quête:4 to the bar

Blue Raspberry is Katy Kirby"s follow up to her renowned debut album Cool Dry Place, which came out in February 2021. Singer/songwriter Katy Kirby introduced her warm, articulate vocals, perceptive lyrics, and playful adult-alternative style on her debut album as she toured tirelessly supporting bands like Waxahatchee, Andy Shauf, Julia Jacklin and Alex G. That record was a tried-and-true folk collection, perfectly displaying the chops of a young songwriter and emanating the warm feel of a band in a room; Blue Raspberry, made with the same band and producers (Logan Chung and Alberto Sewald) , hits the gas and enters completely new territory as we see Katy truly step into her own as a songwriting force. She fearlessly leans far into baroque piano pop on tracks like "Redemption Arc" and the title track "Blue Raspberry", and lyrically she explores themes of loss and queer love. Very few are able to capture the same emotional, theatrical magic of artists like Fiona Apple, Tom Waits and Joanna Newsom but Katy pulls it off on this record; standout "Drop Dead".

A compilation of rare spiritual jazz and funk grooves culled from the archives of producer Bob Shad's Mainstream Records. Alice Clark's cult classic Never Did I Stop Loving You' features here alongside many gems uncovered for the first time.
Bob Shad worked with titans such as Charlie Parker and Lightnin' Hopkins in the 40s, founded the EmArcy jazz label in the 50s, and discovered Janis Joplin in the 60s, and started the Mainstream label in 1964.

From Afrique's classic House of the Rising Funk' and its funky wah wah frenzy, to Hadley Caliman's deep jazz Flute ode, From one of Clark Terry's famous Mumbles (Shad produced the original with Oscar Peterson) to Jack Wilkins' Red Clay' sampled by both A Tribe Called Quest and Chance the Rapper. A Soul Music lover, Shad also excelled in soul divas and produced Ellerine Harding, Maxine Weldon and of course the mighty Alice Clark. Carmen McRae, one of Shad's long time collaborators, gives a soulful, conga-led version of the classic Feelin' Good, originally made famous by Nina Simone

tapetopia 010 FO 32 extra hart arbeitendes rastermaterial für kontakt did not emerge from the usual underground milieu – their setting was the base of the 4th Flotilla of the GDR People’s Navy! The propaganda unit PrK 18 had among its recruits some who turned the logistics for agitation against the intentions of the system. Inside a barracks, but under the state radar, the paramilitary music corps FO 32 boarded an NVA studio and recorded industrial tracks and dark ambient. The experimental military band gave an illegal concert; they had previously been heard on the radio programme “Parocktikum”, a pirate gig from the ranks of the People’s Navy on GDR radio. In 1989, a first FO-32 tape was shared among just a few friends. Shortly after, an abridged mix of material was released on the illegal Trash Tape label in an edition of no more than one hundred copies. The vinyl version on tapetopia is based on the original tape. The tapetopia series, using the original layouts and track lists, publishes cassette editions from the GDR underground of the 1980s, especially from the “walled-in” scene in East Berlin. More than three decades after their initial “release”, these tapes have yet to be heard on either vinyl or CD, even though they made an audible mark in the canon of GDR subculture. Despite the tiny original editions of the time, many of the bands were considered cult in countercultural circles, which made them highly suspect in informed circles.

Heute meldet sich der legendäre südafrikanische Pianist und Komponist Abdullah Ibrahim mit der ersten Single aus seinem neuen Album zurück, das am 12. Januar über Gearbox Records erscheinen wird.

Das neue Album "3" stammt von seinem ausverkauften Auftritt im Londoner Barbican Centre im Sommer 2023 und verteilt sich auf zwei Auftritte - der erste wurde vor dem Konzert ohne Publikum direkt auf einer 1"-Scully-Tonbandmaschine aufgenommen, die früher von Elvis in den berühmten Sun Studios in Memphis verwendet wurde. Die zweite Aufnahme stammt von der Aufführung des Abends selbst, bei der Ibrahim in einem einzigartigen Trio auftritt, zu dem Cleave Guyton (Flöte, Piccolo, Saxophon) gehört, der bereits mit Größen wie Aretha Franklin, Dizzy Gillespie und Joe Henderson aufgetreten ist, sowie der gefeierte Bassist und Cellist Noah Jackson, die beide Mitglieder von Ekaya sind und auf Ibrahims Top-3-Billboard-Jazz-Album "The Balance" zu hören sind.

LP auf wolkenweißem Vinyl! Original-Soundtrack für den Film "Past Lives" (2023) kommt von Christopher Bear und Daniel Rossen, die gemeinsam die Indie-Rock-Band Grizzly Bear bilden und deren Musik zuvor in zahlreichen Filmen und Fernsehproduktionen verwendet wurde. Der Originalsong "Quiet Eyes" ist von Sharon Van Etten. Das Artwork enthält Originalgemälde der renommierten Künstlerin Na Kim. Der Debütfilm der Regisseurin Celine Song feierte im Januar 2023 beim Sundance Film Festival seine Premiere und erhielt viel Lob seitens der Fachkritik. In Deutschland wurde der Film erstmals im Rahmen der Berlinale im Februar 2023 vorgestellt. Dort konkurrierte Past Lives im Wettbewerb um den Goldenen Bären, den Hauptpreis des Festivals. Der Kinostart in Deutschland fand am 17. August 2023 statt.

The group takes a psychedelic turn, adding lush orchestral arrangements to the group’s tight harmonies and narrative lyrics. The album was recorded at the famed IBC Studios in London. Barry Gibb commented that their recording process was one of impromptu creativity, in which they’d “think up a subject, then write a song on the spot.” The instrumental parts were added later, adding a fullness to the songs. For instance, ‘Bee Gee’s 1st’ opens with strains of oboe and harpsichord on the whimsical “Turn of the Century,” while “Every Christian Lion Hearted Man Will Show You” begins with dark Gregorian chants.

Hard salsa with rocking tropical electric guitar! Príncipe's 1967 debut album, featuring powerful Afro-Latin rhythms like guaguancó and pachanga played with youthful exuberance and originality. Truly unique sound from the dawn of salsa in Venezuela. Príncipe y Su Sexteto, from Caracas, Venezuela, were early pioneers of "salsa con guitarra eléctrica" (salsa with electric guitar), a subset of the salsa genre where the electric guitar is the main melodic rhythm instrument, often taking the spotlight in place of the piano and brass section. They were the perfect combination arriving at the right moment, when salsa spontaneously emerged as a new musical movement coming from working-class youth of the barrios in Caracas. All the compositions are original to the band, and hold up really well more than 50 years later. Though the arrangements and playing are deceptively simple, the effect is both mesmerizing and energizing, like early rock 'n' roll fed through a Caribbean filter. This first time reissue has been remastered directly from the original tapes and licensed from Discomoda. With in-depth liner notes it has also been augmented by three smoking bonus tracks that were never released during Príncipe y Su Sexteto's existence as a band. 180g vinyl.

Trystero comprises Scottish/Luxembourgish producer Thomas Lea Clarke (aka MR TC) and Low Bat, otherwise known as one half of the formidable duo Jean-Luc. Their debut album, Sfumare e Vedere, was conceived over three days aboard Urban Boat, a 1960s barge transformed into an arts and performance space. Moored along the river just outside of Paris, the duo embarked on a joint residency, discovering their complementary creative energies and a mutual passion for all things strange and psychedelic.

As frontman, Low Bat is a fire-powered poet, his unparalleled stage presence resonating through Trystero's music. The French native and fluent German speaker has a natural flair for languages. For this project, he sings in a combination of Italian and English about love, loss, and class struggle, constructing surreal wordplay about pelicans and puttanesca. Meanwhile, Clarke's drone-lead electronic accompaniment takes its cues from sizzling acid, 1990s snap rhythms, post-punk, krautrock and shoegaze. Firmly rooted in these tripped-out genres, Trystero journeys to entirely new cosmic dimensions.

Featuring four of Peaceville’s current death metal artists, ‘Peace Till Death’ presents eight tracks of brutality from Autopsy, Cancer, Morta Skuld and Static Abyss.

With Autopsy’s latest masterwork ‘Ashes, Organs, Blood & Crypts’ just released to rave reviews, the legendary lords of gore supply two alternate versions of album tracks prepared especially for this limited release. This is followed by original UK greats Cancer presenting a brand new and exclusive track in the form of ‘Enter the Gates’, a malicious dose of old school metal in Cancer’s distinguishable fashion, leading on to a brand new 2023 “re-dip” cover version of the classic ‘Into the Acid’ from the band’s debut, ‘To the Gory End’.

Next up is long-standing US death masters Morta Skuld, presenting a new track taster in demo form from their upcoming album due for release March 2024 plus, highlighting 30 years since the release of debut ‘Dying Remains’, this release also includes a new rendition of the title track itself. Rounding out the release is Static Abyss, the recently formed act from Greg Wilkinson and Chris Reifert of Autopsy, with two exclusive alternate versions of tracks from their recently released second opus of eerie & monumental death, ‘Aborted from Reality’.

This CD edition of ‘Peace Till Death’ also includes a bonus disc featuring an expansive look at Peaceville’s close association with the genre spanning over three decades, including early masters of the scene such as Paradise Lost, Autopsy, Cancer and Darkthrone, through other influential acts such as At the Gates, Vital Remains plus more progressive death from Opeth and Barren Earth, as well as a whole selection of masters of darkness such as Bloodbath, Behemoth and Napalm Death. Artwork appears courtesy of Mark Riddick, and includes a 20 page booklet.

Flee new issue tries to document a Caucasian musical phenomenon mixing criminal songs, Adygean culture & post-soviet society; and features original recordings of traditional songs, and contemporary reinterpretations by a selected line-up of electronic-esque producers: Emmanuelle Parrenin & Colin Johnco, Misha Sultan, Zongamin, Minami Deutsch, Valentina Goncharova, Simone Aubert, Ben Wheeler...

Ulyap is a village in the Caucasus, where one can find an enormous number of accordion and harmonica players. "Ulyap Songs: Beyond Circassian Tradition" represents an attempt to document ancient bards' chants and their entanglement with popular rural heritage as well as post-Soviet culture during modern times, through a critical prism.

This publication reflects on a music phenomenon involving talented female and male musicians, performing in lively (and sometimes festive) social dynamics. It does so by revealing important songs of the repertoire on the one hand, inviting original artists to experiment with Ulyap songs on the other.
Built around an important work of documentation on this genre mixing criminal songs, Adygean culture and lyrics related to post-Soviet society, the book and record (available separately or as part of a bundle) include essays, archive and contemporary photographs as well as three art commissions questioning this original phenomenon from various point of views. Written in English and Russian, the book encompasses a dozen contributions.

Musically, the double LP conists of rare and unpublished archives as well as recordings made by FLEE, Ored recordings and Nikita Rasskazov over the last years in various locations of the Caucasus. These original celebration and drinking songs performed by group of professional and amateur musicians alike have been used as a creative fabric by sonic sound artists and musicians.

Flee new issue tries to document a Caucasian musical phenomenon mixing criminal songs, Adygean culture & post-soviet society; and features original recordings of traditional songs, and contemporary reinterpretations by a selected line-up of electronic-esque producers: Emmanuelle Parrenin & Colin Johnco, Misha Sultan, Zongamin, Minami Deutsch, Valentina Goncharova, Simone Aubert, Ben Wheeler...

Ulyap is a village in the Caucasus, where one can find an enormous number of accordion and harmonica players. "Ulyap Songs: Beyond Circassian Tradition" represents an attempt to document ancient bards' chants and their entanglement with popular rural heritage as well as post-Soviet culture during modern times, through a critical prism.

This publication reflects on a music phenomenon involving talented female and male musicians, performing in lively (and sometimes festive) social dynamics. It does so by revealing important songs of the repertoire on the one hand, inviting original artists to experiment with Ulyap songs on the other.
Built around an important work of documentation on this genre mixing criminal songs, Adygean culture and lyrics related to post-Soviet society, the book and record (available separately or as part of a bundle) include essays, archive and contemporary photographs as well as three art commissions questioning this original phenomenon from various point of views. Written in English and Russian, the book encompasses a dozen contributions.

Musically, the double LP conists of rare and unpublished archives as well as recordings made by FLEE, Ored recordings and Nikita Rasskazov over the last years in various locations of the Caucasus. These original celebration and drinking songs performed by group of professional and amateur musicians alike have been used as a creative fabric by sonic sound artists and musicians.

With her cinematic debut in 1952, Brigitte Bardot's musical career would begin a decade later after signing to the Phillips Record Label in 1962. Bardot released her debut album the following year and featured four singles: 'Les Amis De La Musique', 'El Cuchipe', the critically acclaimed 'La Madrague' and 'L'Appareil À Sous', penned by Serge Gainsbourg, its style was suited to the 'Twist' dance craze gaining popularity amongst her teen audience. Gainsbourg would feature regularly throughout her artistic career. Impressively, Bardot sings on the album in three languages: French, Spanish ('El Cuchipe'), and English ('Everybody Loves My Baby'). Her musical ventures were playful, fun and uniquely B.B.

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

UK-rock band Neck Deep have announced their upcoming self-titled album Neck Deep, set
for release on January 19, 2024, via Hopeless Records.
“We’re so stoked to announce our new self made, self titled record,” shares vocalist Ben
Barlow. “With a return to roots approach, we made this record ourselves at our warehouse
in North Wales, with Seb at the helm, and the rest of us over his shoulder, like it was at the
start.”
In the little over a decade since Neck Deep formed in the Barlow brothers’ spare room in
Wrexham, Wales, a lot has changed. From the scrappy, naively hopeful beginnings that
define the starting of so many teenage bands, the pop-punks have gone on to be one of
British Rock music’s most successful global exports in recent memory: top 5 records in both
the US and UK, global touring, viral hits and over a billion streams just some of the fruits of
ten years spent mastering their craft.

Vladislav Delay's complete "Hide Behind The Silence" series. Intuitive and raw music, momentary and reflective, released on Ripatti's own label Rajaton.

Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.
Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.
Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’
The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.
A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.
It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Hide Behind the Silence”, what’s the idea and what can we expect?

Exploration of inaction. Of many kinds. In arts and in personal life, or at bigger and more serious levels. Questioning myself as a human being as well as an artist. Acknowledging the growing activism all around, and the very clear need for it, and how it reflects my own inaction.
Musically speaking, after Rakka, Isoviha and Speed Demon, I finally found some relief, but more importantly lost the need to go musically ever more outward and intensive. I felt quite strongly certain periods/moods from the past and they made me revisit some musical ideas or states of mind I was exploring early on.
It’s about live moments being captured, not much premeditation or editing. More intuitive and raw, even though the end result (to me) feels and sounds quite introspective and calm. It’s not very ambitious. Momentary and reflective.

2) Your music doesn’t sound very silent. Does it come from somewhere behind the silence?

Oh, this time to me it sounds quite quiet and playing with space if not silence. I don’t know what’s actually behind silence, but I think silence is the source of everything. We just don’t understand it yet.

3) What kind of thoughts or experiences gave inspiration to this series?

Writing this in Nov ’22, it’s not a stretch to say the world has been really unwell. Sometimes, like Mika Vainio put it, the world eats you up. I feel a bit like that. And I try to hide in my studio and stay away from it all, but it’s getting harder by the day. I’ve been questioning myself and thinking if what us artists are doing is worth anything, and whether it’s just a selfish thing I’ve been doing for the past 25 years, running away from everything. I haven’t come to a conclusion yet.

4) Is it easy for you to be in silence, or around silence?

Absolutely. I not only hide behind silence but I also love silence. It’s only since I started going back to nature as a grown-up person that I sensed and was enveloped by silence, true silence. I have begun to appreciate it a lot. I think all the people should spend more time in silence.

All tracks composed and produced by Sasu Ripatti.
Artwork by Marc Hohmann, photography by Shinnosuke Yoshimori.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

Dutch lute player and composer Jozef Van Wissem's new album The Night Dwells in the Day out 19th January 2024. “It's like a part of my body,” says Jozef Van Wissem of the relationship he has to his chosen instrument, the lute. “The complexity of it is what keeps me going because you can always find something new.” The ability to constantly extract something different and explore fresh terrain is evident throughout Van Wissem’s sprawling back catalogue and up to his latest album, ‘The Night Dwells in the Day’. Over the years he’s released countless solo albums stretching into double figures, there’s been collaborations with Jim Jarmusch and Tilda Swinton, award-winning computer game soundtracks, along with award-winning film soundtracks, from Jarmusch’s Only Lovers Left Alive to Pierre Creton’s 2023 film A Prince. Since studying the lute in New York with Patrick O'Brien in the 1990s, Van Wissem has gone on to create works equally as rooted in classical Renaissance and Baroque forms of lute music, as contemporary sounds spanning drones, electronics and field recordings. Throw in some of his formative influences from the no wave and industrial scenes, alongside a dedicated approach to minimalism and this has resulted in Van Wissem producing distinct and singular work whose sound is often a marriage of opposites; meditative and intense, forward thinking but with a sense of the arcane. The Quietus has called him “probably the most famous lutenist in the world”. The genesis for his latest album began during lockdown in Warsaw, where Van Wissem splits his time between Rotterdam. “The Call of the Deathbird” was the first song he wrote from the album and is the first to be shared, along with an accompanying video today. Over a hypnotic yet beautifully fluid and plucked melody - captures scenes of deserted streets, death and the intense isolation that gripped us all. One of the relatively rare tracks that Van Wissem sings on - along with some stirring and enveloping guest vocals from Hilary Woods (who will tour with Van Wissem later this year – details below) - his towering voice circles above the music much like the swooping deathbird he sings of. Normally Van Wissem writes all the music for one album within a confined period but this one song from a few years ago stuck around and took on a new lease of life and so joined a bunch of freshly written songs for the album. While one song written during, and about, the pandemic came to be the album’s centerpiece, the rest of the album grapples with the world as it moved on and all the dualism and dichotomies that followed. “It has to do with darkness and light,” Van Wissem says of the album. “The title can mean different things to people but sometimes people say that if I play a happy piece of music that it still sounds sad. So this is why I came up with that title.”

The Vampisoul chicas are back. And for the third time. And, although collectors and connoisseurs have never stopped playing the songs by these Spanish female singers, here they are again, sounding as vibrant as they did half a century ago. Because these children of their times, the musical decades of the 60s and 70s covered by this compilation, boldly ventured into the limited spaces of freedom open to female artists back then. And they did so with attitude, in search of the right repertoire, proudly presenting new, daring personal projects often breaking away from the demure tone adopted by mainstream local female singers. And they were canny about it too. Realizing that the censors working back would just listen to the song that the record company flagged up as the listening target on the A side and not bother to flip the single over, they recorded many of their racier songs on the B side. That exciting dark side of singles, which have long tempted collectors. Lacking the freedom and visibility enjoyed today, these daring records by these female singers went as far as they could and a few managed to go beyond. The songs on this compilation tell everyday stories, narrating small socio-musical conquests revolving round the enduring theme of young love. Sass, sex, boy-girl rivalry, the defense of liberating women's fashion and, saying what women think loud and clear, all characterize these grooves. Performed in a variety of musical styles ranging from ye-yé, twist, disco, beat, popcorn, flamenco pop to Northern Soul, and, even more surprisingly, sung in an everyday, natural and self-assured tone that must have ruffled some feathers. As in previous volumes of "¡Chicas!", this third compilation includes female singers from outside Spain but whose career, their decision to sing in Spanish or their long tours and local stays, and occasionally permanent residence, meant their albums were created, recorded or produced here in Spain. It's a winning proposition for everyone. Take the band Los Bravos, four of the singers that passed through the ranks of this quintessentially Spanish group were foreigners. It's part of our open-door policy. Spain is different. In every sense. But let's get down to the serious stuff and the ritual: vinyl on the turntable and needle poised ready to play. Third volume of Vampis' ¡Chicas! series, an irresistible collection of ye-yé, twist, disco, beat, popcorn, flamenco pop and even Northern Soul! From the early 60s and in the middle of a difficult political and social context, Spanish female singers - and those who moved to Spain - disregarded conventions and overcame all barriers to be part of a music movement that shook the Spanish society of the period. Many of the 24 tracks are reissued for the first time, including very hard-to-find records. It includes extensive notes by Vicente Fabuel featuring all the original record sleeves and artist photos.

"Keith Porteous, who was A&R at BMG brought me to a bar called The Absinthe to check out a new band he was working with. What was immediately interesting about them was that, while their tastes were root-ed in ‘70’s rock, they didn’t sound retro. They had created a classic rock sound for their generation. What was also great is that they were four distinct personalities-four characters, like the Beatles or the Monkees. But they all dressed in matching outfits and did coordinated rock moves on stage. Amazing. I went to Moncton, NB and met the guys at an old schoolhouse that they’d wrangled to do pre-pro-duction. We spent a week or so workshopping their super cool songs and hanging out at their favorite watering holes. They had sold me with their live show and part of the trick of producing them was to try to capture that. I knew we weren’t going to do a lot of overdubs or ornate production. That week was an absolute blast. The guys were so funny and so engaging, just dripping with personality, which I knew was going to serve them well in the music business. I remember going to a Chinese Buffet with them and their girlfriends and watched them eat half of the food in the restaurant. I think the bill came to less than $100 for the nine of us. I still love the record and I wish it had made them world famous rock superstars. Every song on it is so uniquely them, they had perfectly distilled their influences, both old and new, and I don’t think any other band could have made this record. " - Moe Berg

- Newly Expanded Deluxe Double LP Edition! - Includes the original 1972 album, plus all of Larry Mark's acoustic demos and tracks from his unreleased 1970 LHI LP for the first time on vinyl - Previously unreleased session outtake of "Cold Hard Times" plus demos of obscure Hazlewood compositions "Drums," "The - Start," "Susie," "Miracle on 19th Street," and "Peppermint Morning" - 30 total tracks - Remastered by GRAMMYr-nominated mastering engineer John Baldwin - Liner notes by GRAMMYr-nominated reissue producer Hunter Lea including interviews with Larry Marks, Joe Cannon, Torbjörn Axelman & Suzi Jane Hokom - Lee Hazlewood comic strip, the story of 13 told through original artwork by Jess Rotter - Double LP housed in a gatefold jacket // DESCRIPTION "Pimps_ whores_ pushers_ dopers_ gangsters_ and bottom of the human chain shit-heels. Now you're probably thinking I'm writing about major record companies and their unscrupulous executives_ and lawyers. You could be right_ but this time_ YOU'RE WRONG! I'm describing the characters in my album `13' _Some I knew_ some I invented _ some are true_ some are false_ some I liked_ some I didn't. But they all had a story to tell and I told it_none of `em seem to care_ and I don't either_ have fun_" - Lee Hazlewood "He (Lee) took my voice off the album and put his voice on the album. Now don't forget these were in my keys, it was my charts, it was my everything. Lee Hazlewood was not even remotely going to be considered as an artist for this album and that's the way he wanted it." - Larry Marks The album 13 was never supposed to be a Lee Hazlewood album. It is perhaps the strangest record in one of the most varied discographies in music. The Bombastic brass heavy funk, deep blues and soul paired with Hazlewood's subterranean baritone would be best enjoyed with a tall Chivas in an off-strip seedy Vegas lounge. By 1972 Lee Hazlewood had settled in his new homeland of Sweden. His days were spent carousing, making movies with Torbjörn Axelman and releasing albums. To keep up his prolific recorded output, Lee began to mine the recently defunct LHI Records archives for material. One such gem, was an unreleased album by Larry Marks (LHI producer, artist and the voice of the first Scooby-Doo theme). Larry's concept was to take Hazlewood's strongest compositions and arrange them in a soul vibe. An album was completed, but with no distribution in America and no funding, Lee had no vehicle to release Larry's record. The tapes were taken to Sweden, Larry's voice was wiped and Hazlewood's was dubbed_ 13 was born.

Erster Release der Light In The Attic Re-Issue Serie zu Ehren von LEE HAZLEWOOD mit Stücken von so essentiellen Alben wie ,Cowboy In Sweden". Mit Duetts mit Suzi Jane Hokom, Ann Margret und Nina Lizell. Extensive Linernotes und bisher ungesehene Photos. Mit seinem Schnurrbart und dem klingenden Bariton war LEE HAZLEWOOD einer der Stars der späten 60er Jahre. Obwohl er wahrscheinlich am bekanntesten wegen seiner Arbeit mit NANCY SINATRA ist (er schrieb ihren Megahit ,These Boots Are Made For Walking"), leistete HAZLEWOOD auch fernab dieser besonderen Glamourkönigin beachtliche Arbeit und fand später große Fans in BECK, SONIC YOUTH und JARVIS COCKER. Für den Record Store Day 2012 präsentiert Light In The Attic den Startpunkt einer Anthologie mit ,Singles, Nudes&Backsides", die LEEs beste Solosongs und Duetts seines Lee Hazlewood Industries Sublabels (LHI) versammelt. Die Serie wird sich Material von LHI widmen (das hier zum ersten Mal von den analogen Originaltapes neu gemastert wurde), zusammen mit LEEs Output bei anderen Labels, Raritäten, unveröffentlichten Schätzen und den Filmen von Torbjörn Axelman. Man muss nur das Cover anschauen: umringt von nackten Mädchen, die alle einen unechten Schnurrbart tragen, spielt HAZLEWOOD im Anzug leicht unsouverän den Playboy. Exakt wie dieses Photo zeigen auch die Songs einen gespaltenen Mann: er ist der zärtliche Romantiker, der gebrochene Loser und der zerfurchte Cowboy zugleich.