Michael Hurley is a singularly unusual singer, guitarist and artist. Following our recent re-issues of Hurley’s three albums for Rounder Records, we are now set to revisit some of Hurley’s earliest solo works: 1971’s Armchair Boogie and Hi Fi Snock Uptown. Featuring 14 twisted songs produced by “Banana” and Joe Bauer, Hi Fi Snock Uptown saw Hurley amplifying some ofArmchair Boogie’s willfully esoteric qualities and delivering an album that explores the full range of his sound, from blues to country and folk to playful sounds – like his crow impressions on ‘Old Black Crow’. As ‘Twilight Zone’ neatly puts it, “everything is weird”. It also features some of his most loved songs such as ‘Water Train’, ‘Eyes, Eyes’ and the gorgeous traveling track ‘Blue Driver’. This is the highly sought-after album sounding better than it ever has, complete with Hurley’s own, unmistakable sleeve art. It’s housed in a deluxe, gatefold, tip-on jacket. Born in 1941 in Bucks County, Pennsylvania, Hurley moved to New York in the early ‘60s, where he began making his name on the subversive Greenwich Village folk scene before contracting mono and spending years in and out of hospital. Back in health, he was discovered by blues and jazz historian Frederick RamseyIII and subsequently championed by boyhood friend Jesse Colin Young, he recorded his debut album, 1964’s First Songsfor Folkways, on the same reel-to-reel machine that taped Lead Belly’s Last Sessions. Its songs were borrowed by Holy Modal Rounders and The Youngbloods, the latter signing Hurley to their Raccoon imprint and releasing his next two albums. The singer-songwriter came into his own recording those warm, eccentric records, colored as they are by fantastic characters, charming Americana and homemade blues. Recently returning with new material on Devendra Banhart’s and Andy Cabic’s label Gnomonsong, it’s easy to see why Banhart would identify with Hurley – his lineage stretches to any modern performer of skewed blues, country, lo-fi and Americana. No wonder he’s won high praise from younger performers like Lucinda Williams, Vic Chesnutt, Calexico, and Cat Power.


Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Light In The Attic presents The Bobby Whitlock Story: Where There’s A Will, There’s A Way collecting the first two early 1970’s solo albums by Memphis singer/songwriter/keyboardist/guitarist Bobby Whitlock. Presented here together on CD or on two seperate LP's. Bobby Whitlock (1972) and Raw Velvet (also 1972) are star-studded (George Harrison, Eric Clapton, Delaney & Bonnie), soulful albums from one of rock music’s key unsung figures. Check! Whitlock’s story is a remarkable one. Born to a hardscrabble existence, raised in abject poverty, abused by his preacher father and was sent out to pick cotton in the fields. Moving from one railroad town to another, Whitlock was quite literally from the wrong side of the tracks. Yet thanks to his singing and piano playing, music was Whitlock’s escape. Winding up in Memphis, Whitlock hooked up with Stax Records, who signed him as the first white artist to their new pop label HIP. But it was soul music, not pop, that was in Whitlock’s heart – and his break came when Delaney & Bonnie asked him to join their band, The Friends. Following Delaney & Bonnie from Stax to Elektra Records, Whitlock found his life starting to intertwine with ‘60s rock royalty. Delaney & Bonnie took him on tour with Blind Faith, where Eric Clapton was impressed with Whitlock’s playing and the camaraderie he saw in The Friends. Soon, Whitlock joined Clapton, Jim Gordon and Carl Radle in Derek & The Dominos, the crack unit that backed George Harrison on much of the seminal All Things Must Pass and recorded the classic rock album Layla And Other Assorted Love Songs. During the recording of those albums, Whitlock tentatively made his first steps as a solo artist. Though drugs were already beginning to tear Derek & The Dominoes apart, Whitlock was able to call on some high profile friends (and “Friends”) to play on his album, including Clapton, Harrison, session bassist Klaus Voorman (John Lennon, Carly Simon, et al), drummer Jim Gordon, Chris Wood (of Traffic) and others. “I really loved my first record and everything that was behind it,” says Whitlock now. “And for the love that was brought to the room by everyone each time we recorded. I know that you can hear it in Eric’s solo on "The Scenery Has Slowly Changed.” When Bobby presented his album to Atlantic Records they rejected it, citing a different vision for his debut record. So Bobby bought himself out of his contract. Soon after, The Dominos split up following troubled second album sessions. Bobby just kept moving: first back to his rural home in England, then to France, where the Rolling Stones were recording Exile On Main Street. He found a deal for his debut album (via producer Jimmy Miller) and a follow-up too. That second album,Raw Velvet, featured the Edwin Hawkins Singers, the L.A. Symphony, Eric Clapton, Jim Gordon and Bobby’s new band members: Rick Vito on guitar, Keith Ellis on bass and Don Poncher on drums. Andy Johns produced both Whitlock solo albums. Andy was the recording engineer of Exile on Main Street and later produced Television’s Marquee Moon. Pat Thomas, the reissue producer of this CD, told Bobby Whitlock during their first conversation about reissuing these recordings: "Your first two solo albums are the missing link for all this seminal music that has been on CD for years; Layla and Other Assorted Love Songs, All Things Must Pass, Mad Dogs and Englishmen, Dave Mason’s Alone Together, and Delaney & Bonnie and Friends ’On Tour’ with Eric Clapton.” Bobby paused for a moment, and said, “I never thought about it like that, but you’re absolutely right.”


Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Light In The Attic presents The Bobby Whitlock Story: Where There’s A Will, There’s A Way collecting the first two early 1970’s solo albums by Memphis singer/songwriter/keyboardist/guitarist Bobby Whitlock. Presented here together on CD or on two seperate LP's. Bobby Whitlock (1972) and Raw Velvet (also 1972) are star-studded (George Harrison, Eric Clapton, Delaney & Bonnie), soulful albums from one of rock music’s key unsung figures. Check! Whitlock’s story is a remarkable one. Born to a hardscrabble existence, raised in abject poverty, abused by his preacher father and was sent out to pick cotton in the fields. Moving from one railroad town to another, Whitlock was quite literally from the wrong side of the tracks. Yet thanks to his singing and piano playing, music was Whitlock’s escape. Winding up in Memphis, Whitlock hooked up with Stax Records, who signed him as the first white artist to their new pop label HIP. But it was soul music, not pop, that was in Whitlock’s heart – and his break came when Delaney & Bonnie asked him to join their band, The Friends. Following Delaney & Bonnie from Stax to Elektra Records, Whitlock found his life starting to intertwine with ‘60s rock royalty. Delaney & Bonnie took him on tour with Blind Faith, where Eric Clapton was impressed with Whitlock’s playing and the camaraderie he saw in The Friends. Soon, Whitlock joined Clapton, Jim Gordon and Carl Radle in Derek & The Dominos, the crack unit that backed George Harrison on much of the seminal All Things Must Pass and recorded the classic rock album Layla And Other Assorted Love Songs. During the recording of those albums, Whitlock tentatively made his first steps as a solo artist. Though drugs were already beginning to tear Derek & The Dominoes apart, Whitlock was able to call on some high profile friends (and “Friends”) to play on his album, including Clapton, Harrison, session bassist Klaus Voorman (John Lennon, Carly Simon, et al), drummer Jim Gordon, Chris Wood (of Traffic) and others. “I really loved my first record and everything that was behind it,” says Whitlock now. “And for the love that was brought to the room by everyone each time we recorded. I know that you can hear it in Eric’s solo on "The Scenery Has Slowly Changed.” When Bobby presented his album to Atlantic Records they rejected it, citing a different vision for his debut record. So Bobby bought himself out of his contract. Soon after, The Dominos split up following troubled second album sessions. Bobby just kept moving: first back to his rural home in England, then to France, where the Rolling Stones were recording Exile On Main Street. He found a deal for his debut album (via producer Jimmy Miller) and a follow-up too. That second album,Raw Velvet, featured the Edwin Hawkins Singers, the L.A. Symphony, Eric Clapton, Jim Gordon and Bobby’s new band members: Rick Vito on guitar, Keith Ellis on bass and Don Poncher on drums. Andy Johns produced both Whitlock solo albums. Andy was the recording engineer of Exile on Main Street and later produced Television’s Marquee Moon. Pat Thomas, the reissue producer of this CD, told Bobby Whitlock during their first conversation about reissuing these recordings: "Your first two solo albums are the missing link for all this seminal music that has been on CD for years; Layla and Other Assorted Love Songs, All Things Must Pass, Mad Dogs and Englishmen, Dave Mason’s Alone Together, and Delaney & Bonnie and Friends ’On Tour’ with Eric Clapton.” Bobby paused for a moment, and said, “I never thought about it like that, but you’re absolutely right.”


Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Michael Hurley is a singularly unusual singer, guitarist and artist. Following our recent re-issues of Hurley’s three albums for Rounder Records, we are now set to revisit some of Hurley’s earliest solo works: 1971’s Armchair Boogie and Hi Fi Snock Uptown. Featuring 14 twisted songs produced by “Banana” and Joe Bauer, Hi Fi Snock Uptown saw Hurley amplifying some ofArmchair Boogie’s willfully esoteric qualities and delivering an album that explores the full range of his sound, from blues to country and folk to playful sounds – like his crow impressions on ‘Old Black Crow’. As ‘Twilight Zone’ neatly puts it, “everything is weird”. It also features some of his most loved songs such as ‘Water Train’, ‘Eyes, Eyes’ and the gorgeous traveling track ‘Blue Driver’. This is the highly sought-after album sounding better than it ever has, complete with Hurley’s own, unmistakable sleeve art. It’s housed in a deluxe, gatefold, tip-on jacket. Born in 1941 in Bucks County, Pennsylvania, Hurley moved to New York in the early ‘60s, where he began making his name on the subversive Greenwich Village folk scene before contracting mono and spending years in and out of hospital. Back in health, he was discovered by blues and jazz historian Frederick RamseyIII and subsequently championed by boyhood friend Jesse Colin Young, he recorded his debut album, 1964’s First Songsfor Folkways, on the same reel-to-reel machine that taped Lead Belly’s Last Sessions. Its songs were borrowed by Holy Modal Rounders and The Youngbloods, the latter signing Hurley to their Raccoon imprint and releasing his next two albums. The singer-songwriter came into his own recording those warm, eccentric records, colored as they are by fantastic characters, charming Americana and homemade blues. Recently returning with new material on Devendra Banhart’s and Andy Cabic’s label Gnomonsong, it’s easy to see why Banhart would identify with Hurley – his lineage stretches to any modern performer of skewed blues, country, lo-fi and Americana. No wonder he’s won high praise from younger performers like Lucinda Williams, Vic Chesnutt, Calexico, and Cat Power.


Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Light In The Attic presents The Bobby Whitlock Story: Where There’s A Will, There’s A Way collecting the first two early 1970’s solo albums by Memphis singer/songwriter/keyboardist/guitarist Bobby Whitlock. Presented here together on CD or on two seperate LP's. Bobby Whitlock (1972) and Raw Velvet (also 1972) are star-studded (George Harrison, Eric Clapton, Delaney & Bonnie), soulful albums from one of rock music’s key unsung figures. Check! Whitlock’s story is a remarkable one. Born to a hardscrabble existence, raised in abject poverty, abused by his preacher father and was sent out to pick cotton in the fields. Moving from one railroad town to another, Whitlock was quite literally from the wrong side of the tracks. Yet thanks to his singing and piano playing, music was Whitlock’s escape. Winding up in Memphis, Whitlock hooked up with Stax Records, who signed him as the first white artist to their new pop label HIP. But it was soul music, not pop, that was in Whitlock’s heart – and his break came when Delaney & Bonnie asked him to join their band, The Friends. Following Delaney & Bonnie from Stax to Elektra Records, Whitlock found his life starting to intertwine with ‘60s rock royalty. Delaney & Bonnie took him on tour with Blind Faith, where Eric Clapton was impressed with Whitlock’s playing and the camaraderie he saw in The Friends. Soon, Whitlock joined Clapton, Jim Gordon and Carl Radle in Derek & The Dominos, the crack unit that backed George Harrison on much of the seminal All Things Must Pass and recorded the classic rock album Layla And Other Assorted Love Songs. During the recording of those albums, Whitlock tentatively made his first steps as a solo artist. Though drugs were already beginning to tear Derek & The Dominoes apart, Whitlock was able to call on some high profile friends (and “Friends”) to play on his album, including Clapton, Harrison, session bassist Klaus Voorman (John Lennon, Carly Simon, et al), drummer Jim Gordon, Chris Wood (of Traffic) and others. “I really loved my first record and everything that was behind it,” says Whitlock now. “And for the love that was brought to the room by everyone each time we recorded. I know that you can hear it in Eric’s solo on "The Scenery Has Slowly Changed.” When Bobby presented his album to Atlantic Records they rejected it, citing a different vision for his debut record. So Bobby bought himself out of his contract. Soon after, The Dominos split up following troubled second album sessions. Bobby just kept moving: first back to his rural home in England, then to France, where the Rolling Stones were recording Exile On Main Street. He found a deal for his debut album (via producer Jimmy Miller) and a follow-up too. That second album,Raw Velvet, featured the Edwin Hawkins Singers, the L.A. Symphony, Eric Clapton, Jim Gordon and Bobby’s new band members: Rick Vito on guitar, Keith Ellis on bass and Don Poncher on drums. Andy Johns produced both Whitlock solo albums. Andy was the recording engineer of Exile on Main Street and later produced Television’s Marquee Moon. Pat Thomas, the reissue producer of this CD, told Bobby Whitlock during their first conversation about reissuing these recordings: "Your first two solo albums are the missing link for all this seminal music that has been on CD for years; Layla and Other Assorted Love Songs, All Things Must Pass, Mad Dogs and Englishmen, Dave Mason’s Alone Together, and Delaney & Bonnie and Friends ’On Tour’ with Eric Clapton.”


Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More