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

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Editorial Reviews

All Music Guide - Steve Leggett
One could go off the rails trying to explain the odd genius of Lee Hazlewood. A born wanderer, a natural iconoclast, and a man who simply heard music his own way and was somehow able to sail the shark-infested waters of the music business on his own terms by out-sharking the sharks and doing what he pleased, Hazlewood defied easy definitions. He was a fascinating songwriter with a sort of desert Vegas cowboy vision of life, and he was a subtle, brilliant, and innovative producer in the studio, crafting recordings that had enough echo, space, and surprises that Phil Spector viewed him as a mentor. Hazlewood was every bit as eccentric as Spector, too, and at the close of ...
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Editorial Reviews

All Music Guide - Steve Leggett
One could go off the rails trying to explain the odd genius of Lee Hazlewood. A born wanderer, a natural iconoclast, and a man who simply heard music his own way and was somehow able to sail the shark-infested waters of the music business on his own terms by out-sharking the sharks and doing what he pleased, Hazlewood defied easy definitions. He was a fascinating songwriter with a sort of desert Vegas cowboy vision of life, and he was a subtle, brilliant, and innovative producer in the studio, crafting recordings that had enough echo, space, and surprises that Phil Spector viewed him as a mentor. Hazlewood was every bit as eccentric as Spector, too, and at the close of the '60s, he suddenly moved to Stockholm, started his own label, LHI (Lee Hazlewood Industries), and turned out a fair amount of extremely interesting material, most of which wasn't even remotely aimed at commercial success. Light in the Attic Records has begun an archival reissue series of some of these rare Hazlewood sides, and this set, which covers 1968 to 1971, is the first of these. With a sparse and yet somehow strangely lush production sound full of reverb and echo, spooky strings, and hushed percussion, Hazlewood sounds here like a resigned and weary ex-patriot cowboy version of Leonard Cohen crossed with Sun Records-era Johnny Cash, all of which would make these recordings simply curios if the songs weren't so good -- and they're good. "No Train to Stockholm" is brilliant, and so, too, is the bleak beauty of "If It's Monday Morning" and the weary wisdom of "I Just Learned to Run." Hazlewood manages to sound resigned, lightly disgusted, heartbroken, and deathbed wise as he sings his way through these songs, none of which ever hit anywhere near an AM radio station. It's easy to be excited for more volumes in this series after hearing this one.
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Product Details

  • Release Date: 5/1/2012
  • Label: Light In The Attic
  • UPC: 826853008426
  • Catalog Number: 84
  • Sales rank: 26,884

Tracks

Disc 1
  1. 1 Califia (Stone Rider) - Suzi Jane Hokom (2:47)
  2. 2 The Bed (2:41)
  3. 3 Sleep In the Grass - Ann-Margret (3:21)
  4. 4 Leather and Lace - Nina Lizell (3:07)
  5. 5 If It's Monday Morning (4:01)
  6. 6 The Night Before (3:18)
  7. 7 Bye Babe (3:38)
  8. 8 Victims of the Night - Ann-Margret (2:38)
  9. 9 Chico - Ann-Margret (2:41)
  10. 10 Hey Cowboy - Nina Lizell (3:21)
  11. 11 No Train To Stockholm (2:22)
  12. 12 Won't You Tell Your Dreams (3:56)
  13. 13 Nobody Like You - Suzi Jane Hokom (2:56)
  14. 14 Trouble Maker (2:31)
  15. 15 What's More I Don't Need Her (3:36)
  16. 16 Come On Home To Me (3:01)
  17. 17 I Just Learned To Run (3:04)
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Album Credits

Performance Credits
Lee Hazlewood Primary Artist
Clarence White Guitar
Ray Kelley Strings
Curtis Amy Flute
Victor Feldman Piano
Plas Johnson Brass
Don Randi Organ, Piano
Jerry Cole Bass, Guitar
Lyle Ritz Bass
Nicky Hopkins Keyboards
Jack Nitzsche Keyboards
Jim Gordon Drums
Murray Adler Strings
Robert Barene Strings
Arnold Belnick Brass
Harold Bemko Strings
Chuck Berghofer Upright Bass
Roy Caton Brass
Gary Coleman Percussion, Drums
Harold Diner Brass, Woodwind
Assa Drori Strings
Jesse Ehrlich Brass
Alan Estes Percussion
Virgil Evans Brass
Henry Ferber Strings, Brass
Vic Flick Guitar
Nathan Gershman Strings
James Getzoff Brass, Woodwind
Sam Goldstein Drums
Jim Horn Brass, Woodwind
George Kast Brass
Jerome Kessler Strings
Lou Klass Strings
Carl LaMagna Strings
Edgar Lustgarten Brass
Arthur Maebe Brass
Leonard Malarsky Strings, Brass
Vito Mangano Brass, Woodwind
Lew McCreary Brass, Woodwind
Wilbert Nuttycombe Strings, Brass
Stanley Plummer Strings
Ray Pohlman Bass
Jerome Reisler Strings
John Rotella Brass, Woodwind
Mischa Russell Strings
Ralph Schaeffer Strings
Henry Sigismonti Brass
Jack Sperling Drums
Tibor Zelig Strings
Shari Zippert Strings
Vincent DeRosa Brass, Woodwind
Alton Hendrickson Guitar
William Hinshaw Brass
Anthony Terran Brass, Woodwind
Gregory Bemko Strings
David Filerman Strings
Paul N. Humphrey Drums
Ray Kelly Strings
Russ Titleman Guitar
Donnie Owens Guitar, Rhythm Guitar
Joe Cannon Guitar
Raymond Kelley Brass
Armand Kaproff Brass
William Kurasch Strings
Oliver Mitchell Brass, Woodwind
David a. Duke Brass, Woodwind
Big Jim Sullivan Guitar
Louis Blackburn Brass
James O'Rafferty Pedal Steel Guitar
David Cohen Guitar
Gerald McGee Guitar
Thomas Holbrook Bass
Igor Heroshevsky Strings
Donald Owens Guitar
Christine Maleveska Strings
Technical Credits
Lee Hazlewood Arranger, Composer, Producer
Jack Nitzsche Arranger
Billy Strange Arranger
Eddie Brackett Engineer
Jimmie Haskell Arranger
Damon Lyon-Shaw Engineer
Larry Marks Producer
Lars Samuelson Arranger
Shel Talmy Composer, Producer
Jim Walters Engineer
David Whitaker Arranger
Charlie McCoy Arranger
Donnie Owens Producer
Johnny Arthy Arranger
Joe Nixon Producer
Wyndham Wallace Liner Notes
Matt Sullivan Executive Producer
Josh Wright Executive Producer
John Baldwin Remastering
B. Belland Composer
Moseley Composer
J. Nixon Composer
Big Jim Sullivan Arranger
Jason Grant Proof Reading
D.T. Summerville Composer
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