An underground classic from Karen Dalton – a record that's almost out of time, given its early 70s release – as Karen sings with spare backings that are almost in a Folkway Records mode at points, but with all these headier currents that are also indicative of the Bay Area generation too! Dalton's voice is completely unique too – unlike anything you'll ever hear – phrasing that almost hearkens back both to vintage jazz and Appalachian folk, but a style that's more long hair – as are some of the backings too. The set was recorded upstate in Bearsville – and really has all the hallmarks of the freedoms of that scene at the time – summed up beautifully on material that includes "Something On Your Mind", "In A Station", "Take Me", "Same Old Man", Are You Leaving For The Country", "Katie Cruel", and "How Sweet It Is". (Rock, Folk/Country) CD

An underground classic from Karen Dalton – a record that's almost out of time, given its early 70s release – as Karen sings with spare backings that are almost in a Folkway Records mode at points, but with all these headier currents that are also indicative of the Bay Area generation too! Dalton's voice is completely unique too – unlike anything you'll ever hear – phrasing that almost hearkens back both to vintage jazz and Appalachian folk, but a style that's more long hair – as are some of the backings too. The set was recorded upstate in Bearsville – and really has all the hallmarks of the freedoms of that scene at the time – summed up beautifully on material that includes "Something On Your Mind", "In A Station", "Take Me", "Same Old Man", Are You Leaving For The Country", "Katie Cruel", and "How Sweet It Is". Features a huge amount of bonus material – three alternate takes from the album sessions, and six more live tracks from 1971! (Rock, Folk/Country) CD

The great lost folk rock album from Jim Sullivan – who himself, literally went lost several years later – a set that's beautiful, yet just loose and ragged enough! It's a bit of a hybrid of folk and country rock, particularly in the acoustic guitars and laidback, warm vocals by Sullivan – but it's also got some Cali warmth – sweet strings and some horns and flute, pairing up with the looser, back porch style at the core quite wonderfully. Some great players from the LA studio scene played on the sessions – including members of the iconic Wrecking Crew – and it sounds like it! UFO came out on the small Monnie label, made hardly a dent, and after another record for the Playboy label, Sullivan disappeared, never to be heard from again in 1975 – lending a bit of a spooky air to the album, but the backstory truly not relevant to the quality – it's excellent, with or without the lore! Includes "Jerome", "Plain As Your Eyes Can See", "Roll Back The Time", "Whistle Stop", "Highways", "UFO", "So Natural", "Johnny", "Sandman" and more. (Rock, Folk/Country) CD

A very different album than some of the earlier records that we love from Michael Chapman – but a set that's equally wonderful in its own sort of way! The set is initially exactly what's promised in the title – a record of guitar instruction, but one that's delivered with all the complex and subtle styles that Chapman brought to his own music – at a level that would have really frustrated any beginning guitar player trying to keep up! Think of the set as an all-instrumental outing from Chapman, one that really shows the special touches on his instrument – presented at a level that's a bit like earlier work from other UK giants, like Bert Jansch or John Renbourn. Titles include "Normal Norman", "Loop The Loop", "A Scholarly Man", "Rockport Sunday", "High Wide & Handsome", and "Pipe Dreams". (Rock, Folk/Country) CD

A totally hip instrumental album from Peter Walker – a Vanguard Records treasure that we'd rank right up there with the label's classics from Sandy Bull! Like Bull, Walker has a way of taking older folk instrumentation into richly psychedelic territory – working here on both the Indian sarod, and on acoustic guitar – both played in these long, modal styles – and mixed with light instrumentation from Jim Pepper on flute, John Blair on violin, and Jim Hotep on tabla. The songs are very spare, and very freewheeling – still with a rhythmic core, but also floating free to find their own energy too – but at a level that's not nearly as hippy-dippy as we make that sound! Walker's got these amazing sonic sensibilities – just like Bull – and titles include "Second Song", "Tear", "Southwind", "Barefoot", "Mixture", "Socco Chico", and "Circus Day". CD

A sweet little set that definitely aims to stake out its own little territory – with a groove that lives up surprisingly well to the title! The music here is way funkier than you might expect – and comes from a time when many popular singers were working in studios staffed by cats who were pretty darn cool – and had a great ear for picking up some of the best musical undercurrents from other scenes – including some of the best soul and funk that was really breaking out in the US at the start of the 70s! As a result, many of these tracks have unexpectedly funky rhythms at the bottom – way different than the kind of backings that you might have heard in country soul records from a few years before – and different too than the redneck rock that was becoming more popular with some of the bigger acts on the charts. You're bound to recognize a few bigger names here – as the set's not just country artists – and as usual, the Light In The Attic crew have done a stunning job of putting the whole thing together. Titles include "LA Memphis Tyler Texas" by Dale Hawkins, "Georgia Mountain Dew" by Johnny Adams, "Light Blue" by Bobby Darin, "I Wanta Make Her Love Me" by Jim Ford, "Hawg Frog" by Gray Fox, "Fire & Brimstone" by Link Wray, "Street People" by Bobby Charles, "Bayou Country" by Gritz, "I Walk On Gilded Splinters" by Johnny Jenkins, and "Studspider" by Tony Joe White. (Funky Compilations, Folk/Country) CD

A great criss-crossing of modes at the end of the 60s – music that has roots in country, but which comes off with plenty of funk and soul as well – in styles that were burning strong from LA on eastward, all the way across the south at the time! Some of the grooves here might fall into the "swamp rock" mode of the time – while others showcase hip LA artists mixing rootsy elements with tighter studio production – and a few more have genre-crossing country artists trying on some more soulful modes for good measure. The range of work is really great – and quite surprising, too – and the whole thing's got a great look that really illuminates the music within. Titles include "Northeast Texas Women" by Willis Allan Ramsey, "Nobody" by Larry Williams & Johnny Watson, "Collection Box" by Thomas Jefferson Kaye, "Me & Mr Hohner" by Bobby Darin, "Hunger Child Blues" by Townes Van Zant, "California Women" by Hoyt Axton, "Pay Day Give Away" by Bill Wilson, "Shotgun Willie" by Willie Nelson, "Cajun Moon" by JJ Cale, "Sumpin Funky Going On" by Donnie Fritts, and "Don't Let Me Down" by Dillard & Clark. (Funky Compilations, Folk/Country) CD

Really special sounds from a short-lived label – Tumbleweed Records, a company that was conceived in LA, and born in early 70s Denver – perfectly suited to focus on the hipper strands of singer/songwriter material of the time! The vibe here is a bit like the best work on the early Asylum Records, with maybe more of the diversity of Blue Thumb – and, like both of those special imprints, there's an above-the-usual level of quality going on here – great songwriting, understated production, and artists who really feel free to do their thing in the best way possible! Many of the tracks have kind of a homespun vibe, but top-shelf presentation – tight, but never slick – and the occasional twang really brings the right sort of humanity from time to time. Titles include "Turn Of The Century" and "Abyss" by Robb Kunkel, "Colorado" and "Hick" by Danny Holien, "Rosewood Bitters" by Michael Stanley, "Sweet As Spring" and "Do On My Feet" by Dewey Terry, "Late Letter" by Pete McCabe, "Plain Talk" by Arthur Gee, and "Sunday Sherry" by Arthur Gee Whizz Band. (Rock, Folk/Country) CD

The great late 60s Brit psych folk set by Michael Chapman – well played by an ace group that included guitarist Mick Ronson and was produced by Gus Dudgeon, who also worked in Bowie's Space Oddity – a record up there with that one in unclassifiable cosmic folk and rock craftsmanship and eclecticism! There's a mix of acoustic and electric numbers, each with cooly slurred vocals and unique songcraft of Chapman. Includes "Aviator", "Naked Ladies And Electric Ragtime", "Stranger In The Room", "Postcards From Scarborough", "March Rain", "Trinkets And Rings", "Fishbeard Sunset", "Kodak Ghosts" and more. (Rock, Folk/Country) CD

Michael Chapman's incredible first album for Harvest – one of the best British folk rock albums of the era! At this point, Chapman was working with unique mix of acoustic folk genius and electric experimentation – and this record features some of best songs in his canon. Guests include bassist Danny Thompson of Pentangle, plus Rick Kemp, Barry Morgan and Clem Clempson. Includes "It Didn't Work", "Rainmaker", "You Say", "No One Left To Care", "Small Stones", "No Song To Sing", "One Time Thing", "Sunday Morning", "Goodbye To Monday Night", "Not So Much A Garden-More Like A Maze" and more. This CD version on Light In The Attic has 6 bonus tracks: mono versions of "Anniversary", "Among The Trees", "Sleepy", "Mozart Lives Upstairs" and "Bert Jansch Meets Frankenstein", plus "On My Way Again". (Rock, Folk/Country) CD

Never-heard music from the enigmatic Jim Sullivan – the singer/songwriter who disappeared in the New Mexico desert after giving the world his fantastic album UFO! The style here is a bit different than that one, and maybe even more to the heart of Jim's spirit – as the work was all recorded in 1969, with just vocals and guitar – in a way that lets the brilliance of Jim's songcraft come across even more strongly than before – but all without ever feeling like scratchy demo tapes, or half-finished ideas! Instead, the album stands as a much-needed addition to the tiny Sullivan catalog – and really has us wondering what else Jim would have given us, if the shadows of mystery hadn't taken him away. Titles include "Roll Back The Time", "Walls", "Sandman", "Jerome", "Close My Eyes", "What Is My Name", and "So Natural". (Rock, Folk/Country) CD

A fantastic early 70s album from Jim Sullivan – one of the few that he ever gave us before departing the planet, and a set that was one of a handful of albums issued by the Playboy Records imprint! The sound is a lot more rootsy than anything you'd ever hear at Hugh Hefner's mansion, though – very faithful to the spirit of Jim's classic UFO album, but also with these added light arrangements that really open up the lyrics too – in a way that maybe seems to let Sullivan focus even more strongly on his own vocal interpretation of his words, all with a sound that makes the whole thing one of the overlooked singer/songwriter masterpieces of the time. Arrangements are by Jim Hughart, who also plays bass in the core combo – and the songs are Jim Sullivan material of the highest quality – with titles that include "Amos", "Tea Leaves", "Don't Let It Throw You", "Lonesome Picker", "Sandman", "I'll Be Here", and "Plain To See". (Rock, Folk/Country) CD