Pop & Rock Novedades

* First ever LP reissue, first time on CD & Digital
* Produced by Lee Hazlewood
* Featuring three unreleased tracks
* In-depth liner notes by LHI Archive Series co-producer Hunter Lea with unseen archive photos
* All tracks newly remastered from the original tapes
* LP housed in deluxe Stoughton 'Tip-On' gatefold jacket

The pantheon of performers known by but one name is full of superstars. Arthur-the nom de plume of singer-songwriter Arthur Lee Harper-is not one of them, but this gentle singer-songwriter and his wan, string-drenched, loved-up, psych-folk was probably never likely to be suitable for mass consumption.

Released on Lee Hazlewood's LHI label, the haunted Dreams And Images is the first of two albums from the Melbourne, Florida-born singer-songwriter. LHI was a broad church, taking in everything from soul to country, and Arthur found a home, a producer, and a champion in Hazlewood, who described him as "A man who will someday be a child again... A reason to cry and be unafraid... A bird with eighth-notes for wings."

Though his lonely, intimate music, shy demeanor, and stutter might not have suggested a man of great ambition, Arthur moved to Hollywood chasing the music industry dream. He suffered hardships to do so, living hand-to-mouth in a YMCA hostel with two like-minded individuals: Mark Lindsey Buckingham and Stephen John Kalinich, whose A World Of Peace Must Come has been reissued by Light In The Attic. "Arthur was a peace person. He was all about peace, love, and harmony," remembers Kalinich in the brand new, extensive liner notes for Dreams And Images. "He was a person that believed you could change the world. We thought we would be some of the ones to usher in peace."

While Kalinich and Buckingham were signed by the Beach Boys' Brother Records, Arthur allied with Hazlewood, having knocked on the door of the label's Sunset Boulevard HQ and auditioned on the spot. Entering the studio with Hazlewood, Donnie Owens, Tom Thacker, and arranger Don Randi, who brought baroque pop grandeur to the songs, Arthur let his music do the talking. "He stuttered and had a hard time getting his ideas out, so he would sing me the parts he had in mind,' remembers Randi.

A mixture of things conspired to make sure few people heard Arthur, including a packed release schedule at LHI, followed by the withdrawal of their major label funding and a lack of foundation on which to market the album. After the 1970 follow-up album, Love Is The Revolution, Arthur bowed out of the business, immersing himself in Christianity, family, and a career working first as a rocket engineer and, latterly, a teacher. "I never stopped writing or recording," he later said. "I recorded in studios, friends' houses, and live. I just recorded music with my friends or by myself when I felt inspired. For me, singing and songwriting is like breathing; I just do it."

On January 10th, 2002, Arthur's wife Lora died in a car crash. He tragically passed away of a heart attack the same night. Now, with this reissue of his great, lost album, Arthur's fragile heart can finally be enjoyed by all.

Duvall Timothy isn't a musician. At least not in that conventional sort of way. No, Timothy's artistic expression is the sort in which all his daily actions are intentional and each action reveals a small part of his large vision. He steps out for his day dressed in all blue: A statement of self. He chefs African cuisine: a medium to discover his heritage and share that heritage with others. And when he returns home, he plays piano

Repress.

40th anniversary limited edition !!!

DJ Sotofet has rearranged two Finnish jazz funk classics from mid 70's that came out in original form on Jazzpuu in 2001.

Yann Tiersen has sold hundreds of thousands of records worlds wide and even more soundtracks. Since 2009 he has been focused on playing live, with 270 shows spread over three world tours, which touched every continent. This Autumn Tiersen returns home and is releasing four beautifully re-mastered editions of his first four albums, La Valse Des Monstres (1995), Rue Des Cascades (1996), Le Phare (1998) et (Tout Est Calme 1999). With his whimsical, melancholy music, Yann Tiersen has become a sought-after composer, not only for his soundtrack work, but in his own right. Borrowing from French folk music, chanson, musette waltz and street music, as well as rock, avant-garde, and classical and minimalist influences, Tiersen's deceptively simple style has been likened to Chopin, Erik Satie, Philip Glass, and Michael Nyman. Tiersen became popular outside his native country for his score to Jean-Pierre Jeunet's film Amélie, but this was no over night successes. He had been working for years before the film's success brought him international acclaim. Born in Brest in Brittany, on June 23, 1970, Tiersen was raised in Rennes and made a name for himself as one of the star pupils at his local conservatory. Tiersen studied violin and piano from the ages of six to fourteen, and eventually trained to be a conductor. However, Tiersen rebelled against his classical training and, inspired by the likes of Joy Division and the Stooges, played guitar with several local post-punk-influenced bands during his later teenage years. At the same time, Tiersen was also composing soundtracks for short films and accompaniment for plays. Several of these pieces ended up on his first album, Valse des Monstres, in 1995 and introduced his delicate but deeply emotional style, and which also featured intricate arrangements incorporating instruments as varied as toy piano, banjo, harpsichord, melodica, and carillon, as well as piano and guitar. If Valse des Monstres and its follow-up, 1996's Rue Des Cascades, were intial slow burners Tiersen's third album, 1998's La Phare, met a different fate, its single, "Monochrome," which was sung by French pop star Dominique A., was a radio hit and propelled the album, and Tiersen, to mainstream success in France. As Tiersen's acclaim grew, so did the scope of his records. That year's Black Sessions -- a live album of a radio performance -- featured collaborations with Dominique A. and the Divine Comedy's Neil Hannon, as well bands like Les Têtes Raides and the Married Monk, who also appeared on 1999's more the rock-oriented album Tout Est Calme. Soon after, Tiersen was preparing his next album when he was contacted by Jean-Pierre Jeunet, who wanted Tiersen to score his next movie, Amélie. Jeunet had heard Tiersen's music while driving and had been so taken with it that he bought all of Tiersen's albums. His Amelie score featured new and old compositions, and the film's success spun off to Tiersen's music.

Cowboy in Sweden, the soundtrack to the 1970 cult classic film of the same name, is quite possibly the purest distillation of the Hazlewood sound, lush melancholy country pop with a pinch of humor
Lee Hazlewood spent a good part of the late 1960s traveling the globe, cutting records and inking business deals. A string of hits with Nancy Sinatra enabled Lee to build a mini media empire Lee Hazlewood Industries and afforded him nearly unlimited resources...for a time. By the end of the decade 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 Brannvin...Sweden was calling.

While on an LHI promotional tour in Stockholm, Lee crossed paths with Swedish director Torbjörn Axelman. I met Lee through my script girl, in Stockholm in 1969,' remembers Axelman. "We noticed we had very many similarities, interests, and the same backgrounds. It led to many productions during our 38 years of close partnership and friendship.' The partnership showed Lee the way forward and allowed him an easy exit strategy from the LHI house of cards that was crumbling in Los Angeles.

Light In The Attic records continues its Lee Hazlewood series with this expanded reissue of Cowboy in Sweden. 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 strongest songs recorded over a prolific globe trotting three year period. The production scope of the album was the most ambitious of his career, recorded in Paris, London, Los Angeles and Stockholm with a slew of talented session musicians, producers and arrangers.

Cowboy in Sweden is quite possibly the purest distillation of the Hazlewood sound, lush melancholy country pop with a pinch of humor ("Pray Them Bars Away"), a dash of bummer ("Cold Hard Times'), some beautiful ladies to sing with ( Leather & Lace' & Hey Cowboy') and even a couple anti-war protest songs to be topical ("No Train to Stockholm' & For A Day Like Today'). The David Bitter Sweet Symphony' Whitaker arranged orchestral pop of What's More I Don't Need Her' and the stone cold Hazlewood classic The Night Before' cement the album as Lee's peak on LHI records and ironically the label's swan song.

Cowboy in Sweden, the soundtrack to the 1970 cult classic film of the same name, is quite possibly the purest distillation of the Hazlewood sound, lush melancholy country pop with a pinch of humor
Lee Hazlewood spent a good part of the late 1960s traveling the globe, cutting records and inking business deals. A string of hits with Nancy Sinatra enabled Lee to build a mini media empire Lee Hazlewood Industries and afforded him nearly unlimited resources...for a time. By the end of the decade 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 Brannvin...Sweden was calling.

While on an LHI promotional tour in Stockholm, Lee crossed paths with Swedish director Torbjörn Axelman. I met Lee through my script girl, in Stockholm in 1969,' remembers Axelman. "We noticed we had very many similarities, interests, and the same backgrounds. It led to many productions during our 38 years of close partnership and friendship.' The partnership showed Lee the way forward and allowed him an easy exit strategy from the LHI house of cards that was crumbling in Los Angeles.

Light In The Attic records continues its Lee Hazlewood series with this expanded reissue of Cowboy in Sweden. 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 strongest songs recorded over a prolific globe trotting three year period. The production scope of the album was the most ambitious of his career, recorded in Paris, London, Los Angeles and Stockholm with a slew of talented session musicians, producers and arrangers.

Cowboy in Sweden is quite possibly the purest distillation of the Hazlewood sound, lush melancholy country pop with a pinch of humor ("Pray Them Bars Away"), a dash of bummer ("Cold Hard Times'), some beautiful ladies to sing with ( Leather & Lace' & Hey Cowboy') and even a couple anti-war protest songs to be topical ("No Train to Stockholm' & For A Day Like Today'). The David Bitter Sweet Symphony' Whitaker arranged orchestral pop of What's More I Don't Need Her' and the stone cold Hazlewood classic The Night Before' cement the album as Lee's peak on LHI records and ironically the label's swan song.

Followers of the Sonic Pieces catalogue will already be familiar with the individuals of F.S.Blumm and Nils Frahm as well as their acclaimed work as a duo. But even though they're making use of familiar instruments their new album Tag Eins Tag Zwei manages to add a new tone to their already unique language. By trading their post-processed sound sculptures that made up the two preceding albums in for intimate pieces of improvisation, this collaboration merges into the most soothing and life affirming recording the two have produced so far.

Guitars and toys are flowing next to piano and harmonium like an organic combination, shaping nine suits that abnegate any common categorization. Involving classical, jazz and folk influences it's the genuine use of tricks and delays that lift these improvisations above the ordinarXy and makes them both incredibly relaxing and exciting at the same time. It is almost ironic that by capturing accidental moments of free playing, Frank and Nils are succeeding at an even more impressive scale than their already highly satisfying previous output.

The result delivers a perfect example of how immediacy can be the most powerful approach to creating music. Based on a remarkable understanding of each other's phrasing the pair of sessions that comprises this album shows two vivid artists at the peak of their game: Unconditional spontaneity.