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Stone Crush: Memphis Modern Soul 1977-1987 2LP (Black Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;Black Vinyl Double LP! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt; & lt;strong & gt;Definitive Anthology of Memphis' Modern Soul Scene & lt;/strong & gt; & lt;/p & gt; & lt;p & gt;Memphis has always been a studio town, where making hit records looked easy. An unknown Elvis could walk into Sun Studios and cut a side, while Willie Mitchell worked his magic around the corner at the Hi Records studio. This vast studio ecosystem meant that even when Stax Records folded in 1975, everybody still knew somebody who could get them into a real recording facility. The city's largest player in the business was gone, but the possibilities that it introduced were not. & lt;/p & gt; & lt;p & gt; Stone Crush is the definitive overview of Memphis' modern soul scene of the post-Stax years. It's a collection of funky tracks of hope--from dentist O.T. Sykes, who traded dental work for studio time, to the ad-man who moonlighted as the visionary mastermind behind Captain Fantastic & amp; Starfleet, few of them ever had anything to do with a hit, but across the board, each believed. Like Cato Walker, whose father's gig as B.B. King's driver got him an in, and The Bar-Kays' former costume maker Libra, some had tangential connections to the city's deep-rooted music scene that gave them a head start on their hopeful path to fame. Over a decade in the making, Stone Crush is an expertly curated compilation of these home-grown slices of Memphis stylings, from roller skate boogie to private press soul to bedroom funk--rare sides whose original copies are considered holy grails by DJs and collectors all over. This collection does more than transport us to a time gone by. It helps us hear what couldn't be heard then. & lt;/p & gt; & lt;p & gt;Impossibly rare Memphis funk/boogie singles collected on vinyl for the first time ever & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;Black Vinyl & lt;/li & gt; & lt;li & gt;Double LP & lt;/li & gt; & lt;li & gt;Gatefold jacket with obi strip & lt;/li & gt; & lt;li & gt;Liner notes by Robert Gordon & amp; Andria Lisle & lt;/li & gt; & lt;li & gt;24-page full color booklet with unseen archive photos and ephemera & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side A: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Stone Crush On You - O.T. Sykes & lt;/li & gt; & lt;li & gt;The Doctor - L.A. & lt;/li & gt; & lt;li & gt;I'll Get To That - Tom Sanders & lt;/li & gt; & lt;li & gt;No Seat Dancin' - Frankie Alexander & lt;/li & gt; & lt;li & gt;Keep It To Yourself - Captain Fantastic & amp; Starr Fleet & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side B: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Under Cover Lover - Captain Fantastic & amp; Starr Fleet & lt;/li & gt; & lt;li & gt;(I'm) Choosing You - Magic Morris & lt;/li & gt; & lt;li & gt;He Left You Standing There - Sir Henry Ivy & lt;/li & gt; & lt;li & gt;You Mean Everything To Me - Sweet Pearl & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side C: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Can We Melt The Ice - Morris & lt;/li & gt; & lt;li & gt;Is It Love - J- Phakta & lt;/li & gt; & lt;li & gt;Slice Of Heaven - Cato & lt;/li & gt; & lt;li & gt;Take Time Out For Love - Frankie Alexander & lt;/li & gt; & lt;li & gt;What Does It Take To Know (A Woman Like You) - Greg Mason & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side D: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Always - Silk Satin & amp; Lace & lt;/li & gt; & lt;li & gt;Lollie Pop - Kick & lt;/li & gt; & lt;li & gt;Right Thing - Kick & lt;/li & gt; & lt;li & gt;Convict Me - Libra & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Nancy Sinatra Start Walkin' 1965-1976 2LP (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;Definitive Compilation On Double LP! & lt;br & gt; Spans Solo Recordings, Rarities & amp; Duets with Lee Hazlewood! & lt;br & gt; Newly Remastered From Original Analog Tapes by John Baldwin & amp; Pressed at RTI! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;Light In The Attic Records is proud to present Nancy Sinatra: Start Walkin' 1965-1976. The definitive new collection surveys Sinatra's most prolific period over 1965-1976, including her revered collaborations with Lee Hazlewood, over 23 tracks. & lt;/p & gt; & lt;p & gt;Remastered from the original analog tapes by GRAMMY & amp;#174;-nominated engineer John Baldwin, the collection is complemented by liner notes penned by Amanda Petrusich (author and music critic at The New Yorker), featuring insightful new interviews with Sinatra, as well as a Q & amp;A with archivist and GRAMMY & amp;#174;-nominated reissue co-producer, Hunter Lea. The two-disc vinyl set is presented in a gatefold jacket (featuring a 24-page booklet). & lt;/p & gt; & lt;p & gt;Nancy's performance of the Lee Hazlewood-penned song & quot;These Boots Are Made For Walkin' & quot; 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 & quot;Sugar Town & quot;, & quot;Some Velvet Morning & quot;, & quot;Summer Wine & quot;, & quot;Sand & quot;, & quot;Jackson & quot; and the title track to the 1967 James Bond film & quot;You Only Live Twice & quot;. & lt;/p & gt; & lt;p & gt;Start Walkin' explores Nancy's recordings with Lee, her inspired collaborations with songwriter Mac Davis ( & quot;Hello L.A., Bye Bye Birmingham & quot;), producer Lenny Waronker ( & quot;Hook And Ladder & quot;), and the & quot;should've been hit & quot; song with arranger/producer Billy Strange ( & quot;How Are Things In California & quot;). & lt;/p & gt; & lt;p & gt;Over the years, she has been cited as an influence by countless artists, including Sonic Youth, Morrissey, Calexico, U2, and Lana Del Rey. Her haunting song & quot;Bang, Bang & quot; gained a new legion of fans when it appeared in the opening credits of Quentin Tarantino's 2003 film, Kill Bill Volume 1. & lt;/p & gt; & lt;p & gt; & lt;strong & gt;Please note: Images are mock-ups and subject to change. & lt;/strong & gt; & lt;/p & gt; & lt;blockquote cite= & quot;www.pitchfork.com & quot; & gt; Sinatra's influence can be heard everywhere from Angel Olsen to Lana Del Rey. This new compilation offers one of the only overarching retrospectives of a singular career. & lt;footer & gt; -Stephen M. Deusner, Pitchfork, Rated 8.1 & lt;/footer & gt; & lt;/blockquote & gt; & lt;blockquote cite= & quot;www.allmusic.com & quot; & gt; What sets Start Walkin' 1965-1976 apart from earlier comps from Rhino and Raven is that it's not strictly a hits collection.... Instead, Start Walkin' 1965-1976 focuses on the stranger numbers within Sinatra's catalog - hazy, symphonic psych-pop written and produced by Hazlewood. In this context, the closing coda of oddities from the '70s - the Lenny Waronker-produced 'Hook and Ladder,' the Mac Davis co-write 'Hello L.A., Bye Bye Birmingham' - also feel like remnants of Hollywood's weirdest era, and they help make for a convincing portrait of Nancy Sinatra as an idiosyncratic artist happily working within the confines of L.A.'s lushest studios. & lt;footer & gt; -Stephen Thomas Erlewine, AllMusic.com, 4.5/5 stars & lt;/footer & gt; & lt;/blockquote & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;Double LP & lt;/li & gt; & lt;li & gt;Black Vinyl & lt;/li & gt; & lt;li & gt;Solo recordings, rarities & amp; duets with Lee Hazlewood & lt;/li & gt; & lt;li & gt;Newly remastered from the original analog tapes by Grammy-nominated engineer John Baldwin & lt;/li & gt; & lt;li & gt;New interviews with Nancy Sinatra & lt;/li & gt; & lt;li & gt;Extensive essay by Amanda Petrusich & lt;/li & gt; & lt;li & gt;Q & amp;A interview with Nancy & amp; Grammy-nominated reissue co-producer, Hunter Lea & lt;/li & gt; & lt;li & gt;Never-before-seen photos from Nancy Sinatra's personal archive & lt;/li & gt; & lt;li & gt;Gatefold jacket with obi strip & lt;/li & gt; & lt;li & gt;24-page book & lt;/li & gt; & lt;li & gt;Pressed at RTI & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;ol & gt; & lt;li & gt;Bang Bang & lt;/li & gt; & lt;li & gt;These Boots Are Made For Walkin' & lt;/li & gt; & lt;li & gt;Sugar Town & lt;/li & gt; & lt;li & gt;So Long Babe & lt;/li & gt; & lt;li & gt;How Does That Grab You, Darlin'? & lt;/li & gt; & lt;li & gt;Friday's Child & lt;/li & gt; & lt;li & gt;You Only Live Twice & lt;/li & gt; & lt;li & gt;Summer Wine & lt;/li & gt; & lt;li & gt;Some Velvet Morning & lt;/li & gt; & lt;li & gt;Lightning's Girl & lt;/li & gt; & lt;li & gt;Sand & lt;/li & gt; & lt;li & gt;Lady Bird & lt;/li & gt; & lt;li & gt;Jackson & lt;/li & gt; & lt;li & gt;Happy & lt;/li & gt; & lt;li & gt;How Are Things In California? & lt;/li & gt; & lt;li & gt;Hook And Ladder & lt;/li & gt; & lt;li & gt;Hello L.A., Bye-Bye Birmingham & lt;/li & gt; & lt;li & gt;Paris Summer & lt;/li & gt; & lt;li & gt;Arkansas Coal (Suite) & lt;/li & gt; & lt;li & gt;Down From Dover & lt;/li & gt; & lt;li & gt;Kind Of A Woman & lt;/li & gt; & lt;li & gt;Machine Gun Kelly & lt;/li & gt; & lt;li & gt;(L' & amp;#233;t & amp;#233; Indien) Indian Summer & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Jim Ford Harlan County LP (Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Reissue Of Country-Funk Classic On Vinyl LP! & lt;br & gt; Remastered From The Original Master Tapes! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Here's how it went down: & lt;b & gt;Jim Ford & lt;/b & gt;, a musically minded country boy from rural Kentucky heads to the Golden State with dreams of making it. Making the scene in Los Angeles, he befriends and writes songs for such artists as & lt;b & gt;Bobby Womack & lt;/b & gt; ( & quot;Harry Hippie & quot;), & lt;b & gt;Aretha Franklin & lt;/b & gt;, & lt;b & gt;P.J. Proby & lt;/b & gt;, & lt;b & gt;The Temptations & lt;/b & gt;, and even appears on & lt;b & gt;Sly & amp; the Family Stone's There's a Riot Goin' On & lt;/b & gt;. He eventually hooks up with legendary session players & lt;b & gt;Dr. John, & lt;/b & gt; & lt;b & gt;Jim Keltner & lt;/b & gt; (John Lennon), and & lt;b & gt;James Burton & lt;/b & gt; (Elvis Presley) and books into the equally legendary Wally Heider Recording Studios to cut an album of blue-eyed country-funk and soul. The year is 1969. What came next was a series of missed opportunities, burned bridges, and a few decades lost to drug abuse. And what's left? Harlan County. & lt;br & gt; & lt;br & gt; Released in 1969 on the minor label Sundown Records, Harlan County simply fell through the cracks between monster selling titles by The Beatles, Led Zeppelin, and Creedence Clearwater Revival. Despite being allied with some of the biggest names in the business and a deft musical touch, Ford never struck gold as a solo artist and eventually left the often cutthroat music business for a quieter life at the turn of the 1980s. & lt;br & gt; & lt;br & gt; & quot;Jimmy Ford is the baddest white man on the planet, & quot; said & lt;b & gt;Sly Stone & lt;/b & gt; of Jim Ford, and listening to Harlan County today who's to argue? Needless to say, Light In The Attic Records are honored to re-release these ten country-funk gems on wax with Ford's original cover artwork, beautifully re-mastered audio, extensive liner notes by Kurt Wolff (The Rough Guide to Country Music), and rare photos. Fans of Charlie Rich, Tony Joe White, Lee Hazlewood, and Bobby Charles, please take note. Harlan County is a revelation to deep music heads and for the previously converted, an opportunity to revisit one of the California studio scene's crowning glories. To quote the title of Wolff's booklet essay, & lt;b & gt; & quot;Jim Ford's Music Will Kick Your Ass And Blow Your Mind. & quot; & lt;/b & gt; & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Jimmy Ford is the baddest white man on the planet. & quot; & lt;/b & gt; – Sly Stone & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Jimmy was a beautiful cat, one of the most creative people that I've ever met. & quot; & lt;/b & gt; – Bobby Womack & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; & amp;bull; Vinyl LP & lt;br & gt; & amp;bull; Remastered from the original master tapes & lt;br & gt; & amp;bull; Original cover artwork & lt;br & gt; & amp;bull; Gatefold jacket & lt;br & gt; & amp;bull; Extensive liner notes by Kurt Wolff & lt;br & gt; & amp;bull; Rare photos & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Harlan County & lt;br & gt; 2. I'm Gonna Make Her Love Me & lt;br & gt; 3. Changin' Colors & lt;br & gt; 4. Dr. Handy's Dandy Candy & lt;br & gt; 5. Love On My Brain & lt;br & gt; 6. Long Road Ahead & lt;br & gt; 7. Under Construction & lt;br & gt; 8. Workin' My Way To L.A. & lt;br & gt; 9. Spoonful & lt;br & gt; 10. To Make My Life Beautiful

Jim Ford Harlan County LP (Blue Vinyl)

& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Limited Edition & quot;Country Blue & quot; Vinyl - Only 400 Copies! & lt;br & gt; Reissue Of Country-Funk Classic On Vinyl LP! & lt;br & gt; Remastered From The Original Master Tapes! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Here's how it went down: & lt;b & gt;Jim Ford & lt;/b & gt;, a musically minded country boy from rural Kentucky heads to the Golden State with dreams of making it. Making the scene in Los Angeles, he befriends and writes songs for such artists as & lt;b & gt;Bobby Womack & lt;/b & gt; ( & quot;Harry Hippie & quot;), & lt;b & gt;Aretha Franklin & lt;/b & gt;, & lt;b & gt;P.J. Proby & lt;/b & gt;, & lt;b & gt;The Temptations & lt;/b & gt;, and even appears on & lt;b & gt;Sly & amp; the Family Stone's There's a Riot Goin' On & lt;/b & gt;. He eventually hooks up with legendary session players & lt;b & gt;Dr. John, & lt;/b & gt; & lt;b & gt;Jim Keltner & lt;/b & gt; (John Lennon), and & lt;b & gt;James Burton & lt;/b & gt; (Elvis Presley) and books into the equally legendary Wally Heider Recording Studios to cut an album of blue-eyed country-funk and soul. The year is 1969. What came next was a series of missed opportunities, burned bridges, and a few decades lost to drug abuse. And what's left? Harlan County. & lt;br & gt; & lt;br & gt; Released in 1969 on the minor label Sundown Records, Harlan County simply fell through the cracks between monster selling titles by The Beatles, Led Zeppelin, and Creedence Clearwater Revival. Despite being allied with some of the biggest names in the business and a deft musical touch, Ford never struck gold as a solo artist and eventually left the often cutthroat music business for a quieter life at the turn of the 1980s. & lt;br & gt; & lt;br & gt; & quot;Jimmy Ford is the baddest white man on the planet, & quot; said & lt;b & gt;Sly Stone & lt;/b & gt; of Jim Ford, and listening to Harlan County today who's to argue? Needless to say, Light In The Attic Records are honored to re-release these ten country-funk gems on wax with Ford's original cover artwork, beautifully re-mastered audio, extensive liner notes by Kurt Wolff (The Rough Guide to Country Music), and rare photos. Fans of Charlie Rich, Tony Joe White, Lee Hazlewood, and Bobby Charles, please take note. Harlan County is a revelation to deep music heads and for the previously converted, an opportunity to revisit one of the California studio scene's crowning glories. To quote the title of Wolff's booklet essay, & lt;b & gt; & quot;Jim Ford's Music Will Kick Your Ass And Blow Your Mind. & quot; & lt;/b & gt; & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Jimmy Ford is the baddest white man on the planet. & quot; & lt;/b & gt; – Sly Stone & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Jimmy was a beautiful cat, one of the most creative people that I've ever met. & quot; & lt;/b & gt; – Bobby Womack & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; & amp;bull; Limited Edition & quot;Country Blue & quot; Vinyl LP - Only 400 Copies & lt;br & gt; & amp;bull; Remastered from the original master tapes & lt;br & gt; & amp;bull; Original cover artwork & lt;br & gt; & amp;bull; Gatefold jacket & lt;br & gt; & amp;bull; Extensive liner notes by Kurt Wolff & lt;br & gt; & amp;bull; Rare photos & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Harlan County & lt;br & gt; 2. I'm Gonna Make Her Love Me & lt;br & gt; 3. Changin' Colors & lt;br & gt; 4. Dr. Handy's Dandy Candy & lt;br & gt; 5. Love On My Brain & lt;br & gt; 6. Long Road Ahead & lt;br & gt; 7. Under Construction & lt;br & gt; 8. Workin' My Way To L.A. & lt;br & gt; 9. Spoonful & lt;br & gt; 10. To Make My Life Beautiful

Betty Davis Betty Davis LP (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;Vinyl LP Features Sly & amp; The Family Stone & amp; The Pointer Sisters! & lt;br & gt; Remastered From The Original Tapes! & lt;br & gt; Pressed at RTI! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;One 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 & amp;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. & lt;/p & gt; & lt;p & gt; There 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 & quot;Lady Marmalade & quot; for another year while Millie Jackson wasn't & quot;Feelin' Bitchy & quot; 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. & lt;/p & gt; & lt;p & gt; Ms. Davis's unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song & quot;Uptown & quot; 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.' & lt;/p & gt; & lt;p & gt; But 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. & lt;/p & gt; & lt;p & gt; In 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 & quot;If I'm In Luck I Might Get Picked Up & quot; and & quot;Game Is My Middle Name. & quot; The album Betty Davis was recorded with Sly & amp; The Family Stone's rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters. & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;Vinyl LP & lt;/li & gt; & lt;li & gt;Remastered from the original tapes & lt;/li & gt; & lt;li & gt;Featuring Sly Stone's rhythm section & lt;/li & gt; & lt;li & gt;Liner notes by Oliver Wang (Soul Sides) & lt;/li & gt; & lt;li & gt;Exclusive interview with Betty & lt;/li & gt; & lt;li & gt;Pressed at RTI & lt;/li & gt; & lt;li & gt;Deluxe Stoughton & quot;tip-on & quot; jacket & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side 1: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;If I'm In Luck I Might Get Picked Up & lt;/li & gt; & lt;li & gt;Walkin Up The Road & lt;/li & gt; & lt;li & gt;Anti Love Song & lt;/li & gt; & lt;li & gt;Your Man My Man & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side 2: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Ooh Yea & lt;/li & gt; & lt;li & gt;Steppin In Her I. Miller Shoes & lt;/li & gt; & lt;li & gt;Game Is My Middle Name & lt;/li & gt; & lt;li & gt;In The Meantime & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Betty Davis Betty Davis LP (Blue Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;1973 Self-Titled Debut On Limited Edition Blue Vinyl LP! & lt;br & gt; A Mix Of Progressive Hard Funk & amp; Sweet Soul! & lt;br & gt; Remastered From Original Tapes & amp; Pressed at RTI! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;One 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 & amp;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. & lt;/p & gt; & lt;p & gt;There 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 & quot;Lady Marmalade & quot; 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. & lt;/p & gt; & lt;p & gt;Ms. Davis's unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song & quot;Uptown & quot; 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. & lt;/p & gt; & lt;p & gt;But 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. & lt;/p & gt; & lt;p & gt;In 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 & quot;If I'm In Luck I Might Get Picked Up & quot; and & quot;Game Is My Middle Name & quot;. The album Betty Davis was recorded with Sly & amp; The Family Stone's rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters. & lt;/p & gt; & lt;blockquote cite= & quot;quote source & quot; & gt; Groundbreaking slab of funk & lt;footer & gt; -Pitchfork & lt;/footer & gt; & lt;/blockquote & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;Limited Edition Blue Vinyl & lt;/li & gt; & lt;li & gt;Recorded with Sly & amp; The Family Stone's rhythm section & lt;/li & gt; & lt;li & gt;Produced by Sly Stone drummer Greg Errico & lt;/li & gt; & lt;li & gt;Backing vocals by Sly Stone & amp; The Pointer Sisters & lt;/li & gt; & lt;li & gt;Remastered from the original tapes & lt;/li & gt; & lt;li & gt;Liner notes by Oliver Wang & lt;/li & gt; & lt;li & gt;Extensive interview with Betty & lt;/li & gt; & lt;li & gt;Pressed at RTI & lt;/li & gt; & lt;li & gt;Deluxe Stoughton & quot;tip-on & quot; jacket & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side 1: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;If I'm In Luck I Might Get Picked Up & lt;/li & gt; & lt;li & gt;Walkin Up The Road & lt;/li & gt; & lt;li & gt;Anti Love Song & lt;/li & gt; & lt;li & gt;Your Man My Man & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side 2: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Ooh Yea & lt;/li & gt; & lt;li & gt;Steppin In Her I. Miller Shoes & lt;/li & gt; & lt;li & gt;Game Is My Middle Name & lt;/li & gt; & lt;li & gt;In The Meantime & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Betty Davis They Say I'm Different LP (Red Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;1974 Sophomore Album On Limited Edition Red Vinyl LP! & lt;br & gt; Remastered From Original Tapes & amp; Pressed at RTI! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;One 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 & amp;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. & lt;/p & gt; & lt;p & gt;There 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 & quot;Lady Marmalade & quot; 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. & lt;/p & gt; & lt;p & gt;Ms. Davis's unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song & quot;Uptown & quot; 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. & lt;/p & gt; & lt;p & gt;But 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. & lt;/p & gt; & lt;p & gt;Her 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 & quot;Shoo-B-Doop and Cop Him & quot; (later sampled by Ice Cube). Her follow up is full of classic cuts like & quot;Don't Call Her No Tramp & quot; and the hilarious, hard, deep funk of & quot;He Was A Big Freak & quot;. & lt;/p & gt; & lt;blockquote cite= & quot;quote source & quot; & gt; If Betty were singing today she would be something like Madonna, something like Prince. She was the beginning of all that. & lt;footer & gt; -Miles Davis & lt;/footer & gt; & lt;/blockquote & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;Limited Edition Red Vinyl & lt;/li & gt; & lt;li & gt;Remastered from the original tapes & lt;/li & gt; & lt;li & gt;Liner notes by Oliver Wang & lt;/li & gt; & lt;li & gt;Extensive interview with Betty & lt;/li & gt; & lt;li & gt;Pressed at RTI & lt;/li & gt; & lt;li & gt;Deluxe Stoughton & quot;tip-on & quot; gatefold jacket & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side 1: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Shoo-B-Doop And Cop Him & lt;/li & gt; & lt;li & gt;He Was A Big Freak & lt;/li & gt; & lt;li & gt;Your Mama Wants Ya Back & lt;/li & gt; & lt;li & gt;Don't Call Her No Tramp & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side 2: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Git In There & lt;/li & gt; & lt;li & gt;They Say I'm Different & lt;/li & gt; & lt;li & gt;70's Blues & lt;/li & gt; & lt;li & gt;Special People & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Jane Birkin Di Doo Dah 180g LP (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;1973 Debut Solo Album Reissued On 180g Vinyl LP! & lt;br & gt; Collaboration With Serge Gainsbourg & amp; Jean-Claude Vannier! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;Di Doo Dah is the first true solo album from British born actress, model, singer, mother and French national treasure, Jane Birkin. Emerging as a creative and beatific force in London's Swinging '60s, she met Parisian provocateur Serge Gainsbourg in 1968 on the film set of Slogan and birthed one of the most fantastic creative collaborations the world has ever known. After the 1969 duet album Je T'Aime... Moi Non Plus and the landmark L'Histoire De Melody Nelson, Jane was ready for her own namesake debut. Di Doo Dah sees Birkin, Gainsbourg and co-conspirator Jean-Claude Vannier (L'Enfant Assassin Des Mouches) meld Jane's fragile vocals with jazz, rock and lush orchestral textures: a perfect album for living and loving. & lt;/p & gt; & lt;p & gt;Light In The Attic's definitive version of Di Doo Dah is pressed on 180-gram vinyl, with original artwork, unseen photographs and extensive liner notes by renowned music journalist Andy Beta (Spin, The FADER). With full cooperation and insight from Birkin herself - not to mention French lyrics and English translations - this reissue truly allows listeners to delve into the album's witty and frank world of sex, sin, voyeurism, motorcycles, Brighton and banana boats. & lt;/p & gt; & lt;p & gt;So what exactly does Di Doo Dah mean? & quot;Nothing at all! & quot; replied Birkin in a BBC interview from 1973. But this album is far from a throwaway, showing a maturity and musical understanding from all parties involved. By the early '70s, this lady was already a mother and very much aware of traditional gender roles as well as the sexual revolution - clearly able to plumb the necessary emotional depths required to translate Serge's madcap lyrics and songs. It is true that in Birkin, Serge had finally found his match and most transcendent muse. And although the couple eventually went their separate ways, they left us all whistling much more than & quot;Zipp-a-Dee-Doo-Dah & quot; in the process. & lt;/p & gt; & lt;p & gt;Viva Di Doo Dah! & lt;/p & gt; & lt;blockquote cite= & quot;www.allmusic.com & quot; & gt; This set is revelatory, an offbeat sensual pop masterpiece that holds up spectacularly nearly half-a-century later. & lt;footer & gt; -Thom Jurek, AllMusic & lt;/footer & gt; & lt;/blockquote & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;180g Vinyl & lt;/li & gt; & lt;li & gt;Pinnacle collaboration between Jane, Serge Gainsbourg & amp; Jean-Claude Vannier & lt;/li & gt; & lt;li & gt;Expanded gatefold jacket & lt;/li & gt; & lt;li & gt;Original artwork & lt;/li & gt; & lt;li & gt;Unseen photographs & lt;/li & gt; & lt;li & gt;Extensive liner notes including a new interview with Jane Birkin & lt;/li & gt; & lt;li & gt;French lyrics & amp; English translations & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;ol & gt; & lt;li & gt;Di Doo Dah & lt;/li & gt; & lt;li & gt;Help Cammionneur! & lt;/li & gt; & lt;li & gt;Encore Lui & lt;/li & gt; & lt;li & gt;Puisque Je Te Le Dis & lt;/li & gt; & lt;li & gt;Les Capotes Anglaises & lt;/li & gt; & lt;li & gt;Leur Plaisir Sans Moi & lt;/li & gt; & lt;li & gt;Mon Amour Baiser & lt;/li & gt; & lt;li & gt;Banana Boat & lt;/li & gt; & lt;li & gt;Kawasaki & lt;/li & gt; & lt;li & gt;La Cible Qui Bouge & lt;/li & gt; & lt;li & gt;La Baigneuse De Brighton & lt;/li & gt; & lt;li & gt;C'est La Vie Qui Veut Ca & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Nancy Sinatra Start Walkin' 1965-1976 2LP (Velvet Morning Sunrise Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;Definitive Compilation On Velvet Morning Sunrise Color Vinyl 2LP! & lt;br & gt; Spans Solo Recordings, Rarities & amp; Duets with Lee Hazlewood! & lt;br & gt; Newly Remastered From Original Analog Tapes by John Baldwin & amp; Pressed at RTI! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;Light In The Attic Records is proud to present Nancy Sinatra: Start Walkin' 1965-1976. The definitive new collection surveys Sinatra's most prolific period over 1965-1976, including her revered collaborations with Lee Hazlewood, over 23 tracks. & lt;/p & gt; & lt;p & gt;Remastered from the original analog tapes by GRAMMY & amp;#174;-nominated engineer John Baldwin, the collection is complemented by liner notes penned by Amanda Petrusich (author and music critic at The New Yorker), featuring insightful new interviews with Sinatra, as well as a Q & amp;A with archivist and GRAMMY & amp;#174;-nominated reissue co-producer, Hunter Lea. The two-disc vinyl set is presented in a gatefold jacket (featuring a 24-page booklet). & lt;/p & gt; & lt;p & gt;Nancy's performance of the Lee Hazlewood-penned song & quot;These Boots Are Made For Walkin' & quot; 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 & quot;Sugar Town & quot;, & quot;Some Velvet Morning & quot;, & quot;Summer Wine & quot;, & quot;Sand & quot;, & quot;Jackson & quot; and the title track to the 1967 James Bond film & quot;You Only Live Twice & quot;. & lt;/p & gt; & lt;p & gt;Start Walkin' explores Nancy's recordings with Lee, her inspired collaborations with songwriter Mac Davis ( & quot;Hello L.A., Bye Bye Birmingham & quot;), producer Lenny Waronker ( & quot;Hook And Ladder & quot;), and the & quot;should've been hit & quot; song with arranger/producer Billy Strange ( & quot;How Are Things In California & quot;). & lt;/p & gt; & lt;p & gt;Over the years, she has been cited as an influence by countless artists, including Sonic Youth, Morrissey, Calexico, U2, and Lana Del Rey. Her haunting song & quot;Bang, Bang & quot; gained a new legion of fans when it appeared in the opening credits of Quentin Tarantino's 2003 film, Kill Bill Volume 1. & lt;/p & gt; & lt;p & gt; & lt;strong & gt;Please note: Images are mock-ups and subject to change. & lt;/strong & gt; & lt;/p & gt; & lt;blockquote cite= & quot;www.pitchfork.com & quot; & gt; Sinatra's influence can be heard everywhere from Angel Olsen to Lana Del Rey. This new compilation offers one of the only overarching retrospectives of a singular career. & lt;footer & gt; -Stephen M. Deusner, Pitchfork, Rated 8.1 & lt;/footer & gt; & lt;/blockquote & gt; & lt;blockquote cite= & quot;www.allmusic.com & quot; & gt; What sets Start Walkin' 1965-1976 apart from earlier comps from Rhino and Raven is that it's not strictly a hits collection.... Instead, Start Walkin' 1965-1976 focuses on the stranger numbers within Sinatra's catalog - hazy, symphonic psych-pop written and produced by Hazlewood. In this context, the closing coda of oddities from the '70s - the Lenny Waronker-produced 'Hook and Ladder,' the Mac Davis co-write 'Hello L.A., Bye Bye Birmingham' - also feel like remnants of Hollywood's weirdest era, and they help make for a convincing portrait of Nancy Sinatra as an idiosyncratic artist happily working within the confines of L.A.'s lushest studios. & lt;footer & gt; -Stephen Thomas Erlewine, AllMusic.com, 4.5/5 stars & lt;/footer & gt; & lt;/blockquote & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;Velvet Morning Sunrise Color Vinyl & lt;/li & gt; & lt;li & gt;Double LP & lt;/li & gt; & lt;li & gt;Solo recordings, rarities & amp; duets with Lee Hazlewood & lt;/li & gt; & lt;li & gt;Newly remastered from the original analog tapes by Grammy-nominated engineer John Baldwin & lt;/li & gt; & lt;li & gt;New interviews with Nancy Sinatra & lt;/li & gt; & lt;li & gt;Extensive essay by Amanda Petrusich & lt;/li & gt; & lt;li & gt;Q & amp;A interview with Nancy & amp; Grammy-nominated reissue co-producer, Hunter Lea & lt;/li & gt; & lt;li & gt;Never-before-seen photos from Nancy Sinatra's personal archive & lt;/li & gt; & lt;li & gt;Gatefold jacket with obi strip & lt;/li & gt; & lt;li & gt;24-page book & lt;/li & gt; & lt;li & gt;Pressed at RTI & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;ol & gt; & lt;li & gt;Bang Bang & lt;/li & gt; & lt;li & gt;These Boots Are Made For Walkin' & lt;/li & gt; & lt;li & gt;Sugar Town & lt;/li & gt; & lt;li & gt;So Long Babe & lt;/li & gt; & lt;li & gt;How Does That Grab You, Darlin'? & lt;/li & gt; & lt;li & gt;Friday's Child & lt;/li & gt; & lt;li & gt;You Only Live Twice & lt;/li & gt; & lt;li & gt;Summer Wine & lt;/li & gt; & lt;li & gt;Some Velvet Morning & lt;/li & gt; & lt;li & gt;Lightning's Girl & lt;/li & gt; & lt;li & gt;Sand & lt;/li & gt; & lt;li & gt;Lady Bird & lt;/li & gt; & lt;li & gt;Jackson & lt;/li & gt; & lt;li & gt;Happy & lt;/li & gt; & lt;li & gt;How Are Things In California? & lt;/li & gt; & lt;li & gt;Hook And Ladder & lt;/li & gt; & lt;li & gt;Hello L.A., Bye-Bye Birmingham & lt;/li & gt; & lt;li & gt;Paris Summer & lt;/li & gt; & lt;li & gt;Arkansas Coal (Suite) & lt;/li & gt; & lt;li & gt;Down From Dover & lt;/li & gt; & lt;li & gt;Kind Of A Woman & lt;/li & gt; & lt;li & gt;Machine Gun Kelly & lt;/li & gt; & lt;li & gt;(L' & amp;#233;t & amp;#233; Indien) Indian Summer & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

The Black Angels Directions To See A Ghost 3LP (Color Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;Color Vinyl 3LP Pressed At RTI! & lt;br & gt; Pressed On Marble Red, Marble Green & amp; Clear Wax! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt; & quot;The Black Angels bring the aura of mid-1966, the drilling guitars of early Velvet Underground shows, the raga inflections of late-show Fillmore jams, the acid-prayer stomp of Austin avatars the 13th Floor Elevators everywhere they go, including the levitations on their second album, Directions to See a Ghost. Mid-Eighties echoes of Spacemen 3 and the Jesus and Mary Chain also roll through the scoured-guitar sustain and Alex Maas' rocker-monk incantations. But he knows what time it is. 'You say the Beatles stopped the war,' Maas sings in 'Never/Ever.' 'They might've helped to find a cure/But it's still not over.' Even so, this medicine works wonders. & quot; - David Fricke, Rolling Stone & lt;/p & gt; & lt;p & gt;Last time we met The Black Angels, they were staring into the desert sun somewhere outside of Austin, Texas. Two years later, night has fallen and the spirits have come out. It's time for The Black Angels to provide Directions On How To See A Ghost. & lt;/p & gt; & lt;p & gt;If you're familiar with Passover, the band's 2006 debut, you'll know that The Black Angels's music alone is enough to invoke spirits. There's a name for the band's sound; they call it & quot;hypno-drone 'n roll. & quot; It's the sound of long nights on peyote, of dreams of a new world order, and of half-invented memories of the seamy side of '60s psychedelia. & lt;/p & gt; & lt;p & gt;While the Iraq war is still a major influence on the band's lyrics, there are new forces at work here, including Eugene Zamyatin's dystopian novel We and in Christian Bland's words & quot;psychic information from the past and future. & quot; See, The Black Angels really are in contact with ghosts. & lt;/p & gt; & lt;p & gt; & quot;Civil War battlefields are prime spots for seeing ghosts, & quot; says Bland. & quot;One time at Kennesaw mountain in Georgia, I was climbing the mountain in the middle of June and it must have been close to 100 degrees, but in this one particular spot it was very cold. The hairs on my neck stood up and I knew something strange was happening. Then the wind whispered something like 'retreat,' and I did. I later learned that the spot where I was on the battlefield was known as 'the dead angle,' the place where the fiercest fighting took place. The Confederates ended up retreating from the mountain towards Peachtree Creek. & quot; & lt;/p & gt; & lt;p & gt;The Black Angels formed in Austin, Texas, in 2004, comprising from six people (now five) from very different backgrounds. Singer/vocalist Christian Bland is the son of a Presbyterian Pastor and was raised in a devoutly religious household. Bassist / guitarist Nate Ryan was born on a cult compound and drummer Stephanie Bailey claims she's a descendant of Davy Crocket. She and Alex Maas (vocals/guitar) believe a little girl in a red linen dress haunts the group's home. & lt;/p & gt; & lt;p & gt;The band released Passover in 2006 to critical acclaim for both the album and the song & quot;The First Vietnamese War. & quot; Most of all, Passover established The Black Angels as a band with brains, balls and a strong message. And this time around, the message is there to read in a 16-page booklet that comes with the album. & lt;/p & gt; & lt;p & gt; & quot;Our central theme is that people need to open up their minds and let everything come through, and to learn from past mistakes, & quot; says Christian. & quot;Only then will we understand the reality of this world and progress beyond where we are now as humans. We've built upon that theme with Directions to See a Ghost. We want people to study the booklet we are providing with the album in hopes that they will be able to relate each song to something in their life. & quot; & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;3LP & lt;/li & gt; & lt;li & gt;LP1 on Opaque Red Marble Vinyl & lt;/li & gt; & lt;li & gt;LP2 on Opaque Green Marble Vinyl & lt;/li & gt; & lt;li & gt;LP3 on Clear Vinyl & lt;/li & gt; & lt;li & gt;Pressed at RTI & lt;/li & gt; & lt;li & gt;Stoughton Tri-Fold Gatefold Jacket & lt;/li & gt; & lt;li & gt;16-Page Booklet & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;ol & gt; & lt;li & gt;You On The Run & lt;/li & gt; & lt;li & gt;Doves & lt;/li & gt; & lt;li & gt;Science Killer & lt;/li & gt; & lt;li & gt;Mission District & lt;/li & gt; & lt;li & gt;18 Years & lt;/li & gt; & lt;li & gt;Deer-Ree-Shee & lt;/li & gt; & lt;li & gt;Never/Ever & lt;/li & gt; & lt;li & gt;Vikings & lt;/li & gt; & lt;li & gt;You In Color & lt;/li & gt; & lt;li & gt;The Return & lt;/li & gt; & lt;li & gt;Snake In The Grass & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Country Funk (1969-1975) 2LP (Orange Swirl Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;Volume 1 Repressed On Limited Edition Orange Swirl Vinyl 2LP! & lt;br & gt;Featuring Rare Cuts by Bob Darin, Gray Fox, Dennis The Fox, Cherokee, Gritz & amp; More! & lt;br & gt; Pressed At RTI! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;What in the hell is country funk you ask? The answer is a complicated one, in part due to the fact that Country Funk is an inherently defiant genre, escaping all efforts at easy categorization. The style encompasses the elation of gospel with the sexual thrust of the blues, country hoedown harmony with inner city grit. It is alternately playful and melancholic, slow jammin', and booty shakin'. It is both studio slick and barroom raw. And while these all may seem unlikely combinations at first glance, upon close listen, it all makes sweet sense. Light In The Attic presents Country Funk 1969-1975, a melting pot concoction of the music of Dale Hawkins, John Randolph Marr, Cherokee, Johnny Adams, Mac Davis, Bob Darin, Jim Ford, Gray Fox, Link Wray, Bobby Charles, Tony Joe White, Dennis The Fox, Larry Jon Wilson, Bobbie Gentry, Gritz, and Johnny Jenkins. & lt;/p & gt; & lt;p & gt;Featuring extensive liner notes by Jessica Hundley (MOJO, The New York Times, Vogue), original album/label artwork, and new illustrations by Jess Rotter (JessRotter.com, Rotter & amp; Friends), this down home package is not only a treat for the ears, but a feast for the eyes. Think of this as a fantasyland where the Josie-era Meters back young Elvis singing Kris Kristofferson-penned slices of rustic American life and you'll begin to understand the country funk vibe. It's from the swamp to the city and all points in between. & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;Limited Edition - 1000 Copies Worldwide & lt;/li & gt; & lt;li & gt;Orange Swirl Vinyl & lt;/li & gt; & lt;li & gt;Double LP & lt;/li & gt; & lt;li & gt;Volume one of the acclaimed Country Funk series & lt;/li & gt; & lt;li & gt;All tracks remastered & lt;/li & gt; & lt;li & gt;Pressed at RTI & lt;/li & gt; & lt;li & gt;Gatefold jacket with obi strip & lt;/li & gt; & lt;li & gt;Liner notes insert & lt;/li & gt; & lt;li & gt;Illustrations by Jess Rotter & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side A: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;L.A. Memphis Tyler Texas - Dale Hawkins & lt;/li & gt; & lt;li & gt;Hello L.A., Bye-Bye Birmingham - John Randolph Marr & lt;/li & gt; & lt;li & gt;Georgia Morning Dew - Johnny Adams & lt;/li & gt; & lt;li & gt;Lucas Was A Redneck - Mac Davis & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side B: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Light Blue - Bob Darin & lt;/li & gt; & lt;li & gt;I Wanta Make Her Love Me - Jim Ford & lt;/li & gt; & lt;li & gt;Hawg Frog - Gray Fox & lt;/li & gt; & lt;li & gt;Fire And Brimstone - Link Wray & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side C: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Street People - Bobby Charles & lt;/li & gt; & lt;li & gt;Funky Business - Cherokee & lt;/li & gt; & lt;li & gt;Studspider - Tony Joe White & lt;/li & gt; & lt;li & gt;Piledriver - Dennis The Fox & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side D: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Ohoopee River Bottomland - Larry Jon Wilson & lt;/li & gt; & lt;li & gt;He Made A Woman Out Of Me - Bobbie Gentry & lt;/li & gt; & lt;li & gt;Bayou Country - Gritz & lt;/li & gt; & lt;li & gt;I Walk On Gilded Splinters - Johnny Jenkins & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Country Funk III (1975-1982) 2LP (Clear with Red & Blue Swirl Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;Volume 3 In Acclaimed Country Funk Series On Double LP! & lt;br & gt; Featuring Dolly Parton, J.J. Cale, Conway Twitty & amp; A Previously Unreleased Track by Tony Joe White! & lt;br & gt; Special Limited Edition Pressed On Clear with Red & amp; Blue Swirl Vinyl & amp; Housed In Foil-Stamped Jacket! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;The horse still bucks, the band still funks, and well...the fire still burns. & lt;/p & gt; & lt;p & gt;That's right - Country Funk is back. & lt;/p & gt; & lt;p & gt;In the summer of 2012, a new sound blew in from the dusty desert. It was a sound difficult to pin down, to codify; a sound that, like some wild horse, resisted one's grasp. But this was no trend, no flash-in-the-pan movement, no shotgun marriage of styles, no ma'am. This sound went back decades, back to the latter half of the 1960s and early 1970s when adventurous artists started to blend country hoedown harmony with the elation of gospel, the sexual thrust of the blues and a touch of inner-city grit. This was a new sound with a simple name: Country Funk. & lt;/p & gt; & lt;p & gt;Country Funk 1969-1975, first released in 2012 and co-produced by Zach Cowie, Patrick McCarthy and Matt Sullivan, brought together a disparate group of artists that were neither bound by geography nor a shared ideology, but connected through the simple feel of their songs. Country Funk is alternatively playful and melancholic, slow jammin' and booty-shakin'. It's a sound both studio slick and barroom raw, as evident in the artists featured on Volume I: Johnny Adams, Mac Davis, Dale Hawkins, Tony Joe White, Bobbie Gentry, Larry Jon Wilson, and many others. & lt;/p & gt; & lt;p & gt;Just two years later, Light In The Attic chased Volume I with a new collection of songs for Country Funk 1967-1974. Volume II didn't let up, dealing out all the loose-talking and lap-steel twangin' one could handle. Heavy hitters like Willie Nelson, Townes Van Zandt, Kenny Rogers, Dolly Parton and J.J. Cale shared barstools with the lesser-known voices of Bill Wilson, Donnie Fritts and Thomas Jefferson Kaye. & lt;/p & gt; & lt;p & gt;With Country Funk Volume III 1975-1982 Light In The Attic here to say there's more funk left in the trunk yet. This time around, the jeans are tighter, the hair is bigger and the disco ball spins along to a country-synth beat. Produced and compiled by Jason Morgan (Bay Area DJ/collector) and Patrick McCarthy (co-producer/compiler of Volume I & amp; II), the tracklist features regulars & lt;strong & gt;Dolly Parton, J.J. Cale, Larry Jon Wilson & lt;/strong & gt; and & lt;strong & gt;Tony Joe White & lt;/strong & gt; (whose track is released here for the first time) alongside new faces like & lt;strong & gt;Steven Soles, Gary & amp; Sandy, Conway Twitty, Travis Wammack, Billy Swan, Rob Galbraith, Brian Hyland & lt;/strong & gt;, and so many more. As the 1970s began to wane and the 1980s approached, the Country Funk pallet expanded to include disco beats, heavy Moog synth bass lines and more clavinet than you could shake a stick at. Volume III shows artists continuing to buck traditional country tropes and production while embracing modern soul, disco, and coked-up '80s synth-pop. This is the true soundtrack of the Urban Cowboy. Saddle up, partners. & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;Limited Edition & lt;/li & gt; & lt;li & gt;Clear with Red & amp; Blue Swirl Vinyl & lt;/li & gt; & lt;li & gt;Double LP & lt;/li & gt; & lt;li & gt;Foil-stamped jacket & lt;/li & gt; & lt;li & gt;Volume 3 in acclaimed Country Funk series & lt;/li & gt; & lt;li & gt;Previously unreleased track by Tony Joe White & lt;/li & gt; & lt;li & gt;Newly remastered audio & lt;/li & gt; & lt;li & gt;New original artwork by renowned artist J. William Myers & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side A: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Steven Soles - Shake The Dust & lt;/li & gt; & lt;li & gt;J. J. Cale - Nobody But You & lt;/li & gt; & lt;li & gt;Conway Twitty - Night Fires & lt;/li & gt; & lt;li & gt;Eddie Rabbit - One And Only One & lt;/li & gt; & lt;li & gt;Jerry Reed - Rhythm And Blues & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side B: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Dolly Parton - Sure Thing & lt;/li & gt; & lt;li & gt;Billy Swan - Oliver Swan & lt;/li & gt; & lt;li & gt;Rob Galbraith - I Got The Fever & lt;/li & gt; & lt;li & gt;Travis Wammack - Do Me & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side C: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Larry Jon Wilson - I Betcha Heaven's On A Dirt Road & lt;/li & gt; & lt;li & gt;Gary & amp; Sandy - Gonna Let You Have It & lt;/li & gt; & lt;li & gt;Brian Hyland - Hale To The Man & lt;/li & gt; & lt;li & gt;Tony Joe White - Alone At Last & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side D: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Ronnie Milsap - Get It Up & lt;/li & gt; & lt;li & gt;Delbert McClinton - Shot From The Saddle & lt;/li & gt; & lt;li & gt;Terri Gibbs - Rich Man & lt;/li & gt; & lt;li & gt;Dennis Linde - Down To The Station & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Nancy Sinatra Boots LP (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;Definitive Reissue Of Nancy's Debut Album On Vinyl LP! & lt;br & gt; Newly Remastered From Original Analog Tapes & amp; Pressed at RTI! & lt;br & gt; Includes Bonus Tracks! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt; & lt;strong & gt; & quot;Dumb 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. & quot; - Nancy Sinatra & lt;/strong & gt; & lt;/p & gt; & lt;p & gt;Light in the Attic is proud to present the next installment of the Nancy Sinatra Archival Series with a deluxe reissue of Nancy's first album, Boots. & lt;/p & gt; & lt;p & gt;The 1966 debut million-selling debut LP, introduced the sassy, blonde, go-go booted icon. Built around her Lee Hazlewood-penned hits, & quot;These Boots Are Made For Walkin' & quot; and & quot;So Long, Babe & quot;, 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, The Wrecking Crew and Billy Strange'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 & quot;The City Never Sleeps At Night & quot; and the previously unreleased & quot;For Some & quot;. & lt;/p & gt; & lt;p & gt;Remastered from the original analog tapes by GRAMMY & amp;#174;-nominated engineer John Baldwin, the reissue is complemented by a new Q & amp;A interview with Nancy and GRAMMY & amp;#174;-nominated reissue co-producer Hunter Lea. & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;Black Vinyl & lt;/li & gt; & lt;li & gt;Remastered from original analog tapes by John Baldwin & lt;/li & gt; & lt;li & gt;Pressed at RTI & lt;/li & gt; & lt;li & gt;Bonus Tracks & quot;The City Never Sleeps At Night & quot; & amp; previously unreleased & quot;For Some & quot; & lt;/li & gt; & lt;li & gt;Q & amp;A with Nancy Sinatra & amp; Hunter Lea & lt;/li & gt; & lt;li & gt;Never-before -seen photos from Nancy's personal archive & lt;/li & gt; & lt;li & gt;Beautifully packaged & amp; expanded gatefold with obi strip & lt;/li & gt; & lt;li & gt;20-page booklet & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side One: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;As Tears Go By & lt;/li & gt; & lt;li & gt;Day Tripper & lt;/li & gt; & lt;li & gt;I Move Around & lt;/li & gt; & lt;li & gt;It Ain't Me Babe & lt;/li & gt; & lt;li & gt;These Boots Are Made For Walkin' & lt;/li & gt; & lt;li & gt;In My Room & lt;/li & gt; & lt;li & gt;Lies & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side Two: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;So Long, Babe & lt;/li & gt; & lt;li & gt;Flowers On The Wall & lt;/li & gt; & lt;li & gt;If He'd Love Me & lt;/li & gt; & lt;li & gt;Run For Your Life & lt;/li & gt; & lt;li & gt;The City Never Sleeps (Bonus Track) & lt;/li & gt; & lt;li & gt;For Some (Bonus Track) & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Karen Dalton In My Own Time LP (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;1971 Acid Folk Masterpiece On Vinyl LP! & lt;br & gt; Remastered From The Original Tapes! & lt;br & gt; Exlusive Liner Notes From Lenny Kaye, Nick Cave & amp; Devendra Banhart! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;Recorded over a six month period in 1970/71 at Bearsville, In My Own Time was Karen Dalton's only fully planned and realized studio album. The material was carefully selected and crafted for her by producer/musician Harvey Brooks, the Renaissance man of rock-jazz who played bass on Dylan's Highway 61 Revisited and Miles' Bitches Brew. It features ten songs that reflected Dalton's incredible ability to break just about anybody's heart - from her spectral evocation of Joe Tates & quot;One Night of Love & quot;, to the dark tragedy of the traditional & quot;Katie Cruel & quot;. Known as a great interpreter of choice material, Dalton could master both country and soul genres with hauntingly pining covers of George Jones & quot;Take Me & quot; and Holland-Dozier-Hollands & quot;How Sweet It Is & quot;. & lt;/p & gt; & lt;blockquote cite= & quot;quote source & quot; & gt; My favorite singer in the place was Karen Dalton. Karen had a voice like Billie Holiday's and played the guitar like Jimmy Reed. & lt;footer & gt; -Bob Dylan & lt;/footer & gt; & lt;/blockquote & gt; & lt;blockquote cite= & quot;quote source & quot; & gt; Freak-folk crate-dig of the year & lt;footer & gt; -SPIN & lt;/footer & gt; & lt;/blockquote & gt; & lt;blockquote cite= & quot;quote source & quot; & gt; Bone chillingly wonderful & lt;footer & gt; -The New York Times & lt;/footer & gt; & lt;/blockquote & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt; Vinyl LP & lt;/li & gt; & lt;li & gt;Remastered from the original tapes & lt;/li & gt; & lt;li & gt;Exclusive liner notes from Lenny Kaye, Nick Cave & amp; Devendra Banhart & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side I: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Something On Your Mind & lt;/li & gt; & lt;li & gt;When A Man Loves A Woman & lt;/li & gt; & lt;li & gt;In My Own Dream & lt;/li & gt; & lt;li & gt;Katie Cruel & lt;/li & gt; & lt;li & gt;How Sweet It Is & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side II: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;In A Station & lt;/li & gt; & lt;li & gt;Take Me & lt;/li & gt; & lt;li & gt;Same Old Man & lt;/li & gt; & lt;li & gt;One Night Of Love & lt;/li & gt; & lt;li & gt;Are You Leaving For The Country & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Serge Gainsbourg Histoire de Melody Nelson LP (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;180g Vinyl LP Remastered From The Original Tapes!/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt; & lt;strong & gt; & quot;There's an ambition, a conceptual depth to Melody Nelson that's incredibly hard to pull off but which Gainsbourg does completely. It's very cool and its dynamic is genius...It's one of the greatest marriages of rock band and orchestra that I've ever heard. & quot; & lt;/strong & gt; - Beck & lt;/p & gt; & lt;p & gt; Sex has always sold, but presented with a landmark musical backdrop, the combination is rare as finding the elusive & quot;G Spot & quot;. Quite often, attempts fall flaccid, missing the titillating mark by a mile. But French icon and national treasure Serge Gainsbourg is no stranger to sexual proclivities, and with his 1971 Histoire De Melody Nelson he shared an erotic tale as seductive today as the day it was released. With help from actress, amour, and inspiration Jane Birkin, arranger/conductor and co-conspirator Jean-Claude Vannier ( & quot;L'Enfant Assassins Des Mouches), not to mention a tight hand picked crew of top shelf UK session musicians, Nelson is often cited as Gainsbourg's master work, an essential album for the discerning music lover. & lt;/p & gt; & lt;p & gt; Light In The Attic's reissue of Histoire De Melody Nelson finally gives this still radical record the respect and attention to detail it so rightfully deserves. For the first time ever, this lavishly packaged and true to the original artwork 180 gram LP reissue contains extensive English liner notes and content explaining the times and tales behind the making of this passionate platter. Dispelling countless myths, hearsay, and rumors surrounding Nelson, New York-based writer Andy Beta contributes a stylish essay for your edification while Finders Keepers' honcho and Twisted Nerve founder Any Votel shares his deep knowledge of Gainsbourg and the Gallic/UK music scenes with great insight - never before have these stories been told. The maestro himself even chimes in with a period Q & amp;A interview from France's Rock N Folk Magazine, and printed lyrics (both with English translations). & lt;/p & gt; & lt;p & gt; So as we said before, sex sells, and yes, we are buying. With its massive inspiration reaching out to the quintessential rap of De La Soul and The Beatnuts to like-minded and eclectic singer-songwriter, Nelson continues to entrance. Light In The Attic looks forward to continuing to spread Gainsbourg's provocative message to thrill seekers the world over... & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;180g Vinyl LP & lt;/li & gt; & lt;li & gt;Remastered from the original tapes & lt;/li & gt; & lt;li & gt;Extensive notes telling the untold story behind this landmark release & lt;/li & gt; & lt;li & gt;Lyrics in French and English & lt;/li & gt; & lt;li & gt;1971 Q & amp;A interview with Serge & lt;/li & gt; & lt;li & gt;Old school style tip-on gatefold jacket with the original art & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;ol & gt; & lt;li & gt;Melody & lt;/li & gt; & lt;li & gt;Ballade de Melody Nelson & lt;/li & gt; & lt;li & gt;Valse de Melody & lt;/li & gt; & lt;li & gt;Ah! Melody & lt;/li & gt; & lt;li & gt;L'Hotel Particulier & lt;/li & gt; & lt;li & gt;En Melody & lt;/li & gt; & lt;li & gt;Cargo Culte & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Johnnie Frierson Have You Been Good To Yourself LP (Clear Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;1st Time On Vinyl LP! & lt;/strong & gt; & lt;br & gt; & lt;strong & gt;Remastered From The Original Cassette! & lt;/strong & gt; & lt;br & gt; & lt;strong & gt;Pressed At RTI! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt; & quot;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. & quot; -Keesha Frierson & lt;/p & gt; & lt;p & gt;Followers of Light In The Attic's 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. & lt;/p & gt; & lt;p & gt;But Have You Been Good To Yourself will come as a surprise to anyone expecting more of the beat-driven R & amp;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. & lt;/p & gt; & lt;p & gt;Cratedigger 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. & lt;/p & gt; & lt;p & gt;The seven songs on Have You Been Good To Yourself are overtly religious; some, such as & quot;Out Here On Your Word, & quot; are strident and faithful; others, like the self-questioning & quot;Have You Been Good To Yourself, & quot; 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. & quot;He was really trying to find his way, & quot; remembers Frierson's daughter Keesha in Andria Lisle's liner notes. & quot;And writing and making music were a way out for him. & quot; & lt;/p & gt; & lt;p & gt;Remastered and released professionally for the first time, the message spread by Frierson - who passed away in 2010 - remains undimmed. & lt;/p & gt; & lt;blockquote cite= & quot;www.allmusic.com & quot; & gt; The seven songs on this reissue are spare and unadorned, with a rhythmic simplicity and a grounding, soulful beauty....Decades later, the power of retrospection lends these recordings an added air of grace and a poignancy that Frierson did not live to hear his humbly made songs get another chance to improve this troubled world. & lt;footer & gt; -Timothy Monger, Allmusic.com, 4/5 stars & lt;/footer & gt; & lt;/blockquote & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;Limited Edition - 500 Copies & lt;/li & gt; & lt;li & gt;1st Time On Vinyl & lt;/li & gt; & lt;li & gt;1st Professional Release & lt;/li & gt; & lt;li & gt;Remastered From The Original Cassette & lt;/li & gt; & lt;li & gt;Vinyl Pressed At RTI & lt;/li & gt; & lt;li & gt;Vinyl LP & lt;/li & gt; & lt;li & gt;Clear Vinyl & lt;/li & gt; & lt;li & gt;Liner Notes By Memphis Native Andria Lisle & lt;/li & gt; & lt;!--More features go here in & lt;li & gt; tags-- & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side A: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Have You Been Good To Yourself & lt;/li & gt; & lt;li & gt;Heavenly Father, You've Been Good & lt;/li & gt; & lt;li & gt;Miracles & lt;/li & gt; & lt;li & gt;Out Here On Your Word & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side B: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;You Were Sent To This World & lt;/li & gt; & lt;li & gt;Woke Up This Morning & lt;/li & gt; & lt;li & gt;Trust In The Lord & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Jane Birkin & Serge Gainsbourg Je T'Aime...Moi, Non Plus 180g LP (Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;Classic 1969 Album On 180g Vinyl LP! & lt;/strong & gt; & lt;br & gt; & lt;strong & gt;Remastered From The Original Tapes! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;Without a doubt, Serge Gainsbourg is agent provacateur and Gallic soul brother #1. His sensual work is championed by all in the know and still resonates quite frankly in these sexually exaggerated times. Building on the North American re-introduction to the maestro's work with 1971's masterpiece concept album Histoire de Melody Nelson, Light In The Attic Records is thrilled to announce their follow-up Gainsbourg reissue. 1969's Jane Brikin/Serge Gainsbourg (often referred to as Je t'aime... Moi, Non Plus). & lt;/p & gt; & lt;p & gt;Recorded as a series of duets and solo performances, with lover, actress, and model Birkin, the pair's chemistry-enhanced collaboration was thrust about the record buying public to much shock and horror, but indeed found global success. The disc quickly shot its cigarette brandishing author and fresh-faced vocalist in to the international spotlight; and although the lead-off single & quot;Je T'aime & quot; and its seductive purrs reached top slot in the UK charts, no one other than the Pope branded the tune offensive and blasphemous. Ever the conversationalist, Gainsbourg wittily replied, & quot;we couldn't have gotten a better PR man! & quot; Indeed Serge, indeed. & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;180g Vinyl LP & lt;/li & gt; & lt;li & gt;Remastered from the Original Tapes & lt;/li & gt; & lt;li & gt;Brand New Liner Notes - French/English Lyrics, Interview With Jane Birkin, Images & lt;/li & gt; & lt;li & gt;Gatefold Jacket & lt;/li & gt; & lt;!--More features go here in & lt;li & gt; tags-- & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;ol & gt; & lt;h4 & gt;Side One: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Je T'Aime...Moi, Non Plus & lt;/li & gt; & lt;li & gt;L'Anamour & lt;/li & gt; & lt;li & gt;Orang Outan & lt;/li & gt; & lt;li & gt;Sous Le Soleil Exactement (from the musical comedy & quot;Anna & quot;) & lt;/li & gt; & lt;li & gt;18 - 39 & lt;/li & gt; & lt;li & gt;69 Ann & amp;#233;e Erotique & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side Two: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Jane B. (after a prelude of Chopin) & lt;/li & gt; & lt;li & gt;Elisa & lt;/li & gt; & lt;li & gt;Le Canari Est Sur Le Balcon & lt;/li & gt; & lt;li & gt;Les Sucettes & lt;/li & gt; & lt;li & gt;Manon & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Karen Dalton In My Own Time LP (Clear Vinyl)

& lt;header & gt; & lt;p & gt;Coming March 25, 2022 pre-order your copy today! Orders with both pre-order and in stock items will have all in stock items shipped immediately! & lt;/p & gt; & lt;/header & gt; & lt;header & gt; & lt;p & gt; & lt;strong & gt;Special 50th Anniversary Edition Clear Vinyl LP! & lt;br & gt; 1971 Acid Folk Masterpiece! & lt;br & gt; Remastered In 2021 & amp; Pressed at RTI! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;Karen Dalton's 1971 album, In My Own Time, stands as a true masterpiece by one of music's most mysterious, enigmatic, and enduringly influential artists. Celebrating the album's 50th anniversary, Light in the Attic is honored to present a newly remastered (2021) edition of the album on LP. & lt;/p & gt; & lt;p & gt;The 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. & lt;/p & gt; & lt;p & gt;All audio has been newly remastered by Dave Cooley, while lacquers were cut by Phil Rodriguez at Elysian Masters. & lt;/p & gt; & lt;p & gt;A newly expanded 20-page booklet - featuring rarely seen photos, liner notes from musician and writer Lenny Kaye, and contributions from Nick Cave and Devendra Banhart - rounds out the LP package. & lt;/p & gt; & lt;p & gt;The Oklahoma-raised Karen Dalton (1937-1993) brought a range of influences to her work. As Lenny Kaye writes in the liner notes, one can hear & lt;strong & gt; & quot;the jazz of Ella Fitzgerald and Billie Holiday, the immersion of Nina Simone, the Appalachian keen of Jean Ritchie, [and] the R & amp;B and country that had to seep in as she made her way to New York. & quot; & lt;/strong & gt; & lt;/p & gt; & lt;p & gt;Armed with a long-necked banjo and a 12-stringed guitar, Dalton set herself apart from her peers with her distinctive, world-weary vocals. In the early '60s, she became a fixture in the Greenwich Village folk scene, interpreting traditional material, blues standards, and the songs of her contemporaries, including Tim Hardin, Fred Neil, and Richard Tucker, whom she later married. & lt;strong & gt;Bob Dylan & lt;/strong & gt;, meanwhile, was instantly taken with her artistry. & lt;strong & gt; & quot;My favorite singer in the place was Karen Dalton, & quot; & lt;/strong & gt; he recalled in Chronicles: Volume One (Simon & amp; Schuster, 2004). & lt;strong & gt; & quot;Karen had a voice like Billie Holiday and played the guitar like Jimmy Reed. & quot; & lt;/strong & gt; & lt;/p & gt; & lt;p & gt;Those who knew Dalton understood that she was not interested in bowing to the whims of the record industry. On stage, she rarely interacted with audience members. In the studio, she was equally as uncomfortable with the recording process. Her 1969 debut, It's So Hard to Tell Who's Going To Love You The Best, reissued by Light in the Attic in 2009, was captured on the sly when Dalton assumed that she was rehearsing songs. When Woodstock co-promoter Michael Lang approached Dalton about recording a follow-up for his new imprint, Just Sunshine, she was dubious, to say the least. The album would have to be made on her own terms, in her own time. That turned out to be a six-month period at Bearsville Studios in Woodstock, NY. & lt;/p & gt; & lt;p & gt;Producing the album was bassist Harvey Brooks, who played alongside Dalton on It's So Hard to Tell Who's Going To Love You The Best. Brooks, who prided himself on being & quot;simple, solid and supportive, & quot; understood Dalton's process, but was also willing to offer gentle encouragement, and challenge the artist to push her creative bounds. & quot;I tried to present her with a flexible situation, & quot; he told Kaye. & quot;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. & quot; & lt;/p & gt; & lt;p & gt;Dalton, who rarely performed her own compositions, selected a range of material to interpret - from traditionals like & quot;Katie Cruel & quot; and & quot;Same Old Man & quot; to Paul Butterfield's & quot;In My Own Dream & quot; and Richard Tucker's & quot;Are You Leaving For The Country & quot;. She also expanded upon her typical repertoire, peppering in such R & amp;B hits as & quot;When A Man Loves Aa Woman & quot; and & quot;How Sweet It Is & quot;. In a departure from her previous LP, Dalton's new recording offered fuller, more pop-forward arrangements, featuring a slew of talented studio musicians. & lt;/p & gt; & lt;p & gt;While '70s audiences may not have been ready for Dalton's music, a new generation was about to discover her work. In the decades following her death, a slew of artists would name Karen Dalton as an influence, including Lucinda Williams, Joanna Newsom, Nick Cave, Angel Olsen, Devendra Banhart, Sharon Van Etten, Courtney Barnett, and Adele. In the recent acclaimed film documentary Karen Dalton: In My Own Time, Cave muses on Dalton's unique appeal: & quot;There's a sort of demand made upon the listener, & quot; he explains. & quot;Whether you like it or not, you have to enter her world. And it's a despairing world. & quot; Peter Walker, who also appears in the film, elaborates on this idea: & lt;strong & gt; & quot;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. & quot; & lt;/strong & gt; He adds, & lt;strong & gt; & quot;She had a deep and profound and loving soul...you can hear it in her music. & quot; & lt;/strong & gt; & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;Special Light In The Attic 50th Anniversary Edition & lt;/li & gt; & lt;li & gt;Clear Vinyl & lt;/li & gt; & lt;li & gt;10-track original album & lt;/li & gt; & lt;li & gt;All tracks from 2021 transfers & lt;/li & gt; & lt;li & gt;All audio newly remastered by Dave Cooley & lt;/li & gt; & lt;li & gt;Lacquers cut by Phil Rodriguez at Elysian Masters & lt;/li & gt; & lt;li & gt;Pressed at RTI & lt;/li & gt; & lt;li & gt;Expanded gatefold LP jacket & lt;/li & gt; & lt;li & gt;20-page booklet with unseen photos & amp; liner notes by Lenny Kaye, plus contributions from Nick Cave & amp; Devendra Banhart & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side I: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Something On Your Mind & lt;/li & gt; & lt;li & gt;When A Man Loves A Woman & lt;/li & gt; & lt;li & gt;In My Own Dream & lt;/li & gt; & lt;li & gt;Katie Cruel & lt;/li & gt; & lt;li & gt;How Sweet It Is & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side II: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;In A Station & lt;/li & gt; & lt;li & gt;Take Me & lt;/li & gt; & lt;li & gt;Same Old Man & lt;/li & gt; & lt;li & gt;One Night Of Love & lt;/li & gt; & lt;li & gt;Are You Leaving For The Country & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Betty Davis Nasty Gal LP (Vinyl)

& lt;b & gt; & lt;font color= & quot;#FF0000 & quot; & gt;First Official Re-Release On Vinyl LP! & lt;br & gt; Remastered From The Original Tapes! & lt;br & gt; Includes 8-Page Booklet With Liner Notes & amp; Rare Photos! & lt;/font & gt; & lt;/b & gt; & lt;br & gt; & lt;br & gt; Betty Davis was riding high in the '70s. A new record label, a series of high profile relationships, and intensely sexualized live performances made her a rising star. It seemed like everything was aligned to take the music world by storm. So Betty and band got back into the studio where she would act as writer, producer, and performer, creating what she thought would be her definitive release… & lt;br & gt; & lt;br & gt; What emerged was the unapologetically uncompromising, self-referential 1975 album Nasty Gal. Now – over forty years later – Light In The Attic Records is proud to announce the vinyl reissue of this final Island Records-release by & lt;b & gt;unparalleled funkstress Betty Davis. & lt;/b & gt; & lt;br & gt; & lt;br & gt; The re-release features liner notes by John Ballon (writer of the Wax Poetics Betty Davis cover story in 2007), original album art, complete lyrics and rare studio and stage photographs. Ahead of its time, Nasty Gal shows Betty digging deeper into her musical and cultural expression than ever before, and delivers from every angle. This is Hendrix and Sly Stone inspired funk-rock at its finest. From the title track's mutant groove and grunt to her onetime husband and jazz legend Miles Davis's co-written ballad & quot;You and I & quot;, this lady will tear your heart out! Betty’s time is now… & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;If you were to draw a diagram of funk music in the early 70's, Betty Davis would be dead center. & quot; & lt;/b & gt; - The New Yorker & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;On this record, her shot at making it big, she wrote and sang a strain of 1970s, pre-disco, keyboard-based funk, with and without horns, that was sly, sexy and wonderfully raw. The controversy surrounding Davis, however, has always been about her voice. Her ferocious grooves were indisputably strong, taking inspiration from both Hendrix and Sly, and they grew in large part in very similar ways to what George Clinton was doing in his musical universe. But it's Davis's voice that is the edge on which her fans and detractors turn. Her vocal tracks are filled with shrieks, screams and growls. It's a style and approach you either buy into or you don't. It works to perfection on tunes like the title track to Nasty Gal. While she will always be thought of more as a songwriter and musical visionary, Davis's vocal energy, a perfect match for her upbeat material on Nasty Gal, like 'Talkin' Trash' and 'F.U.N.K.,' will never be thought of as pretty or particularly appealing. If you're looking for Judy Garland, you need to look elsewhere. As a hint of what might have been however, on Nasty Gal, she sing-talks her way through the very tender, 'You and I,' a ballad supposedly inspired by her relationship with Miles, proving that she could bring it down a notch and find success as a softer interpreter of her music. Vocal concerns aside, Betty Davis and her music will always get eternal credit for the artistic path she cut for other artists, particularly women to follow. Perhaps the most lasting judgment on her music came from Prince, who always gave her credit for being one of his most essential inspirations. One nasty girl indeed. & quot; & lt;/b & gt; - Robert Baird, Stereophile & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; • Vinyl LP & lt;br & gt; • First official re-release & lt;br & gt; • Remastered from the original tapes & lt;br & gt; • LP housed in a deluxe gatefold Stoughton tip-on jacket with full lyrics & lt;br & gt; • 8 page booklet with liner notes by John Ballon and rare stage and studio photographs & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side A: & lt;/b & gt; & lt;br & gt; 1. Nasty Gal & lt;br & gt; 2. Talkin Trash & lt;br & gt; 3. Dedicated To The Press & lt;br & gt; 4. You And I & lt;br & gt; 5. Feelins & lt;br & gt; & lt;b & gt;Side B: & lt;/b & gt; & lt;br & gt; 1. F.U.N.K. & lt;br & gt; 2. Gettin Kicked Off, Havin Fun & lt;br & gt; 3. Shut Off The Light & lt;br & gt; 4. This Is It! & lt;br & gt; 5. The Lone Ranger

Karen Dalton In My Own Time Numbered Limited Edition 180g 45rpm 2LP, 12" Vinyl EP, 2 7" Vinyl Singles & CD

& lt;header & gt; & lt;p & gt;Coming March 25, 2022 pre-order your copy today! Orders with both pre-order and in stock items will have all in stock items shipped immediately! & lt;/p & gt; & lt;/header & gt; & lt;header & gt; & lt;p & gt; & lt;strong & gt;Numbered, Limited Edition 50th Anniversary Super Deluxe Set! & lt;br & gt; Definitive Edition Of 1971 Acid Folk Masterpiece! & lt;br & gt; 180g 45rpm 2LP, 180g 45rpm 12 & quot; Vinyl EP, Two 7 & quot; Vinyl Singles & amp; CD! & lt;br & gt; Includes Bonus Tracks, Previously Unreleased Live Recordings, Vinyl Etching & amp; More! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;Karen Dalton's 1971 album, In My Own Time, stands as a true masterpiece by one of music's most mysterious, enigmatic, and enduringly influential artists. Light in the Attic is honored to celebrate the 50th anniversary of In My Own Time with the definitive edition of this monumental classic. & lt;/p & gt; & lt;p & gt;Featuring Dalton's interpretations of songs like & quot;Are You Leaving For The Country & quot;, & quot;When A Man Loves A Woman & quot;, & quot;Katie Cruel & quot; and her posthumously recognized signature performance, & quot;Something On Your Mind & quot;, is available in a bonus-filled, 50th anniversary Super Deluxe Edition, which expands exponentially upon Light in the Attic's 2006 reissue of the album, co-produced by Nicholas Hill. & lt;/p & gt; & lt;p & gt;The 50th Anniversary Super-Deluxe Edition features the newly remastered (2021) In My Own Time album, presented on three sides of 45-RPM, 180-gram vinyl pressed at Record Technology Inc. (RTI), with the fourth side showcasing alternate takes from the album sessions. & lt;/p & gt; & lt;p & gt;The Super Deluxe package also includes the previously unreleased audio from her rare, captivating performance, Live At The Montreux Golden Rose Pop Festival, May 1st, 1971. This is the first time this audio has been made available in any physical format - presented on 180-gram 12-inch vinyl, pressed at Third Man Record Pressing, and featuring a stunning etching of Dalton by acclaimed artist Jess Rotter on the B-Side. & lt;/p & gt; & lt;p & gt;Accompanying the bonus record is a replica playbill from The Montreux Golden Rose Pop Festival, 1971, meticulously arranged and compiled from vintage source material by Darryl Norsen. & lt;/p & gt; & lt;p & gt;In addition to the bonus 12 & quot;, the set contains a CD of all tracks included in the package and 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. & lt;/p & gt; & lt;p & gt;All audio has been newly remastered by Dave Cooley, while lacquers were cut by Phil Rodriguez at Elysian Masters. A 20-page 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, which comes housed in a special trifold jacket, individually foil-stamped and numbered in a strictly limited worldwide edition of 2,000 copies. & lt;/p & gt; & lt;p & gt;The Oklahoma-raised Karen Dalton (1937-1993) brought a range of influences to her work. As Lenny Kaye writes in the liner notes, one can hear & lt;strong & gt; & quot;the jazz of Ella Fitzgerald and Billie Holiday, the immersion of Nina Simone, the Appalachian keen of Jean Ritchie, [and] the R & amp;B and country that had to seep in as she made her way to New York. & quot; & lt;/strong & gt; & lt;/p & gt; & lt;p & gt;Armed with a long-necked banjo and a 12-stringed guitar, Dalton set herself apart from her peers with her distinctive, world-weary vocals. In the early '60s, she became a fixture in the Greenwich Village folk scene, interpreting traditional material, blues standards, and the songs of her contemporaries, including Tim Hardin, Fred Neil, and Richard Tucker, whom she later married. & lt;strong & gt;Bob Dylan & lt;/strong & gt;, meanwhile, was instantly taken with her artistry. & lt;strong & gt; & quot;My favorite singer in the place was Karen Dalton, & quot; & lt;/strong & gt; he recalled in Chronicles: Volume One (Simon & amp; Schuster, 2004). & lt;strong & gt; & quot;Karen had a voice like Billie Holiday and played the guitar like Jimmy Reed. & quot; & lt;/strong & gt; & lt;/p & gt; & lt;p & gt;Those who knew Dalton understood that she was not interested in bowing to the whims of the record industry. On stage, she rarely interacted with audience members. In the studio, she was equally as uncomfortable with the recording process. Her 1969 debut, It's So Hard to Tell Who's Going To Love You The Best, reissued by Light in the Attic in 2009, was captured on the sly when Dalton assumed that she was rehearsing songs. When Woodstock co-promoter Michael Lang approached Dalton about recording a follow-up for his new imprint, Just Sunshine, she was dubious, to say the least. The album would have to be made on her own terms, in her own time. That turned out to be a six-month period at Bearsville Studios in Woodstock, NY. & lt;/p & gt; & lt;p & gt;Producing the album was bassist Harvey Brooks, who played alongside Dalton on It's So Hard to Tell Who's Going To Love You The Best. Brooks, who prided himself on being & quot;simple, solid and supportive, & quot; understood Dalton's process, but was also willing to offer gentle encouragement, and challenge the artist to push her creative bounds. & quot;I tried to present her with a flexible situation, & quot; he told Kaye. & quot;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. & quot; & lt;/p & gt; & lt;p & gt;Dalton, who rarely performed her own compositions, selected a range of material to interpret - from traditionals like & quot;Katie Cruel & quot; and & quot;Same Old Man & quot; to Paul Butterfield's & quot;In My Own Dream & quot; and Richard Tucker's & quot;Are You Leaving For The Country & quot;. She also expanded upon her typical repertoire, peppering in such R & amp;B hits as & quot;When A Man Loves Aa Woman & quot; and & quot;How Sweet It Is & quot;. In a departure from her previous LP, Dalton's new recording offered fuller, more pop-forward arrangements, featuring a slew of talented studio musicians. & lt;/p & gt; & lt;p & gt;While '70s audiences may not have been ready for Dalton's music, a new generation was about to discover her work. In the decades following her death, a slew of artists would name Karen Dalton as an influence, including Lucinda Williams, Joanna Newsom, Nick Cave, Angel Olsen, Devendra Banhart, Sharon Van Etten, Courtney Barnett, and Adele. In the recent acclaimed film documentary Karen Dalton: In My Own Time, Cave muses on Dalton's unique appeal: & quot;There's a sort of demand made upon the listener, & quot; he explains. & quot;Whether you like it or not, you have to enter her world. And it's a despairing world. & quot; Peter Walker, who also appears in the film, elaborates on this idea: & lt;strong & gt; & quot;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. & quot; & lt;/strong & gt; He adds, & lt;strong & gt; & quot;She had a deep and profound and loving soul...you can hear it in her music. & quot; & lt;/strong & gt; & lt;/p & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;50th Anniversary Super Deluxe Edition & lt;/li & gt; & lt;li & gt;Strictly limited to 2,000 sequentially foil numbered copies worldwide & lt;/li & gt; & lt;li & gt;Definitive edition of Karen Dalton's 1971 Masterpiece & lt;/li & gt; & lt;li & gt;2x 180g 45rpm LPs cut from new 2021 transfers & amp; pressed at RTI, with bonus tracks from the original album sessions & lt;/li & gt; & lt;li & gt;180g 45rpm 12 & quot; Vinyl EP: Live At The Montreux Golden Rose Pop Festival (May 1971), newly remastered (2021) & amp; previously unreleased in any format & lt;/li & gt; & lt;li & gt;B-side includes a beautiful etching of Karen, illustrated by renowned artist Jess Rotter & lt;/li & gt; & lt;li & gt;Previously unreleased 7 & quot; single: Live At Beat Club, Germany (April 1971) & lt;/li & gt; & lt;li & gt;Reproduction of 1971 French edition 7 & quot; single: Something On Your Mind b/w One Night Of Love & lt;/li & gt; & lt;li & gt;Both 7 & quot; singles pressed at Third Man Pressing & amp; housed in old-style tip-on jackets & lt;/li & gt; & lt;li & gt;All audio newly remastered by Dave Cooley & lt;/li & gt; & lt;li & gt;Lacquers cut by Phil Rodriguez at Elysian Masters & lt;/li & gt; & lt;li & gt;CD of all tracks & lt;/li & gt; & lt;li & gt;20-page booklet with unseen photos & amp; liner notes by Lenny Kaye, plus contributions from Nick Cave & amp; Devendra Banhart & lt;/li & gt; & lt;li & gt;Replica playbill for Montreux performance & lt;/li & gt; & lt;li & gt;Special expanded trifold jacket & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;ol & gt; & lt;li & gt;Something On Your Mind & lt;/li & gt; & lt;li & gt;When A Man Loves A Woman & lt;/li & gt; & lt;li & gt;In My Own Dream & lt;/li & gt; & lt;li & gt;Katie Cruel & lt;/li & gt; & lt;li & gt;How Sweet It Is & lt;/li & gt; & lt;li & gt;In A Station & lt;/li & gt; & lt;li & gt;Take Me & lt;/li & gt; & lt;li & gt;Same Old Man & lt;/li & gt; & lt;li & gt;One Night Of Love & lt;/li & gt; & lt;li & gt;Are You Leaving For The Country & lt;/li & gt; & lt;li & gt;Something On Your Mind (Alternate Take) & lt;/li & gt; & lt;li & gt;In My Own Dream (Alternate Take) & lt;/li & gt; & lt;li & gt;Katie Cruel (Alternate Take) & lt;/li & gt; & lt;li & gt;One Night Of Love - Live At Beat Club, Germany, April 21, 1971 & lt;/li & gt; & lt;li & gt;Take Me - Live At Beat Club, Germany, April 21, 1971 & lt;/li & gt; & lt;li & gt;Something On Your Mind - Live At The Montreux Golden Rose Pop Festival, May 1, 1971 & lt;/li & gt; & lt;li & gt;Blues On The Ceiling - Live At The Montreux Golden Rose Pop Festival, May 1, 1971 & lt;/li & gt; & lt;li & gt;Are You Leaving For The Country - Live At The Montreux Golden Rose Pop Festival, May 1, 1971 & lt;/li & gt; & lt;li & gt;One Night Of Love - Live At The Montreux Golden Rose Pop Festival, May 1, 1971 & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;

Betty Davis Nasty Gal LP (Clear Vinyl)

& lt;header & gt; & lt;p & gt; & lt;strong & gt;Light In The Attic 20th Anniversary Edition Clear Vinyl LP! & lt;br & gt; Remastered From The Original Tapes! & lt;/strong & gt; & lt;/p & gt; & lt;/header & gt; & lt;p & gt;Betty Davis was riding high in the '70s. A new record label, a series of high profile relationships, and intensely sexualized live performances made her a rising star. It seemed like everything was aligned to take the music world by storm. So Betty and band got back into the studio where she would act as writer, producer, and performer, creating what she thought would be her definitive release... & lt;/p & gt; & lt;p & gt;What emerged was the unapologetically uncompromising, self-referential 1975 album Nasty Gal. Now - over 45 years later - Light In The Attic Records reissues a clear vinyl pressing of this final Island Records-release by unparalleled funkstress Betty Davis. & lt;/p & gt; & lt;p & gt;The re-release features liner notes by John Ballon (writer of the Wax Poetics Betty Davis cover story in 2007), original album art, complete lyrics and rare studio and stage photographs. Ahead of its time, Nasty Gal shows Betty digging deeper into her musical and cultural expression than ever before, and delivers from every angle. This is Hendrix and Sly Stone inspired funk-rock at its finest. From the title track's mutant groove and grunt to her onetime husband and jazz legend Miles Davis's co-written ballad & quot;You And I & quot;, this lady will tear your heart out! Betty's time is now... & lt;/p & gt; & lt;blockquote cite= & quot;quote source & quot; & gt; f you were to draw a diagram of funk music in the early 70's, Betty Davis would be dead center. & lt;footer & gt; -The New Yorker & lt;/footer & gt; & lt;/blockquote & gt; & lt;blockquote cite= & quot;www.pitchfork.com & quot; & gt; tAnother classic from one of the founders of funk & lt;footer & gt; -Pitchfork & lt;/footer & gt; & lt;/blockquote & gt; & lt;blockquote cite= & quot;www.stereophile.com & quot; & gt; On this record, her shot at making it big, she wrote and sang a strain of 1970s, pre-disco, keyboard-based funk, with and without horns, that was sly, sexy and wonderfully raw. The controversy surrounding Davis, however, has always been about her voice. Her ferocious grooves were indisputably strong, taking inspiration from both Hendrix and Sly, and they grew in large part in very similar ways to what George Clinton was doing in his musical universe. But it's Davis's voice that is the edge on which her fans and detractors turn. Her vocal tracks are filled with shrieks, screams and growls. It's a style and approach you either buy into or you don't. It works to perfection on tunes like the title track to Nasty Gal... Betty Davis and her music will always get eternal credit for the artistic path she cut for other artists, particularly women to follow. Perhaps the most lasting judgment on her music came from Prince, who always gave her credit for being one of his most essential inspirations. One nasty girl indeed. & lt;footer & gt; -Robert Baird, Stereophile & lt;/footer & gt; & lt;/blockquote & gt; & lt;section id= & quot;features & quot; & gt; & lt;h3 & gt;Features & lt;/h3 & gt; & lt;ul & gt; & lt;li & gt;Light In The Attic 20th Anniversary Clear Vinyl & lt;/li & gt; & lt;li & gt;Remastered from the original tapes & lt;/li & gt; & lt;li & gt;Expanded gatefold with full lyrics & lt;/li & gt; & lt;li & gt;Booklet with liner notes by John Ballon & lt;/li & gt; & lt;/ul & gt; & lt;/section & gt; & lt;section id= & quot;selections & quot; & gt; & lt;h3 & gt;Selections & lt;/h3 & gt; & lt;h4 & gt;Side A: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;Nasty Gal & lt;/li & gt; & lt;li & gt;Talkin Trash & lt;/li & gt; & lt;li & gt;Dedicated To The Press & lt;/li & gt; & lt;li & gt;You And I & lt;/li & gt; & lt;li & gt;Feelins & lt;/li & gt; & lt;/ol & gt; & lt;h4 & gt;Side B: & lt;/h4 & gt; & lt;ol & gt; & lt;li & gt;F.U.N.K. & lt;/li & gt; & lt;li & gt;Gettin Kicked Off, Havin Fun & lt;/li & gt; & lt;li & gt;Shut Off The Light & lt;/li & gt; & lt;li & gt;This Is It! & lt;/li & gt; & lt;li & gt;The Lone Ranger & lt;/li & gt; & lt;/ol & gt; & lt;/section & gt;