Cassette[20,38 €]
Vinyl[41,13 €]
Violeta Vicci rides a motorbike, is fluent in seven languages, and feels at home in England, Switzerland and Spain. A multifaceted, contemporary violinist, vocalist and composer, she feels comfortable genre-crossing from classical to ambient, multilayered electronics, her influences ranging from Bach to Brian Eno. Her music has been played on BBC Radio 3 (Hannah Peel), Radio 4 Woman's Hour, BBC6 (Iggy Pop), KEXP and Resonance FM.
Since starting the violin at the age of four and giving her concert debut at the age of fifteen, she fulfilled her long life dream to study at the Royal Academy of Music. Violeta has recently supported the Orb on their 30th anniversary UK tour and collaborated with the likes of Thom Yorke, Elbow, Jonsi (Sigur Ros), Steeleye Span and Ellie Goulding. She also arranges the strings for Fontaines DC and writes and performs with psychedelic rock band TTRRUUCES. "We didn't have a TV when growing up, so spending time in nature, building castles in the sand, reading, playing music and listening to fairy tales, played a big role in creating my inner magical universe."
During lockdown, Vicci started "Live Music in Nature" a series of live-streamed concerts performed in beautiful natural locations around the UK, combining strings, voice and effect pedals to create a soundtrack to nature.
She has been nominated for a Royal Philharmonic Society Award 2021 and has released two studio albums to date.
Spawning from the Manchester music scene in 2008 and now sucking in members from all over the UK, the Riot Jazz Brass Band is a nine-piece genre-mashing, foot stomping party behemoth bringing the love buzz to ears and feet all over the world
New album RIOT JAZZ MAKES PEOPLE HAPPY is the culmination of a 15- year mission to spread joy and get people moving. With three trumpets, three trombones, sousaphone and drums bringing the noise and MC Chunky conducting the chaos, the result is a gleeful cacophony encompassing jazz,hip hop, drum 'n' bass, trap, grime and more.
The intoxicating sound and spirit of the Riot Jazz Brass Band, as well as its deep commitment to exploring all sorts of musical genre, has seen it tapped to collaborate with a variety of top artists and play at festivals across Europe.
One of the most established festival bands on the circuit with appearances at Glastonbury (West Holt Stage), Womad (Big Top), Jazz Sous Les Pommier (France) to Soundwave (Croatia) and everything in between. Recent UK tour last April/May all across the country.
The second in a series of self-released Liquid Earth Physical Records, “The Breakdown” is a front flip into curbside clubbing.
The Aside offers two impeccably tight mixes of the 12” title tune, both providing different licks of pleasure for the casual clubber. “Charms Of Gaia” is forward leaning, equipped with big room, big energy type vocal breaks. “Trips & Skips” is an ode to the stripped down wigglyness of one of UK Tech House’s greatest, Nathan Coles - a clear influence of Mr. Earths.
From here, we are sat next to the two black sheep of the 12” on what seems like the most pleasurable road trip of a record. B1 being the beefed-out break tune titled “The Closer” and B2 the straight and narrow slammings of “Cobblestone Stomper,” a track surely given its holy legs by the OG Jerusalem Cruiser.
What you won’t find on this record is senseless filler, instead, you’ll surely be pumping your face with the permanent botox that is Liquid Earth. Now let’s see that smile!
The Bluebeaters landmark debut album from 1999 receives a first-ever vinyl release. Featuring band's hits like Cher's "Believe" or Black's "Wonderful Life" all cooked in a strictly mid 60s Jamaican Blue Beat & Rock Steady style. Gatefold 2LP clear vinyl with printed inserts, limited to 500 copies, instant collector's item.
Record Kicks in collaboration with Universal Music Italy presents the release of The Bluebeaters seminal debut LP "The Album" for the first time ever on wax on a limited edition clear vinyl double LP on March 31. Way before the vinyl comeback of the 2010s, "The Album" was released in 1999 on CD and on two limited edition promo 12"s that are now very in-demand in the scene on V2 Records. "The Album" marked a generation of Soul, Rock Steady and Reggae fans in Italy selling over 40.000 physical copies and now 24 years after its original release, it gets published on full vinyl.
Fronted by "The King" Giuliano Palma on vocals backed with members of cult Italian bands of the 90s such as "Casino Royale", "Africa Unite" and "Fratelli di Soledad", The Bluebeaters' analog recordings finally find the vinyl format they deserve. On the album's track list you can find Jamaican music classics such as "World's Fair" from the Skatalites, Joe Higgs' "There's a Reward" or Bob Marley's "Coming In From The Cold" mixed with hits such as Cher's "Believe", Black's "Wonderful Life" or even 1978 "See You Tonite" by Gene Simmons from The Kiss that perfectly sound as if they were recorded by Clement "Coxsone" Dodd at Studio1 in Kingston in 1966.
The Bluebeaters are not newcomers on Record Kicks, the Milan label released their "Everybody Knows" album in 2015. Top Italian musicians in love with vintage Jamaican ska and reggae and blessed by Ken Booth, during the last 25 years of their career they headlined festivals like Rototom Sunsplash and International Ska Fest in London. Among their fans, they count the likes of Gaz Mayall, David Rodigan and the legendary late lamented Lloyd Knibb (The Skatalites).
The reissue of The BB's "The Album" is part of Record Kicks' 2023 initiatives to celebrate its 20th anniversary. Side by side with similar imprints like Daptone, Big Crown, Colemine or Timmion Records, under its motto "The explosive sound from Today's scene", Milan-based record label and music publishing Record Kicks, has been pitching the contemporary funk & soul scene since 2003. With over 250 physical releases under the belt, the label has released bands from all over the globe and earned support of VIP fans such as rap superstars Jay-Z, Tyler The Creator and Dr. Dre, who sampled the label's catalogue.
'Mighty Joe Moon' the 1994 sophomore effort by Grant Lee Buffalo found the band hitting their artistic stride with their distinctive Americana/Alternative rock fusion and the evocative, wide screen song writing of singer and guitarist Grant Lee Phillips. The beautiful alternative rock hit 'Mockingbirds' brought the band, and this album, their biggest exposure and success. From all out rock assaults like 'Lone Star Song' to somber and highly personal numbers such as 'Happiness' and 'Honey Don't Think' the album is a highlight of the era and the best record the band ever made. Reissued on 180 gram vinyl from Plain Recordings.
Star Funeral is the full-band solo project of Nikki Es- posito. Stepping into the spot light from behind the bass in Secret Tapes, Esposito adds guitar and lead vocals to her list of duties while drums are handled by Ethan Kreidemaker. Sonically, Star Funeral walks a fine line between pleasant and somber tones- dreamy guitars splash through plodding bass and drums with Esposi- to’s vocals driving them forward through a flurry of aching longing and regret. This is indie rock at its finest and Star Funeral feel set to be a standard bearer for a long time. “In the Dark” came together in 2020 after urging from close friends and producer Billy Mannino (Bigger Better Sun, Oso Oso). Singer/multi-instrumentalist Nikki Es- posito built this solo project from the ground up, per- forming all instruments alongside Ethan Kreidemaker’s studio percussion. It’s a lightning bolt of intensity and harrowing growth set to honor and expand upon her primary influences, a flash of self-understanding while re-entering a lightless era. Star Funeral’s debut is a potent discovery of new ways to shoulder old wounds, such as the murmurs of body dysmorphia trailing be- hind double-jaw surgery (“Mouth Bleeder”), the lack of closure in lost friendships (“Outgrow”), and the anxiety of letting others in after these hurdles (“Breather”).
Fans of the Escapers know the love of Rock Steady and Reggae Music. This time they pay homage to a Johnny Taylor sung Stax classic and transform it into a Lover’s Rock thriller. A bass heavy Roots rhythm combined with Colton’s haunting lead guitar create a perfect platform. Johnny Ruiz to express his love. Hey baby “Ain’t That Lovin You”? Definitely, and for “More Reasons Than One”
More of a double A-Side release, the b-side has The Escapers calling on The Heavyweight Dub Champion himself...the mighty Scientist to reinterpret their biggest single “Stay”! Overton “Scientist” Brown gives this tune a classic style “version” with all the echo and distortion any reggae fan would want. A real privilege to work with one of the true legends of dub music!
This new album by Austin-based rockers Fire From the Gods was produced, engineered and mixed by Erik Ron (Godsmack, Motionless In White, Panic! At The Disco) and masterfully blends inspiration and aggression with soul-searching. For some artists, making music isn't a choice, but is fuelled by something bigger than themselves. This is undoubtedly true of Fire From The Gods, whose brand mantra sees them adopting the tagline 'In Us We Trust', meaning that 'We the People' are responsible for change; a unifying statement in order to try to prevent society from succumbing to the growing malaise brought on by soul-sucking technology, divisive politics and environmental destruction.
2020’s A Hero’s Death saw Fontaines D.C. land a #2 album in the UK, receive nominations at the GRAMMYs, BRITs and Ivor Novello Awards, and sell out London’s iconic Alexandra Palace.
Now the band return with their third record in as many years: Skinty Fia. Used colloquially as an expletive, the title roughly translates from the Irish language into English as “the damnation of the deer”; the spelling crassly anglicized, and its meaning diluted through generations. Part bittersweet romance, part darkly political triumph - the songs ultimately form a long-distance love letter, one that laments an increasingly privatized culture in danger of going the way of the extinct Irish giant deer.
New year, new energy, new music...
We’re all waiting for that tune to land in our lap, reach up and slap us simultaneously in the ears, feels, souls and feet. That big sonic blast of emotion and inspiration that sets the tone and gets us excited about a new season of shows.
Hard Times Records present ‘All I Need’, a powerful, slab of house music positivity that smacks of ‘first anthem of the year’ vibes and comes courtesy of one of house music’s biggest pioneers AND a certified UK House music institution that permanently changed the face of global club culture over 30 years ago... Steve ‘Silk’ Hurley and Hard Times.
Neither Hurley or Hard Times need any introductions, but both have histories that deserve so much more than this hype-fuelled promo blurb. Steve ‘Silk’ Hurley is a certified legend. As one of the pioneering House music artists to emerge from Chicago’s primordial 80s phenomenon and the first ever to score a UK number one Hit with ‘Jack Your Body’, the multiple Grammy nominated artist has been a powerful source of energy and inspiration ever since as one of the most consistent forefathers of this scene.
Hard Times have played an equally influential role and are arguably responsible for some of the most defining moments in uk House Music. One of the first club nights to import the US titans to UK dancefloors, the Yorkshire brand were instrumental in creating a blueprint in international DJ culture as they invited the biggest pioneers and legends to their events that began in the sleepy town of Mirfield, but eventually sprawled across the UK with line-ups that ranged from Todd Terry to Masters at Work to Deep Dish and every titan in between. A dominant force throughout the 90s, Hard Times wound down in the 2000s as its founder Steve Raine took a break from the industry to become a sheep farmer, which he still does to this day... Safe in the knowledge that he helped to create an ethos for uncompromising underground House Music that remains steadfast to this Day.
The Hard Times label originated back in 1994 And ran alongside the club night, boasting a small but elite catalogue. It’s about to thrive on a whole new level as Hard Times returns as a label with its first new material for over 20 years with ‘All I Need’.
Timeless yet forward-thinking, loaded to the brim with precision groovemanship, glazed with a strong Latin twist and sprinkled with the gorgeous vocals of Sara Garvey, who many will instantly recognise from her Nightmares On Wax collaborations, ‘All I Need’ is a pedigree house anthem-in-waiting. Universal in vibe and spirit, fully transcending trend or flavour-of-the-month fickleness, this taps into the source and has full potential to be the first big boundary-breaking house hit of 2023... 36 years after Steve ‘Silk’ Hurley topped the charts with ‘Jack Your Body’!
It comes complete with a rainbow of remixes from some equally eye-opening heavyweights: Alex Arnout, Eddie Leader, Terry Farley & Kevin Swain and DJ Skip (who runs S&S Records with ‘Hurley) all provide different perspectives on ‘All I Need’, giving it even more scope and depth to slap us simultaneously.
Following on from the compilation of Contact-U's foundational UK dance music, 'Dancing Inner Space, 1982-84', Freestyle return to the Challenge Records vaults to reissue another killer Rick de Jongh & Andy Sojka production in the form of Distance's Just One More Kiss.
"We usually recorded at Vineyard studio which was situated in a Victorian warehouse site behind Borough underground station (later owned by the Stock, Aitken Waterman production team)", recalls Rick de Jongh, "but for a reason I can't remember we recorded this record at Phil Fearon's home studio in Kensal Rise - he probably gave us a good deal!". Fearon had been a member of the band Kandidate and was at the time the lead singer and songwriter in Galaxy and would later go on to helm the legendary Production House label in the late 80s and into the early 90s. Rick recalls the studio, a converted back bedroom, being as well equipped as any pro studio though not without it's quirks - "the odd electrical glitch would occur, especially when somebody put the kettle on, which would play havoc with sync codes etc. and we would often have to start again!"
Most of the track had been laid down by Sojka & de Jongh before approaching vocalist Janey Hallett. "At the time Janey was a vocalist with Mari Wilson & The Wilsations, who had a big hit a year or so earlier with 'Just What I Always Wanted' and was introduced to us by our regular keyboard player Garry Hughes, who also brought along Julia Fordham - then a fellow singer in the Wilsations - who provided backing vocals on the track."
Challenge Records would again later utilize the backing vocals of both Janey and Julia on some of their forays into the world of Hi-NRG records. In places there is a certain Hi-NRG tinge to this track, and at times Janey's vocal (in combination with the stripped back and heavy electro backing track) bring to mind the US-based latin freestyle sound of the late 1980s. All in all, it is another piece of foundational & criminally undersung UK dance music, which surely has a place in a wide-range of DJ's record bags!
Third times a charm, Plush III is presented to you by our fav Underground Popstar™ Regularfantasy, casting her web out to friends all over the globe in the name of lavish collaboration. First up, in cahoots with fellow Canadian icon Big Zen, the quintessential hit - Call U When I’m Done, a phone talk fantasy with a bonus beatdown remix from living legend Priori.
Plush royalty Chrysalis returns with regfant, a jam Down Under manifesting as a flirty kiss on the cheek to Aqua, Life in Plastic. The B side raises the roof back to Montreal with larger than life references and partnerships for tried and tested chart toppers Sweet Emotion & Sucks To Be You.. Kristian North, D. Tiffany, Steven Tyler, Prozzak and Oprah to name a few. A crowded house party at Le Chateâu; make sure you’re on the guestlist!
Big Red Balloon Swirl Edition! Light in the Attic Records is proud to present the next installment of the Nancy Sinatra Archival Series with the first ever reissue of the classic 1972 album Nancy & Lee Again. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair's most enduring and ambitious duets including the epic "Arkansas Coal (Suite)," the sensual "Paris Summer" and the incredibly powerful Dolly Parton-penned "Down From Dover." Equal parts daring, psychedelic, cinematic, and sweet, Nancy & Lee Again reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come. Nancy & Lee Again is available in a variety of formats, including vinyl and CD. The vinyl LP is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist's personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissue's GRAMMYr-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, "Machine Gun Kelly" (first time on vinyl) and the previously unreleased "Think I'm Coming Down." Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with "These Boots Are Made For Walkin'." Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy's solo hits. Soon, the duo found success with a series of duets, including "Sand," "Summer Wine," and "Some Velvet Morning" - all of which appeared on their highly-influential 1968 debut. Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. "Trivial music and not profound music became unimportant," recalls Nancy, speaking to Hunter Lea. "It was a tough time." And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together. Returning to Los Angeles for the project, Hazlewood - who reprised his role as producer - chose to take a new direction with the duo's sophomore album. Nancy recalls, "It was more dramatic; it was more fun to do, more challenging to do_. It was more grandiose." Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. "We didn't have label support at all in those days," recalls Nancy. "Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It's a very ageist kind of business." Nevertheless, she adds, "I think it's a very good album. I think it's timeless." Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.
The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s Nancy & Lee Again, a follow-up to their bestselling duet debut, Nancy & Lee. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.
Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.
Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, Cowboy in Sweden. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.
The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout Nancy & Lee Again, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.
One of the most emotionally-charged moments on Nancy & Lee Again is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.
Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”
The song “Friendship Train” could also be interpreted as an apology of sorts – this time to Nancy. “You’ve been hurt and I’ve been hurt/Now we’re living pain,” the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. “I felt pretty betrayed. I mean, who does that? Who just up and disappears like that? I’ll never understand it,” she reveals. But the uplifting duet – a slice of ‘70s pop perfection – offers reaffirming words of love between friends. “Lee felt things very deeply and tended to express his feelings in song instead of in real life,” explains Nancy.
The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.
This definitive reissue of Nancy & Lee Again also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of [Lee’s] drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.
Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.
Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the GRAMMY® Hall of Fame. That same year, Sinatra partnered with Light in the Attic for Nancy Sinatra: Start Walkin’ 1965-1976, a definitive survey of her most prolific period. LITA has also reissued Sinatra’s classic debut, Boots, and her iconic, 1968 album with Lee Hazlewood, Nancy & Lee. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.
The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s Nancy & Lee Again, a follow-up to their bestselling duet debut, Nancy & Lee. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.
Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.
Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, Cowboy in Sweden. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.
The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout Nancy & Lee Again, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.
One of the most emotionally-charged moments on Nancy & Lee Again is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.
Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”
The song “Friendship Train” could also be interpreted as an apology of sorts – this time to Nancy. “You’ve been hurt and I’ve been hurt/Now we’re living pain,” the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. “I felt pretty betrayed. I mean, who does that? Who just up and disappears like that? I’ll never understand it,” she reveals. But the uplifting duet – a slice of ‘70s pop perfection – offers reaffirming words of love between friends. “Lee felt things very deeply and tended to express his feelings in song instead of in real life,” explains Nancy.
The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.
This definitive reissue of Nancy & Lee Again also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of Lee’s drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.
Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.
Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the GRAMMY® Hall of Fame. That same year, Sinatra partnered with Light in the Attic for Nancy Sinatra: Start Walkin’ 1965-1976, a definitive survey of her most prolific period. LITA has also reissued Sinatra’s classic debut, Boots, and her iconic, 1968 album with Lee Hazlewood, Nancy & Lee. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.
This sensational post-Disco, Boogie classic from 1981 gets pulled from deep within the legendary Sam Records company vault, and sees a vinyl-only re-release on 4-time Grammy Award Nominee Kenny Dope's Kay-Dee Records, with his own special re-rubs. What makes the re-issue of this dance floor gem most authentic is Kenny's process that stays true to old school form, both technically and sonically. That is, the song painstakingly taken from the original 24-track multi-track master and mixed down to 1/2" master tape, and then mastered from tape to vinyl. Kenny proves this process needs to be done the way it was back in the day in order to produce a true analog record; not a record that sounds like a cd on vinyl nor mastered from digital files for vinyl. This is unlike what everyone is doing these days and what separates Kay-Dee Records from the rest. Kenny's O'Gutta Dubba, the other remix on the flipside of the vinyl, brings even more of that boogie sound back with all original new live drums, rubber bass and other classic instrumentation. You may very well have heard this single being played by Larry Levan at the Paradise Garage, David Mancuso at The Loft or Tee Scott Better Days. Today, you might hear these remixes at parties like Body & SOUL, 718 Sessions, Bump & Hustle, or many of the specialty radio shows like Kenny Dope's Anything Goes on Rinse FM UK. Originally produced by Gary R. Turnier of Gary's Gang and produced/written by Andre Booth who has also collaborated with Big Daddy Kane, Lords of the Underground and others, a whole new generation of dancefloor devotees will discover this throwback first hand.
2023 Repress
Altamira caves, Santander 34.000 B.C. One of the oldest archeological sites on planet earth, just 30 mins away by car was born and raised P.E.A.R.L. Following the primitivism of those who preceded him, Poor Lord is an act of pure Neanderthal techno, stomping, explosive and classic hardcore flavor, can't wait to elevate Herrensauna peak time pressure with this.
And as if this was Rotterdam records. Dimi forgives that front left 2-step raver facing down with, a small break and a sublime kitsch hardcore line, expertly driving by the solo project of one half of AnD.
After the massive remix for Peder on KAOS04 OnScreenActor comes back with his first solo production. I talk to him via an intermediate and I still have no clue who is the responsible of this music, although I do not care. For me TACHI is the greatest production ever released in KAOS. Finest murky hyperdisko.
u.r.trax was born in this millenium, met her when she was working as artist care of Possession last year, not sure even she had the legal age to go in but her classy and freaky bangers should be definitely sounding in the mighty Paris rave. Folge Mir is just a small showcase of her big talent. Follow her.
This may be the toughest KAOS till date, take it or not. Fear enough.
Nach seinem Debütalbum 'Are You Happy Now?' aus dem Jahr 2020 meldet sich Nile Marr aus Manchester mit seiner zweiten LP 'Lonely Hearts Killers' zurück. 'Ich habe wieder angefangen, all die Bands zu hören, die mich dazu gebracht haben, Songs zu schreiben, wie die Lilys und Neil Finn. Da ich während des Lockdowns nicht live spielen konnte, habe ich mich mehr auf das Songwriting konzentriert als auf 'Ich weiß, dass das bei unseren Live-Shows funktioniert', daher habe ich das Gefühl, dass sich dieses Album in jeder Hinsicht von meinem vorherigen unterscheidet', sagt Marr. Für Fans von Broken Social Scene, Big Star und Elliott Smith erscheint 'Lonely Hearts Killers' auf umweltfreundlichem Vinyl bei Oldham Street Records.
