"},{"product_id":"keep-walkin-t-shirt-nancy-sinatra-keep-walkin-t-shirt-xs","title":"Keep Walkin' T-Shirt","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003e\u003cspan data-mce-fragment=\"1\"\u003ePrinted on 'Natural' color Bella Canvas T-Shirt\u003c\/span\u003e\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eScreen printing by Windmill City\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e100% Airlume combed and ring-spun cotton\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e32 Single 4.2 oz. weight strikes the perfect balance between comfort and durability\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eEco-Friendly\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDESCRIPTION\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eKeep Walkin' Design printed on 'Natural' color Bella Canvas T-Shirt.\u003c\/p\u003e","brand":"Nancy Sinatra","offers":[{"title":"X-Small","offer_id":42461651468479,"sku":"LITA 208-4-1-WH-XS","price":36.99,"currency_code":"USD","in_stock":false},{"title":"Small","offer_id":42465009500351,"sku":"LITA 208-4-1-WH-SM","price":36.99,"currency_code":"USD","in_stock":false},{"title":"Medium","offer_id":42465009533119,"sku":"LITA 208-4-1-WH-MD","price":36.99,"currency_code":"USD","in_stock":false},{"title":"Large","offer_id":42465009565887,"sku":"LITA 208-4-1-WH-LG","price":36.99,"currency_code":"USD","in_stock":false},{"title":"X-Large","offer_id":42465009598655,"sku":"LITA 208-4-1-WH-XL","price":36.99,"currency_code":"USD","in_stock":false},{"title":"XX-Large","offer_id":42465010221247,"sku":"LITA 208-4-1-WH-XXL","price":36.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/LITA208-NancySinatra-KeepWalkin_T-Shirt.jpg?v=1693290223"},{"product_id":"pacific-breeze-volume-3-beach-towel","title":"Pacific Breeze Volume 3 Beach Towel","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFEATURES\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eLimited Edition\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e30″ × 60″ full color sublimated Pacific Breeze Beach Towel\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eArtwork by renowned illustrator Hiroshi Nagai\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eThis item ships separately\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eABOUT PACIFIC BREEZE SERIES\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eLight in the Attic’s Pacific Breeze series has supplied the world’s growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings—the mesmerizing and nebulous genre of Japanese bubble-era music of the ‘70s-’80s that encompasses AOR, R\u0026amp;B, jazz fusion, funk, boogie, and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan’s affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave.\u003cbr\u003e\u003cbr\u003ePacific Breeze 3: Japanese City Pop, AOR \u0026amp; Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country’s creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend is also evident here through the prevalence of heavier programmed drum beats on tracks such as “Heartbeat” by Miho Fujiwara.\u003cbr\u003e\u003cbr\u003eThis volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi, and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka.\u003cbr\u003e\u003cbr\u003eAlthough not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.\u003c\/p\u003e","brand":"Hiroshi Nagai","offers":[{"title":"30\"x60\"","offer_id":42494532059327,"sku":"LITA202-4-TOWEL","price":49.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/large_550_tmp_2F1669758896599-3i3wrx61k2m-f4dba297cc11e57ef6b99999e9c50f98_2Flita202_towel_new.jpg?v=1695537309"},{"product_id":"pacific-breeze-volume-2-lithograph-poster","title":"Pacific Breeze Volume 2 Lithograph [Poster]","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eLimited Edition\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e24″ × 27″ Pacific Breeze 2 Felt Blacklight Responsive Lithograph Poster Print\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eArtwork by renowned illustrator Hiroshi Nagai\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eThis item ships separately\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e***Mockup photo is not to scale\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eABOUT PACIFIC BREEZE SERIES\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eWhen Light In The Attic released \u003cem\u003ePacific Breeze: Japanese City Pop, \u003cspan class=\"caps\"\u003eAOR\u003c\/span\u003e \u0026amp; Boogie 1976-1986\u003c\/em\u003e in 2019, it was the first collection of its kind to be released outside Japan. It proved to be just what music fans had been waiting for—a compilation of sought-after tracks that had been nearly impossible to obtain unless you were well-connected with dealers and collectors, or traveled regularly to the countless record stores in Japan. \u003cem\u003ePacific Breeze\u003c\/em\u003e included Minako Yoshida, Taeko Ohnuki, Hiroshi Sato and Haruomi Hosono among other key players of ‘70s-’80s Japanese City Pop, the nebulous genre that encompassed an “amalgam of \u003cspan class=\"caps\"\u003eAOR\u003c\/span\u003e, R\u0026amp;B, jazz fusion, funk, boogie and disco, all a touch dizzy with tropical euphoria,” as we described it the first time around.\u003c\/p\u003e\n\u003cp\u003eWith \u003cem\u003ePacific Breeze 2: Japanese City Pop, \u003cspan class=\"caps\"\u003eAOR\u003c\/span\u003e \u0026amp; Boogie 1972-1986\u003c\/em\u003e we dig deeper into those sounds of bubble-era Japan. From the proto-City Pop funk of Bread \u0026amp; Butter and Eiichi Ohtaki to the crate-digger favorites Eri Ohno and Piper, the latest entry in Light In The Attic’s Japan Archival Series brings another set of sought-after tunes, most of which have never before been available outside of Japan. Tomoko Aran and Anri, also included in this compilation, are just a few of the artists who have gained popularity in recent years thanks to Vaporwave, the meme-genre that heavily samples Japanese City Pop to create its particular aesthetic.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePacific Breeze 2\u003c\/em\u003e once again feature the artwork of renowned Tokyo-based illustrator Hiroshi Nagai, whose iconic images of resort living have become synonymous with City Pop. Nagai’s urban tropical imagery is a perfect match for the expertly curated tunes, evoking a certain sense of nostalgia for the leisure lifestyles of ‘70s-’80s Tokyo, while simultaneously being perfectly in tune with the current zeitgeist.\u003c\/p\u003e","brand":"Hiroshi Nagai","offers":[{"title":"24\"x27\"","offer_id":42496615121087,"sku":"LITA179-4-2","price":79.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/large_550_tmp_2F1583260020181-09sx4w4n143a-7d8e82b07ccf8c0c8e40cde428401b05_2Flitho.jpg?v=1695687227"},{"product_id":"pacific-breeze-japanese-city-pop-aor-boogie-1976-1986-cd","title":"Pacific Breeze: Japanese City Pop, AOR \u0026 Boogie 1976-1986 [CD]","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong style=\"font-size: 0.875rem;\"\u003eRemastered audio\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong style=\"font-size: 0.875rem;\"\u003eCover art by famed artist \u003cem\u003eHiroshi Nagai\u003c\/em\u003e\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong style=\"font-size: 0.875rem;\"\u003eExtensive liner notes and bios\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong style=\"font-size: 0.875rem;\"\u003eCompiled by Andy Cabic (Vetiver), Zach Cowie (DJ \u0026amp; music supervisor), and Mark “Frosty” McNeill (dublab)\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCD in a UV-coated Digipak with oversized fold-out booklet and custom die-cut obi card\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAlso available on \u003ca href=\"https:\/\/helixsounds.com\/products\/various-artists-pacific-breeze-japanese-city-pop-aor-boogie-1976-1986-2lp-vinyl-record\" title=\"Pacific Breeze Vol. 1 Vinyl\"\u003eVinyl\u003c\/a\u003e\u003c\/strong\u003e\u003c\/li\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003ePacific Breeze\u003c\/strong\u003e\u003c\/em\u003e documents Japan’s blast into the stratosphere. By the 1960s, the nation had achieved a postwar miracle, soaring to become the world’s second-largest economy. Thriving tech exports sent The Rising Sun over the moon. Its pocket cassette players, bleeping video games, and gleaming cars boomed worldwide, wooing pleasure points and pumping Japanese pockets full of yen.\u003cbr\u003e\u003cbr\u003eJapan’s financial buoyancy also permeated its popular culture, birthing an audio analog called \u003cem\u003e\u003cstrong\u003eCity Pop\u003c\/strong\u003e\u003c\/em\u003e. This new sound arose in the mid-’70s and ruled through the ’80s, channeling the country’s contemporary psyche. It was sophisticated music mirroring Japan’s punch-drunk prosperity. City Pop epitomized the era, providing a soundtrack for emerging urbanites. An optimistic spirit buzzed through the music in neon-bathed, gauzy tableaus coated with groove-heavy strokes.\u003cbr\u003e\u003cbr\u003e\u003cem\u003e\u003cstrong\u003ePacific Breeze\u003c\/strong\u003e\u003c\/em\u003e is an expertly compiled collection of choice cuts that range from silky smooth grooves to innovative techno-pop bangers and everything in between. Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like \u003cem\u003e\u003cstrong\u003eTaeko Onuki\u003c\/strong\u003e\u003c\/em\u003e and \u003cem\u003e\u003cstrong\u003eMinako Yoshida\u003c\/strong\u003e\u003c\/em\u003e, as well as cult favorites \u003cem\u003e\u003cstrong\u003eHitomi Tohyama\u003c\/strong\u003e\u003c\/em\u003e and \u003cem\u003e\u003cstrong\u003eHiroshi Sato\u003c\/strong\u003e\u003c\/em\u003e, the long-awaited release also features a newly commissioned cover painting by Tokyo-based artist \u003cem\u003e\u003cstrong\u003eHiroshi Nagai\u003c\/strong\u003e\u003c\/em\u003e, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.\u003cbr\u003e\u003cbr\u003eMany of the key City Pop players evolved from the Japanese New Music scene of the early ’70s, as heard on Light In The Attic’s acclaimed \u003cem\u003e\u003cstrong\u003eEven a Tree Can Shed Tears: Japanese Folk \u0026amp; Rock 1969-1973\u003c\/strong\u003e\u003c\/em\u003e, the first release of the ongoing \u003cem\u003e\u003cstrong\u003eJapan Archival Series\u003c\/strong\u003e\u003c\/em\u003e. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, “Deconstructing the line between imitation and authenticity.” Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eTRACKLIST\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eI Say Who - Tomoko Soryo\u003c\/li\u003e\n\u003cli\u003eKusuri Wo Takusan - Taeko Ohnuki\u003c\/li\u003e\n\u003cli\u003eMidnight Driver - Minako Yoshida\u003c\/li\u003e\n\u003cli\u003eSubterranean Futari Bocci - Nanako Sato\u003c\/li\u003e\n\u003cli\u003eSports Men - Haruomi Hosono\u003c\/li\u003e\n\u003cli\u003eCoffee Rumba - Izumi Kobayashi\u003c\/li\u003e\n\u003cli\u003eIn My Jungle - F.O.E.\u003c\/li\u003e\n\u003cli\u003eSun Bathing - Akira Inoue, Hiroshi Sato, Masataka Matsutoya\u003c\/li\u003e\n\u003cli\u003eSay Goodbye - Hiroshi Satoh\u003c\/li\u003e\n\u003cli\u003eDrip Dry Eyes - Yukihiro Takahashi\u003c\/li\u003e\n\u003cli\u003eBamboo Vendor - Masayoshi Takanaka\u003c\/li\u003e\n\u003cli\u003eLady Pink Panther - Shigeru Suzuki\u003c\/li\u003e\n\u003cli\u003eBride of Mykonos - Haruomi Hosono, Takahiko Ishikawa, Masataka Matsutoya\u003c\/li\u003e\n\u003cli\u003eL.A. Night - Yasuko Agawa\u003c\/li\u003e\n\u003cli\u003eExotic Yokogao - Hitomi Tohyama\u003c\/li\u003e\n\u003cli\u003eMachibouke - Tazumi Toyoshima\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e","brand":"Various Artists","offers":[{"title":"CD \/ Digipak","offer_id":42497918075071,"sku":"LITA163-2","price":15.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/pacific_breeze_FC_d5d20467-8fe1-4313-9d1b-d968cb0f592e.jpg?v=1695777556"},{"product_id":"light-in-the-attic-and-friends-black-friday-rsd-world-exclusive-various-artists-2lp-color","title":"Light in the Attic \u0026 Friends (Black Friday RSD World Exclusive)","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003e20–track collection includes Charles Bradley \u0026amp; The Menahan Street Band covering Sixto Rodriguez, Iggy Pop \u0026amp; Zig Zags performing a Betty Davis classic, Ethan \u0026amp; Maya Hawke interpreting Willie Nelson, and Angel Olsen paying homage to Karen Dalton\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eDouble LP pressed on special limited edition color wax\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eFeaturing new cover art by renowned British artist Sophy Hollington\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eBooklet with track–by–track notes by Lydia Hyslop\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eFor more than 20 years, acclaimed reissue label Light in the Attic Records has shined a spotlight on some of music’s most unique — and often forgotten — voices. But reviving these long-out-of-print recordings is only half of the process. “We believe that an essential component of archival work, aside from simply honoring the music, is to seek ways in which to bring fresh perspectives, context, and reverence to the original artists and their work,” says LITA founder, Matt Sullivan. Thus, LITA’s acclaimed cover series was born, in which contemporary acts pay homage to their favorite LITA artists and songs. Spanning more than a decade, 20 of these inspired cover songs will be available together for the very first time, exclusively for Black Friday (November 24) on the 2xLP Light in the Attic \u0026amp; Friends.\u003c\/p\u003e\n\u003cp\u003eFrom Charles Bradley \u0026amp; The Menahan Street Band covering Detroit singer-songwriter Sixto Rodriguez and Mac DeMarco performing a song by Japanese icon Haruomi Hosono, to Iggy Pop \u0026amp; Zig Zags honoring funk queen Betty Davis, and Ethan \u0026amp; Maya Hawke covering country great Willie Nelson, these performances bridge the gap between generations, languages, and musical traditions.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eCharles Bradley \u0026amp; The Menahan Street Band - I'll Slip Away\u003c\/li\u003e\n\u003cli\u003eSweet Tea - After Laughter (Comes Tears)\u003c\/li\u003e\n\u003cli\u003eVashti Bunyan \u0026amp; Devendra Banhart - How Could You Let Me Go\u003c\/li\u003e\n\u003cli\u003eBarbara Lynn - We'll Understand\u003c\/li\u003e\n\u003cli\u003eBADBADNOTGOOD feat. Jonah Yano - Key To Love Is Understanding\u003c\/li\u003e\n\u003cli\u003eIggy Pop \u0026amp; Zig Zags - If I'm In Luck I Might Get Picked Up\u003c\/li\u003e\n\u003cli\u003eMozart Estate - Low Life\u003c\/li\u003e\n\u003cli\u003eLeslie Winer \u0026amp; Maxwell Sterling - Once I Was\u003c\/li\u003e\n\u003cli\u003eEthan \u0026amp; Maya Hawke - We Don't Run\u003c\/li\u003e\n\u003cli\u003eGold Leaves - Won't You Tell Your Dreams\u003c\/li\u003e\n\u003cli\u003eSwamp Dogg, John C. Reilly, Jenny Lewis \u0026amp; Tim Heidecker - The Kneeling Drunkard's Plea\u003c\/li\u003e\n\u003cli\u003eSilas Short - You've Become A Habit\u003c\/li\u003e\n\u003cli\u003eMac DeMarco - Honey Moon\u003c\/li\u003e\n\u003cli\u003eCameron Bethany - Send It On\u003c\/li\u003e\n\u003cli\u003eRoedelius - Le Chant des Fauves\u003c\/li\u003e\n\u003cli\u003eRoedelius - Same Old Man\u003c\/li\u003e\n\u003cli\u003eAngel Olsen - Something On Your Mind\u003c\/li\u003e\n\u003cli\u003eMary Lattimore - Blink\u003c\/li\u003e\n\u003cli\u003eAcetone - Plain As Your Eyes Can See\u003c\/li\u003e\n\u003cli\u003eSteve Gunn \u0026amp; Bridget St. John - Rabbit Hills\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"Various Artists","offers":[{"title":"2LP \/ Orange Green Swirl","offer_id":42501520654527,"sku":"LITA211-ORGN-SWL","price":59.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/LITA211-VariousArtists-LightintheAttic_Friends_BlackFridayRSDWorldExclusive.jpg?v=1696283298"},{"product_id":"pacific-breeze-3-japanese-city-pop-aor-boogie-1975-1987-cassette-tape","title":"Pacific Breeze 3: Japanese City Pop, AOR \u0026 Boogie 1975-1987 [Cassette Tape]","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eThe latest chapter in the acclaimed Pacific Breeze series!\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eArtwork by renowned illustrator Hiroshi Nagai\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCompiled by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab)\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eNewly remastered audio\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eExtensive artist bios by Yosuke Kitazawa\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eLimited Pink Blue Split Shell Cassette Tape\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eAlso available on \u003ca href=\"https:\/\/helixsounds.com\/products\/pacific-breeze-3-japanese-city-pop-aor-boogie-1975-1987-2lp-vinyl-record\" title=\"Pacific Breeze 3: Japanese City Pop, AOR \u0026amp; Boogie 1975-1987 Vinyl\"\u003eVinyl\u003c\/a\u003e\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eLight in the Attic\u003c\/strong\u003e\u003c\/em\u003e’s Pacific Breeze series has supplied the world’s growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings—the mesmerizing and nebulous genre of Japanese bubble-era music of the ‘70s-’80s that encompasses \u003cstrong\u003e\u003cem\u003eAOR, R\u0026amp;B, jazz fusion, funk, boogie, and disco\u003c\/em\u003e\u003c\/strong\u003e. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan’s affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as \u003cem\u003e\u003cstrong\u003eVaporwave\u003c\/strong\u003e\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e\u003cem\u003e\u003cstrong\u003ePacific Breeze 3: Japanese City Pop, AOR \u0026amp; Boogie 1975-1987\u003c\/strong\u003e\u003c\/em\u003e marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of \u003cstrong\u003e\u003cem\u003eCity Pop\u003c\/em\u003e\u003c\/strong\u003e to reveal glimmers of the next waves of styles to spring forth from the country’s creative minds. The appearance of \u003cem\u003e\u003cstrong\u003ePizzicato Five\u003c\/strong\u003e\u003c\/em\u003e hints at the emergence of \u003cem\u003e\u003cstrong\u003eShibuya-kei\u003c\/strong\u003e\u003c\/em\u003e while the influence of hip hop and electro as an emerging global trend is also evident here through the prevalence of heavier programmed drum beats on tracks such as “\u003cem\u003e\u003cstrong\u003eHeartbeat\u003c\/strong\u003e\u003c\/em\u003e” by \u003cem\u003e\u003cstrong\u003eMiho Fujiwara\u003c\/strong\u003e\u003c\/em\u003e.\u003cbr\u003e\u003cbr\u003eThis volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from\u003cem\u003e\u003cstrong\u003e Susan, Miharu Koshi, and Chiemi Manabe\u003c\/strong\u003e\u003c\/em\u003e sit alongside sublime funk from \u003cem\u003e\u003cstrong\u003eAtsuko Nina and Naomi Akimoto\u003c\/strong\u003e\u003c\/em\u003e while \u003cem\u003e\u003cstrong\u003eTeresa Noda\u003c\/strong\u003e\u003c\/em\u003e slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by \u003cem\u003e\u003cstrong\u003eParachute\u003c\/strong\u003e \u003c\/em\u003eand \u003cem\u003e\u003cstrong\u003eHiroyuki Namba\u003c\/strong\u003e\u003c\/em\u003e, a synthesizer fantasy from \u003cem\u003e\u003cstrong\u003eOsamu Shoji\u003c\/strong\u003e\u003c\/em\u003e, and magnetic pop by \u003cem\u003e\u003cstrong\u003eMakoto Matsushita and Chu Kosaka\u003c\/strong\u003e\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003eAlthough not front and center, the visionary members of \u003cem\u003e\u003cstrong\u003eYellow Magic Orchestra\u003c\/strong\u003e\u003c\/em\u003e are still very present on Pacific Breeze 3, with \u003cem\u003e\u003cstrong\u003eHaruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi\u003c\/strong\u003e\u003c\/em\u003e taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eTRACKLIST\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eNaomi Akimoto - Bewitched (Are You Leaving Soon)\u003c\/li\u003e\n\u003cli\u003eAtsuko Nina - Tonkachi\u003c\/li\u003e\n\u003cli\u003eMiho Fujiwara - Heartbeat\u003c\/li\u003e\n\u003cli\u003eMiharu Koshi - Scandal Night\u003c\/li\u003e\n\u003cli\u003eChu Kosaka - Shirakechimauze\u003c\/li\u003e\n\u003cli\u003eTeresa Noda - Tropical Love\u003c\/li\u003e\n\u003cli\u003eMakoto Matsushita - Business Man Pt. 1\u003c\/li\u003e\n\u003cli\u003eSusan - Ah! Soka\u003c\/li\u003e\n\u003cli\u003eYukako Hayase - Suiyoubi Madeni Shinitaino\u003c\/li\u003e\n\u003cli\u003eParachute - Kowloon Daily\u003c\/li\u003e\n\u003cli\u003eHiroyuki Namba - Tropical Exposition (Who Done It? Version)\u003c\/li\u003e\n\u003cli\u003ePizzicato Five - Boy Meets Girl\u003c\/li\u003e\n\u003cli\u003eMari Iijima - Love Sick\u003c\/li\u003e\n\u003cli\u003e1986 Omega Tribe - Cosmic Love\u003c\/li\u003e\n\u003cli\u003eOsamu Shoji - Pub Casablanca\u003c\/li\u003e\n\u003cli\u003eChiemi Manabe - Untotooku\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e \u003ciframe style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/playlist\/1MuAHiy0n7158rCXN2hHjm?utm_source=generator\" width=\"100%\" height=\"352\" loading=\"lazy\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\"\u003e\u003c\/iframe\u003e","brand":"Various Artists","offers":[{"title":"CS \/ Pink Blue Split","offer_id":42548915208383,"sku":"LITA202-9-PKBL-SPT","price":16.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/large_550_tmp_2F1669757038239-oad99s8pt2-838f4094c31901be385e2cd37768810b_2Flita202_3000px_300dpi_05ddbc00-afc7-4d48-886a-b6f31daa3572.jpg?v=1697512004"},{"product_id":"the-evil-one-roky-erickson-2lp","title":"The Evil One","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003eRemastered from the original tapes\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e2xLP pressed on Hazy Purple Vinyl\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eHoused in a gatefold tip-on jacket with etching by Travis Millard on side 4\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eComprehensive 20-page liner notes by Texas maverick Joe Nick Patoski\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eRarely seen photos \u0026amp; ephemera from the archives of Orb Productions\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eProduced over a period of two years by Stu Cook (Creedence Clearwater Revival), The Evil One was released in 1981 and is a masterful collection of songs about zombies, demons, vampires, and, yes, even the ‘Creature With The Atom Brain’. These tracks, inspired by schlock sci-fi and horror movies and colored by Roky’s distinctive, high-pitched vocal and squealing guitar, are among the maverick performer’s best.\u003c\/p\u003e\n\u003cp\u003eCelebrating a creative purple patch by a singular performer, Light In The Attic is to reissue the three albums issued by Roky Erickson in the 1980s: The Evil One (LITA 097), Don’t Slander Me (LITA 098) and Gremlins Have Pictures (LITA 099). Together, they’re a chance to pick up a missing jigsaw piece in the history of American rock ‘n’ roll in deluxe packages.\u003c\/p\u003e\n\u003cp\u003eAs the core member of the 13th Floor Elevators and an undisputed pioneer of psychedelic rock, the ’60s were thrilling times for Erickson. His band riding high in their native Texas and beyond, the howling single ‘You’re Gonna Miss Me’ was his calling card, but Erickson’s ‘60s ended in the stuff of nightmares. Under sharp scrutiny by the authorities due to the band’s well-expounded fondness for psychedelic drugs, Erickson was found with a single joint on his person. Pleading not guilty by reason of insanity to avoid prison, he was sent to the Rusk State Hospital for the criminally insane, where he was ‘treated’ with electroconvulsive therapy and Thorazine treatment. Erickson pulled through his three and a half years at Rusk, and even put together a band while incarcerated. The Missing Links contained Roky plus two murderers and a rapist.\u003c\/p\u003e\n\u003cp\u003eReleased from the institution in 1974, Roky found his legend had grown while he’d been away – not least because ‘You’re Gonna Miss Me’ was included on 1972’s Nuggets compilation. He formed a band, the Aliens, and set about honing a hard rock sound that placed the psychedelic garage blues of the Elevators firmly in the last decade. Though it was produced at a time when Roky was struggling to cope with drugs and life on the outside, he hit form on his first post Elevators album-proper, 1981’s The Evil One. Produced over a period of two years by Stu Cook, from Creedence Clearwater Revival, it’s a masterful collection of songs about zombies, demons, vampires, and, yes, even the ‘Creature With The Atom Brain’. These tracks, inspired by schlock sci-fi and horror movies and colored by Roky’s distinctive, high-pitched vocal and squealing guitar, are among the maverick performer’s best.\u003c\/p\u003e\n\u003cp\u003eAt the time, Roky explained the album this way: “It’s gonna go back to the ferocious kind of rock ‘n’ roll of the Kinks, the Who and the Yardbirds. It’s the kind of music that makes you wish you were playing it or listening to it for the first time ‘way back when.’” But the record would not reach the mass audience of those bands, its success hampered by erratic release schedules and disastrously awkward press interviews. A year after its release, Erickson would become convinced that a Martian had inhabited his body. He would soon become obsessed with mail, and take to taping it, unopened, to his bedroom walls. Many of Erickson’s demons were yet to show their faces. But the B-movie demons he exorcised on this record gave us one of hard rock’s strangest, most inventive albums.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eTwo-Headed Dog (Red Temple Prayer)\u003c\/li\u003e\n\u003cli\u003eI Think Of Demons\u003c\/li\u003e\n\u003cli\u003eI Walked With A Zombie\u003c\/li\u003e\n\u003cli\u003eDon't Shake Me Lucifer\u003c\/li\u003e\n\u003cli\u003eNight Of The Vampire\u003c\/li\u003e\n\u003cli\u003eWhite Faces\u003c\/li\u003e\n\u003cli\u003eCold Night For Alligators\u003c\/li\u003e\n\u003cli\u003eCreature With The Atom Brain\u003c\/li\u003e\n\u003cli\u003eMine Mine Mind\u003c\/li\u003e\n\u003cli\u003eStand For The Fire Demon\u003c\/li\u003e\n\u003cli\u003eIf You Have Ghosts\u003c\/li\u003e\n\u003cli\u003eSputnik\u003c\/li\u003e\n\u003cli\u003eThe Wind And More\u003c\/li\u003e\n\u003cli\u003eBloody Hammer\u003c\/li\u003e\n\u003cli\u003eClick Your Fingers Applauding The Play\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e\u003ciframe loading=\"lazy\" height=\"352\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/625D7Framo0tCKlhdLKoE4?utm_source=generator\" style=\"border-radius: 12px;\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e","brand":"Roky Erickson","offers":[{"title":"2LP \/ Purple","offer_id":42552976867519,"sku":"LITA097-PR","price":42.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/LITA097-RokyErickson-TheEvilOne-Cover.jpg?v=1698650042"},{"product_id":"have-you-been-good-to-yourself-johnnie-frierson-lp","title":"Have You Been Good To Yourself","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFEATURES\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003eLimited Edition of 500 copies\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e1xLP pressed on Clear Vinyl\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eRemastered from the original cassette\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eLiner notes by Memphis native Andria Lisle\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eIncludes OBI strip\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eVinyl pressed at RTI\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDESCRIPTION\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e“My dad loved people. He was an activist for Black people, but also an activist for human rights. I don’t care what color you are, my dad was kind to you. He wanted the word ‘love’ out there: the self-love message, the world-love message. Anything good he knew, he wanted to let everyone know about it.” – Keesha Frierson\u003c\/p\u003e\n\u003cp\u003eFollowers of our output might have a pang of recognition on reading the name, Frierson. That was the surname of Wendy Rene, whose work was collected into the 2012 LITA anthology After Laughter Comes Tears, and indeed, Johnnie Frierson is Wendy’s brother – a fellow member of her mid-’60s Stax four-piece The Drapels.\u003c\/p\u003e\n\u003cp\u003eBut Have You Been Good To Yourself will come as a surprise to anyone expecting more of the beat-driven R\u0026amp;B Johnnie and his sibling produced – including that compilation’s much-sampled title track. A mix of spoken word and gospel songs laid down direct to cassette, these ultra-rare home recordings draw from Johnnie’s religious upbringing and his history in the music business, which was interrupted in 1970 when he was sent to fight in Vietnam.\u003c\/p\u003e\n\u003cp\u003eCratedigger Jameson Sweiger found Have You Been Good To Yourself and a companion album, Real Education, released under the name Khafele Ojore Ajanaku in a Memphis thrift store, but it was noticeably Frierson’s work. They hadn’t made it far – they would originally have been sold at corner stores and music festivals in the Memphis area, where Frierson continued to perform and host a gospel radio show, all the while working as a mechanic, laborer, and teacher.\u003c\/p\u003e\n\u003cp\u003eThe seven songs on Have You Been Good To Yourself are overtly religious; some, such as “Out Here On Your Word,” are strident and faithful; others, like the self-questioning “Have You Been Good To Yourself,” are more meditative. They reflect the difficult situation that Frierson was in when recording, shell-shocked from his time in the military and grieving the untimely death of his son. “He was really trying to find his way,” remembers Frierson’s daughter Keesha in Andria Lisle’s liner notes. “And writing and making music was a way out for him.”\u003c\/p\u003e\n\u003cp\u003eRemastered and released professionally for the first time, the message spread by Frierson – who passed away in 2010 – remains undimmed.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eHave You Been Good To Yourself\u003c\/li\u003e\n\u003cli\u003eHeavenly Father\u003c\/li\u003e\n\u003cli\u003eYou've Been Good\u003c\/li\u003e\n\u003cli\u003eMiracles\u003c\/li\u003e\n\u003cli\u003eOut Here On Your Word\u003c\/li\u003e\n\u003cli\u003eYou Were Sent To This World\u003c\/li\u003e\n\u003cli\u003eWoke Up This Morning\u003c\/li\u003e\n\u003cli\u003eTrust In The Lord\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e\u003c\/p\u003e","brand":"Johnnie Frierson","offers":[{"title":"LP \/ Clear","offer_id":42552976900287,"sku":"LITA127-CL","price":29.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/LITA127-JohnnieFrierson-HaveYouBeenGoodToYourself.jpg?v=1697583522"},{"product_id":"in-my-own-time-50th-anniversary-edition-karen-dalton-lp","title":"In My Own Time (50th Anniversary Edition)","description":"\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFEATURES\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003eAll tracks from 2021 transfers and newly remastered\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eCD \u0026amp; Cassette Editions feature 9 bonus tracks, including 6 previously unreleased live performances from The Montreux Golden Rose Pop Festival (May 1971) and Beat Club, Germany (April 1971)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eCD \u0026amp; LP editions include a booklet featuring unseen photos and liner notes by Lenny Kaye with contributions from Nick Cave and Devendra Banhart\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eTracks 11-19 Only Available on CD \u0026amp; Cassette Editions\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e8-Track \u0026amp; single LP editions only include tracks 1-10\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eKaren 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.\u003c\/p\u003e\n\u003cp\u003eThe LITA Anniversary LP edition features the original 10-track album, pressed on clear wax at Record Technology Inc. (RTI) and housed in an expanded gatefold LP jacket, while the album makes its long-overdue return on the almighty 8-Track format.\u003c\/p\u003e\n\u003cp\u003eBoth the CD and cassette editions feature 9 bonus tracks, including 3 alternate takes from the In My Own Time album sessions, along with 6 previously unreleased tracks captured during Karen’s 1971 European tour, including live at The Montreux Golden Rose Pop Festival and Germany’s Beat Club.\u003c\/p\u003e\n\u003cp\u003eAll audio has been newly remastered by Dave Cooley, while lacquers were cut by Phil Rodriguez at Elysian Masters.\u003c\/p\u003e\n\u003cp\u003eA newly expanded booklet—featuring rarely seen photos, liner notes from musician and writer Lenny Kaye, and contributions from Nick Cave and Devendra Banhart—rounds out the package (CD booklet 32-pgs; LP booklet 20-pgs).\u003c\/p\u003e\n\u003cp\u003eThe 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\u0026amp;B and country that had to seep in as she made her way to New York.\"\u003c\/p\u003e\n\u003cp\u003eArmed 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 \u0026amp; Schuster, 2004). “Karen had a voice like Billie Holiday and played the guitar like Jimmy Reed.”\u003c\/p\u003e\n\u003cp\u003eThose 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.\u003c\/p\u003e\n\u003cp\u003eProducing 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.”\u003c\/p\u003e\n\u003cp\u003eDalton, 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\u0026amp;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.\u003c\/p\u003e\n\u003cp\u003eWhile 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, many 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 recently 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.”\u003c\/p\u003e\n\u003cp\u003e1–10: Originally released as Just Sunshine – PAS 6008, 1971\u003c\/p\u003e\n\u003cp\u003e11–13: Alternate Takes from album sessions, 1970\/71\u003c\/p\u003e\n\u003cp\u003e14–15: Recorded live at Beat Club, Germany, April 21, 1971\u003c\/p\u003e\n\u003cp\u003e16–19: Recorded live at The Montreux Golden Rose Pop Festival, May 1, 1971\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eSomething On Your Mind\u003c\/li\u003e\n\u003cli\u003eWhen a Man Loves A Woman\u003c\/li\u003e\n\u003cli\u003eIn My Own Dream\u003c\/li\u003e\n\u003cli\u003eKatie Cruel\u003c\/li\u003e\n\u003cli\u003eHow Sweet It Is\u003c\/li\u003e\n\u003cli\u003eIn A Station\u003c\/li\u003e\n\u003cli\u003eTake Me\u003c\/li\u003e\n\u003cli\u003eSame Old Man\u003c\/li\u003e\n\u003cli\u003eOne Night of Love\u003c\/li\u003e\n\u003cli\u003eAre You Leaving For The Country\u003c\/li\u003e\n\u003cli\u003eSomething On Your Mind (Alternate Take)\u003c\/li\u003e\n\u003cli\u003eIn My Own Dream (Alternate Take)\u003c\/li\u003e\n\u003cli\u003eKatie Cruel (Alternate Take)\u003c\/li\u003e\n\u003cli\u003eOne Night Of Love - Live at Beat Club\u003c\/li\u003e\n\u003cli\u003eGermany\u003c\/li\u003e\n\u003cli\u003eApril 21\u003c\/li\u003e\n\u003cli\u003e1971\u003c\/li\u003e\n\u003cli\u003eTake Me - Live at Beat Club\u003c\/li\u003e\n\u003cli\u003eGermany\u003c\/li\u003e\n\u003cli\u003eApril 21\u003c\/li\u003e\n\u003cli\u003e1971\u003c\/li\u003e\n\u003cli\u003eSomething On Your Mind - Live at The Montreux Golden Rose Pop Festival\u003c\/li\u003e\n\u003cli\u003eMay 1\u003c\/li\u003e\n\u003cli\u003e1971\u003c\/li\u003e\n\u003cli\u003eBlues On The Ceiling - Live at The Montreux Golden Rose Pop Festival\u003c\/li\u003e\n\u003cli\u003eMay 1\u003c\/li\u003e\n\u003cli\u003e1971\u003c\/li\u003e\n\u003cli\u003eAre You Leaving For The Country - Live at The Montreux Golden Rose Pop Festival\u003c\/li\u003e\n\u003cli\u003eMay 1\u003c\/li\u003e\n\u003cli\u003e1971\u003c\/li\u003e\n\u003cli\u003eOne Night Of Love - Live at The Montreux Golden Rose Pop Festival\u003c\/li\u003e\n\u003cli\u003eMay 1\u003c\/li\u003e\n\u003cli\u003e1971\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e\u003c\/p\u003e","brand":"Karen Dalton","offers":[{"title":"LP \/ Black","offer_id":42622042996927,"sku":"LITA200-BK","price":29.98,"currency_code":"USD","in_stock":false},{"title":"LP \/ Silver","offer_id":42622043062463,"sku":"LITA200-SV","price":39.98,"currency_code":"USD","in_stock":false},{"title":"LP \/ Clear","offer_id":42622043029695,"sku":"LITA200-CL","price":39.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/826853020091.jpg?v=1701149300"},{"product_id":"cowboy-in-sweden-deluxe-edition-lee-hazlewood-2lp","title":"Cowboy in Sweden - Deluxe Edition","description":"\u003ch3\u003e** This is a BACKORDER. Please read our policies before ordering. Check our website for Est. Ship Date.\u003c\/h3\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFeatures\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb\u003eNewly Expanded Deluxe Double LP Edition!\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eDouble Lp Expanded Edition Includes Outtakes, Demos, and Instrumentals, Including 10 Previously Unreleased Recordings\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e26 Total Tracks\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eAlbum Remastered From Pristine Lhi Master Tapes By Grammy®-Nominated Mastering Engineer John Baldwin\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eLiner 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\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eRare Film Production Photos From The TorbjöRn Axelman Archive\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eDouble LP Housed In A Gatefold Jacket\u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDescription\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eBy 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.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003ePray Them Bars Away (24 Bit)-Lee Hazlewood\u003c\/li\u003e\n\u003cli\u003eLeather and Lace (24 Bit)-Lee Hazlewood _ Nina Lizell\u003c\/li\u003e\n\u003cli\u003eForget Marie (24 Bit)-Lee Hazlewood\u003c\/li\u003e\n\u003cli\u003eCold Hard Times (24 Bit)-Lee Hazlewood\u003c\/li\u003e\n\u003cli\u003eThe Night Before (24 Bit)-Lee Hazlewood\u003c\/li\u003e\n\u003cli\u003eHey Cowboy (24 Bit)-Lee Hazlewood _ Nina Lizell\u003c\/li\u003e\n\u003cli\u003eNo Train to Stockholm (24 Bit)-Lee Hazlewood\u003c\/li\u003e\n\u003cli\u003eFor a Day Like Today (24 Bit)-Suzi Jane Hokom\u003c\/li\u003e\n\u003cli\u003eEasy and Me (24 Bit)-Lee Hazlewood\u003c\/li\u003e\n\u003cli\u003eWhat's More I Don't Need Her (24 Bit)-Lee Hazlewood\u003c\/li\u003e\n\u003cli\u003eVem Kan Segla (I Can Sail Without the Wind) (24 Bit)-Lee Hazlewood _ Nina Lizell\u003c\/li\u003e\n\u003cli\u003eMe and the Wine and the City Lights (session outtake) (24 Bit)-Lee Hazlewood\u003c\/li\u003e\n\u003cli\u003eFirst Street Blues (session outtake) (24 Bit)-Suzi Jane Hokom\u003c\/li\u003e\n\u003cli\u003ePray Them Bars Away (alternate version) (24 Bit)-Lee Hazlewood\u003c\/li\u003e\n\u003cli\u003eEasy and Me (alternate version) (24 Bit)-Lee Hazlewood\u003c\/li\u003e\n\u003cli\u003eFor A Day Like Today (take 1) (24 Bit)-Suzi Jane Hokom\u003c\/li\u003e\n\u003cli\u003eFirst Street Blues (take 1) (24 Bit)-Suzi Jane Hokom\u003c\/li\u003e\n\u003cli\u003eLeather and Lace (alternate vocal mix) (24 Bit)-Lee Hazlewood _ Nina Lizell\u003c\/li\u003e\n\u003cli\u003eThe Night Before (mono single mix) (24 Bit)-Lee Hazlewood\u003c\/li\u003e\n\u003cli\u003eWhat's More I Don't Need Her (instrumental) (24 Bit)-Lee Hazlewood\u003c\/li\u003e\n\u003cli\u003ePray Them Bars Away (take 7 instrumental) (24 Bit)-Lee Hazlewood\u003c\/li\u003e\n\u003cli\u003eEasy and Me (take 5 instrumental) (24 Bit)-Lee Hazlewood\u003c\/li\u003e\n\u003cli\u003eCold Hard Times (take 4 instrumental) (24 Bit)-Lee Hazlewood\u003c\/li\u003e\n\u003cli\u003eNo Train To Stockholm (instrumental) (24 Bit)-Lee Hazlewood\u003c\/li\u003e\n\u003cli\u003eMe and the Wine and the City Lights (instrumental) (24 Bit)-Lee Hazlewood\u003c\/li\u003e\n\u003cli\u003eHey Cowboy (instrumental) (24 Bit)-Lee Hazlewood\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch3\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLISTEN\u003c\/span\u003e\u003c\/h3\u003e\n\u003cem\u003eAvailable on Desktop \u0026amp; Mobile\u003c\/em\u003e\u003ciframe style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/6zwdOtcRntgYAyUkkxVZ4t?utm_source=generator\" width=\"100%\" height=\"352\" loading=\"lazy\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\"\u003e\u003c\/iframe\u003e","brand":"Lee Hazlewood","offers":[{"title":"2LP \/ Black","offer_id":42626033451199,"sku":"LITA153-BK","price":38.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/6947\/3471\/files\/LITA153-LeeHazlewood-CowboyinSweden-DeluxeEdition1024x1024.jpg?v=1700266512"}],"url":"https:\/\/helixsounds.com\/collections\/label-light-in-the-attic-records-1.oembed?page=5","provider":"Helix Sounds","version":"1.0","type":"link"}