Lee Hazlewood ‎– The LHI Years: Singles, Nudes & Backsides (1968-71) C + W Folk Rock Sealed 2LP

Lee Hazlewood ‎– The LHI Years: Singles, Nudes & Backsides (1968-71)

Label:
Light In The Attic ‎– LITA 084
Series:
Lee Hazlewood Archive Series – 1
Format:
2 × Vinyl, LP, Compilation
Country:
US
Released:
2012
Genre:
Rock, Pop, Folk, World, & Country
Style:
Folk Rock, Country, Ballad

Tracklist

A1 Califia (Stone Rider) 2:48
Featuring – Suzi Jane Hokom
A2 The Bed 2:42
A3 Sleep In The Grass 3:21
Featuring – Ann-Margret
A4 Leather And Lace 3:08
Featuring – Nina Lizell

B1 If It's Monday Morning 4:02
B2 The Night Before 3:18
B3 Bye Babe 3:38
B4 Victims Of The Night 2:38
Featuring – Ann-Margret

C1 Chico 2:42
Featuring – Ann-Margret
C2 Hey Cowboy 3:22
Featuring – Nina Lizell
C3 No Train To Stockholm 2:23
C4 Won't You Tell Your Dreams 3:56

D1 Nobody Like You 2:57
Featuring – Suzi Jane Hokom
D2 Trouble Maker 2:32
D3 What's More I Don't Need Her 3:36
D4 Come On Home To Me 3:01
D5 I Just Learned To Run 3:04

Companies, etc.

Licensed From – Barton Lee Hazlewood Separate Property Trust
Phonographic Copyright (p) – Light In The Attic Records & Distribution, LLC
Copyright (c) – Light In The Attic Records & Distribution, LLC
Published By – Lee Hazlewood Music Corp.
Published By – Noma Music
Published By – Landville Music
Published By – Hitmaker Music
Published By – Gold Disc Music
Published By – Abacus Music
Remastered At – John Baldwin Mastering

Credits

Compilation Producer – Hunter Lea
Compilation Producer, Producer [Executive Producer] – Matt Sullivan
Coordinator [Project] – Patrick McCarthy
Coordinator [Proofreading] – Jason Grant
Design – Henry Owings*
Executive-Producer – Josh Wright, Matt Sullivan
Liner Notes – Wyndham Wallace
Photography By [Images And Archival Material] – Barton Lee Hazlewood Separate Property Trust,Hunter Lea, Mark Pickerel
Producer – Donnie Owens (tracks: B4), Joe Nixon (tracks: B4), Larry Marks (tracks: C3), Lee Hazlewood (tracks: A1, A3 to B1, B4 to D2, D4, D5), Shel Talmy (tracks: A2, B2, B3, D3)
Producer [Executive Producer] – Josh Wright
Remastered By [Re-mastering] – John Baldwin
Remastered By [Transferred By] – Brian Kehew

Notes

Comes in a gatefold sleeve with a pseudo Obi, and a 11"X11" 8 page booklet with liner-notes and lyrics.
Track D5 is previously unreleased.
This album was released on Record Store Day 21 April 2012.
50 random LP copies include a limited LHI Records patch.

( pitchfork) "

But Hazlewood's solo career was overshadowed by his collaborations, first with Duane Eddy and most famously with Nancy Sinatra. He wrote and produced her biggest hits-- "These Boots Are Made for Walkin'" and "Some Velvet Morning"-- and even recorded a few duets with her, like Porter & Dolly for the Sunset Strip. During the mid-1960s, their partnership made her a star in her own right, although she would always be known as Frank's daughter. After they parted ways, Hazlewood released a string of comparatively minor hits on his own LHI Records, and while he never achieved the same level of success he enjoyed with Nancy, he never lost his weirdo ambitions.

Assessing his legacy is just as difficult as pinning down his sound. Hazlewood remains a curio, with neither the influence that Phil Spector continues to assert nor the cultish cachet of someone like Van Dyke Parks. Instead, he's just one of those oddballs floating around the pop periphery, with a surprisingly large catalogue that's more dark corners than known quantities. That makes him a perfect subject for a compilation like Light in the Attic's Nudes, Singles & Backsides, which culls from three years of his career and only scratches the surface of his repertoire. Compiling seventeen tracks from his lesser-known LHI output in the late 1960s and early 1970s, it shows him working well within the Nancy/Lee concept, often using a female counterpart to offset his own vocals. Much like Gainsbourg, he envisions pop songs less as monologues and more as dialogues between men and women. Nudes is heavy on duets, and while there's no Nancy here, there is Ann-Margret, still so full of blustery femininity on "Sleep in the Grass"; Nina Lizell, embodying European mystique on "Leather and Lace"; and Suzi Jane Hokom, barely distinguishing herself on "Nobody Like You".

And there's Hazlewood himself, presiding over everything with that disarmingly low voice of his, so lonesome in this cavernous production. The man had a sense of humor-- check out that album cover-- but didn't always let it show in the songs, which tend to be straightfaced and self-serious. That's not necessarily a dig, especially when "Victims of the Night" evokes a surreal Golden State desert landscape and "Califia (Stone Rider)" shifts tempo into an exquisitely blissed-out coda. A meditation on lost love that verges on the suicidal, "The Bed" proves he could write a sadsack country song with the best of them, and he could invest a line like "I've learned to pay the paperboy on time" with immense melancholy. But occasionally his lyrics jump on a premise and ride it like a rodeo bull. "If It's Monday Morning," which sounds like a response song to Kris Kristofferson's "Sunday Morning Coming Down", repeats itself rigidly, turning a potentially intriguing hook into a tedious refrain."