"Cold Fact" by RODRIGUEZ [Sixto] – March 1970 US Debut LP on Sussex Records Featuring Dennis Coffey, Mike Theodor, Bob Babbitt and Andrew Smith (August 2008 US Light in The Attic Records CD Reissue and Remaster In A Card Digipak With Large Booklet – Itself Reissued August 2019 in the UK on Universal/Sussex – Using The Light in The Attic Records 2008 Remaster but in a Jewel Case with Reduced Booklet) - A Review by Mark Barry...

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"…Searching For Sugar Man…"

Sometimes in a lifetime of scouring through racks for musical thrills - you stumble on something just a little bit special that it seems no one has noticed (including myself). 

Back in the Nineties when I was upstairs in the grotty and cramped Cheapo Cheapo Records of London's Rupert Street on one of my twice-weekly forages - Vincent (who worked that floor) would stand behind his tiny counter space and smile, because he knew I always spent money and would take chances.

So there I am - flicking through manky reused plastics - once again raiding the soundtrack section to add to my 40 or so John Barry vinyl albums. And if the mood took me (and it always did) - I'd then move over and mosey through the nearby Easy Listening Section where Phil Cording (the cantankerous old geezer who owned the place and worked downstairs) would lump all sorts - Labi Siffre, Nick Jameson (of Foghat) and (usually American copies) Rodriguez. 

I'd see the sleeve of what Phil clearly thought was some Jose Feliciano lookalike and think naught of it. "Cold Fact" would in fact sit there for months on end at £2.50 - and no one but no one - would pay any attention to it all (even the Soul Boys who would be scouring the basement area for Kent compilations on Ace Records). 

But then years later came the American reissue label Light in The Attic Records quickly followed by the sensational 2012 movie "Searching For Sugar Man" (see separate review for the BLU RAY) and Rodriguez LPs stopped being sold for £2.50 'real fast'...

Back in the 2000's "Light In The Attic" was a relatively unknown reissue label in the mainstream - but their quality was on par with Bear Family of Germany and Ace Records of the UK - names that speak volumes to collectors all over the world. And while the two reissued albums raised eyebrows with their musical quality and sumptuous presentations (for a relative unknown) - the film busted the music open like a floodgate.

Sixto's debut American album "Cold Fact" was released March 1970 on Sussex SXBS 7000; followed the next year by "Coming From Reality" in November 1971 on Sussex SXBS 7012 – effectively his last studio effort. But despite their musical quality - few noticed locally. Legend in fact has it that "Coming From Reality" sold less than 20 copies. Then our American Reissue heroes step in - "Cold Fact" released on Light in The Attic LITA 036 (Barcode 826853003629) in August 2008 while "Coming From Reality" followed in May 2009 on LITA 038 (Barcode 826853003827). Light In The Attic also issued VINYL variants too. Fans of Rodriguez and the film "Searching For Sugar Man" have been purchasing those American releases ever since. 

Cut to summer of 2019. What you have here is a reissue of a reissue – Universal UK (or UM abbreviated) finally giving both of his Sussex albums CD and Vinyl Reissues in August 2019. To the cold facts...

UK released Friday, 30 August 2019 - "Cold Fact" by RODRIGUEZ on Universal/Sussex 00602577896255 (Barcode 602577896255) is a straightforward CD Reissue and Remaster (based on the August 2008 Light in The Attic Records Remaster) that plays out as follows (30:26 minutes): 

1. Sugar Man [Side 1]

2. Only Good For Conversation

3. Crucify Your Mind

4. This Is Not A Song, It's An Outburst: Or, The Establishment Blues

5. Hate Street Dialogue

6. Forget It

7. Inner City Blues [Side 2]

8. I Wonder

9. Like Janis

10. Gommorah (A Nursery Rhyme)

11. Rich Folks Hoax

12. Jane S. Piddy

Tracks 1 to 12 are his debut album "Cold Fact" – released March 1970 in the USA on Sussex Records Sussex SXBS 7000. Produced by DENNIS COFFEY and MIKE THEODORE – it didn’t chart (no UK release either). 

Musicians were:

SIXTO RODRIGUEZ – Lead Vocals and Acoustic Guitar 

DENNIS COFFEY – Electric Guitar 

MIKE THEODORE – Keyboards and Brass/String Arrangements 

BOB BABBITT – Bass

ANDREW SMITH – Drums 

BOB PANGBORN – Percussion 

Guests – The Detroit Symphony Orchestra Conducted by Gordon Staples 

The 12-page booklet of the 2019 reissue offers all the lyrics and basic reissue credits – the Remaster used is the 2008 LITA version. For sure there is hiss evident on many of these 1969 recordings, but the clarity and air around them is wonderfully evocative. This is real music played with real heart and I for one think that in this case, warmth is better than Audiophile. It's delicate Folk-Soul Music and it needed a deft touch - LITA and Universal have done that. 

Sixto Diaz Rodriguez (pronounced Sees-Toe) was born in Detroit, Michigan in 1942 to recently emigrated Mexican parents. From the early to late Sixties - Motown had put the Motor City on the musical map - so emerging singer-songwriters cut their teeth in bars and cafes, soaked up the campus and street politics and hoped to get noticed. After an early 7" single in 1967 on Impact that folded without trace - enter Producer Dennis Coffey and Sussex Records (home of Bill Withers). 

Opening with acoustic chords and clever Mike Theodore keyboard jabs - "Sugar Man" talks of "silver magic ships" bringing "colours to my dreams..." and as his voice fades out in a deathly echo - the drug references are no longer cool. It then goes all Psych Rock in the fuzzed-up "Only Good For Conversation" (doesn't really suit him) but things so stratospheric for me in the gorgeous "Crucify Your Mind" - a track I'm always playing. It has a brill melody - clever vibes after each set of lines and a fabulous brass backing that makes it feel like Jose Feliciano doing Soul.

"The Establishment Blues" struck a chord with kids in South Africa because of its lyrics - words like "I opened the window to listen to the news...but all I heard was the Establishment Blues..." The same applied to the superb Side 2 opener "Inner City Blues" where Rodriguez echoed their young yet restricted existence - "papa don't allow no new ideas around here..." The bass and guitars are harshly separated on "I Wonder" but it doesn't stop it from a being a great song - and when the organ kicks in as he sings, "I wonder does hatred ever end..." - it sounds like "Blonde On Blonde" Dylan - Sixto making social comments that are astute and matter. 

"Like Janis" feels like Dylan circa "New Morning" where he sings, "I know you're lonely..." Both it and "Gommorah" are very hissy - but the tunes feature slick guitar playing and "Gomorrah" some ill-advised kiddies singing. The albums other great song "Rich Folks Hoax" slams greed in all kinds of high places - "the priest is preaching from a shallow grave..." and some music industry type "don't tell me your recipes for my happiness..." It ends on the attacking "Jane P. Diddy" where he accuses someone of being "pimp and paint" - nice. And the "Coming From Reality" album that followed "Cold Fact" in November 1971 is even better in my opinion – see separate review. 

"Cold Fact" was a forgotten classic, now no longer forgotten because people cared enough to see it resurrected. Nice to know that minor miracles such as this can still actually happen in the real world as well as on the silver screen...

PS: this review is dedicated to Phil Cording and his Staff at Cheapo Cheapo Records in London’s Rupert Street - Vincent and Jack. ‘Uncle’ Phil sadly passed away a few years back...RIP and thanks for all the records...

PPS: 30 August 2019 also saw a VINYL LP Reissue of "Cold Fact" on Universal/Sussex 00602577077371 (Barcode 602577077371)

"Fully Qualified Survivor" by MICHAEL CHAPMAN (2011 Light In The Attic CD Reissue Of His 1970 LP on Harvest) - A Review by Mark Barry...

"…Like Jewels In Your Hand…"

Seventies Rock aficionados will no doubt have read gushing reviews telling them to invest their hard-earned in long lost classics - and having been burned a few times before - would view another such review with a certain amount of scepticism. But this is a Light In The Attic Records release - and after 60 peerless reissues of obscurities that truly deserve reappraisal – LITA have done it again. Beautiful presentation, extraordinary sound quality and songs that beggar the question – how the hell did this little gem get lost in the first place? 

MICHAEL CHAPMAN hails from Leeds in England and was 28 when he recorded his second LP "Fully Qualified Survivor" for EMI’s progressive label imprint Harvest. His debut album "Rainmaker" issued in July 1969 was only Harvest’s 5th LP at that time and signalled the arrival of a major Guitar Player and Rock singer-songwriter. 

1. Aviator

2. Naked Ladies And Electric Ragtime 

3. Stranger In The Room

4. Postcards Of Scarborough 

5. Fishbeard Sunset

6. Soulful Lady [Side 2]

7. Rabbit Hills

8. March Rain 

9. Kodak Ghosts 

10. Andru’s Easy Rider

11. Trinkets & Rings

"Fully Qualified Survivor" was released March 1970 on Harvest SHVL 764 in the UK and Capitol/Harvest SW-816 in the USA – and even though it actually charted in the UK at 45 - it’s a rare record on vinyl and UK originals can command upwards of £100. 

This February 2011 CD reissue on Light In The Records LITA 060 (Barcode 0826853006026) is a straightforward transfer of that 1970 album remastered from the 1st generation EMI tapes by NICK ROBBINS at Sound Mastering in London (46:32 minutes). The sound quality is fabulous - clear, warm and full of presence - and fully realises the original quality production values of GUS DUDGEON (of David Bowie and Elton John fame). 

The original gatefold artwork has been retained but upgraded to a lovely silver effect on the card digipak (they’ve also issued it on a beautiful Vinyl Version using the same silver effect artwork – a future collectable). The booklet is an impressive 32-pages long with liner notes by MICK HOUGHTON that feature new interviews with Chapman in 2010. Photos and archive material provided by the artist himself feature black and white snaps of him and the other musicians in the studio, on tour, reproductions of press releases and reviews and so on.

It opens with the epic "Aviator" – a nine and half-minute long acoustic song that has touches of Tim Buckley and Nick Drake in its languid pace. The cello is by Paul Buckmaster and the Violin by Johnny Van Derek. But – and this is a matter of taste – you’re met with his nasally drone of a voice which you will either embrace or loath. It all sounds a bit effected now, but if you give it time, there’s rewards later. Chapman was also a very accomplished guitar player (Bert Jansch, Stefan Grossman and John Renbourn jump to mind) and there follows the first of the album’s three acoustic-instrumentals "Naked Ladies & Electric Ragtime". With his foot tapping in the background, it’s a very pretty ditty and it also emphasises the superlative NICK ROBBINS remaster. The sheer musicality of "Postcards From Scarborough" is shocking – and the strings added by Dudgeon are lovely. "Fishbeard Sunset" is the second instrumental and is a 40-second introduction to a great song - "Soulful Lady". It also heralds a major playing talent – MICK RONSON on Guitar. He crops up again on "Kodak Ghosts" and his contributions are so exciting – rocking like a madman – loose and inspired ("The Man Who Sold The World", "Ziggy" and "Hunky Dory" with Bowie lay ahead). 

Side 2 is far better than Side 1 in my book – giving a run of truly superb tunes. "Rabbit Hills" is my favourite on here – a beautifully realised acoustic song with warm words and a haunting melody that still sounds sweet four decades on (lyrics above). "March Rain" with its Cello, Strings and Acoustic guitar arrangement could be Nick Drake circa "Bryter Layter" – so impressive. Mick Ronson adds lovely electric guitar licks to the treated Chapman acoustic guitars on the mid-tempo "Kodak Ghosts". The fantastically bluesy "Andru's Easy Rider" starts out with him on Piano but then goes into this huge John Fahey 12-string slide-guitar blues-boogie that you wish would overstay its mere two-minute duration. It segues into a funky Tabla and Guitar album finisher called "Trinkets & Rings" which features his trademark nonchalant vocals and electric guitar licks in the background. It’s impressive stuff, it really is…

To sum up - like his fellow Harvest Label mate Roy Harper (and nearest musical comparison), Chapman remains a bit of an unknown even in deep rock circles (Keef Hartley, Bryn Haworth, Mick Greenwood, Judee Sill, Karen Dalton and Fred Neil are others).  But you have to say that this is a smart reissue on the part of Light In The Attic Records in a long line of them (Lou Bond, Kris Kristofferson and Rodriguez come to mind - see reviews) and I’m glad I took a chance on it. I’ve subsequently bought the 2006 remaster of his "Millstone Grit" album from 1973 on Deram and it’s a cracker too. 

In 2015 at the age of 74 - it probably seems slightly odd to Michael Chapman now to be the subject of adoration and rediscovery for Folk/Rock he penned 45-years ago – but better late than never. A top job done boys and a major reissue for 2011…

This review is part of my SOUNDS GOOD Music Book Series. One of those titles is CLASSIC 1970s ROCK - an E-Book with over 245 entries and 2100 e-Pages - purchase on Amazon and search any artist or song (click the link below). Huge amounts of info taken directly from the discs (no cut and paste crap). 

"Please Don't Tell Me How The Story Ends - The Publishing Demos 1968-72" by KRIS KRISTOFFERSON (May 2010 Light In The Records" CD Compilation) - A Review by Mark Barry...

As featured in my e-Book

"…Someday These May Be All We Remember Of Each Other…"

"Light In The Attic Records" - a reissue label out of Seattle in the USA - has been building up a steady and loyal audience of music connoisseurs since 2002. Their releases cover many genres of music and often involve the reissue of ultra-rarities - obscure albums and material by artists that actually deserves reappraisal (their Karen Dalton, Rodriguez and Lou Bond issues are good examples).

And they are clearly proud of their 50th release - why? Because the first thing you notice about the gatefold card sleeve is the bulge in the left flap - the booklet is 60-pages long featuring a stunning essay by MICHAEL SIMMONS on the history of these amazing audio finds (the whole set is produced by Mark Linn and Matt Sullivan). I've seen Bear Family’s detachable booklets reach as much as 40 pages for a single Rhythm 'n' Blues CD (which is impressive) - but this is something else (the notes tell us it’s taken LITA over five years to compile it). Let's get to the itty-bitty details…

USA released May 2010 - "Please Don’t Tell Me How The Story Ends: The Publishing Demos 1968-72" by KRIS KRISTOFFERSON is a 16-track CD on Light In The Attic LITA 050 (Barcode 826853005029) and breaks down as follows (51:47 minutes):

1. Me And Bobby McGee [5:12 minutes]

2. Please Don't Tell Me How The Story Ends [3:19 minutes, with False Start]

3. Smile At Me Again [2:34 minutes] (lyrics above)

4. The Lady's Not For Sale [3:45 minutes]

5. Border Lord [3:58 minutes]

6. Just The Other Side Of Nowhere [2:40 minutes]

7. Come Sundown [3:19 minutes]

8. Slow Down [2:29 minutes]

9. If You Don't Like Hank Williams [1:50 minutes]

10. Little Girl Lost [3:23 minutes]

11. Duvalier's Dream [2:31 minutes]

12. When I Loved Her [2:47 minutes]

13. Billy Dee [2:55 minutes]

14. Epitaph (Black And Blue) [3:25 minutes]

15. Enough For You [2:40 minutes] [with studio chatter]

16. Getting By, High, And Strange [4:57 minutes] [with False Starts & Dialogues]

1, 2, 4, 6, 7, 9, 10, 11, 13, 15 and 16 are solo acoustic recordings

3, 5, 8 and 12 are band recordings

The sound quality is a little rough on some tracks, but most of the acoustic demos are beautifully clear and amazingly free of recording glitches. The band material is good too and the occasional studio chatter and false starts lend a lovely intimacy to it all.

The booklet opens with interviews from Dennis Hopper, Kinky Friedman and Merle Haggard - then has a huge essay on the release by label-founder Michael Simmons which is followed by Kristofferson's own dictated notes on every song (lyrics are provided, but the recording details are oddly sketchy). In-between all these words are loads of superb period photos - the young country singer with friends and like-minded musicians, hand-written lyric pages and even passport details... It's one of the best presentations I've ever seen.

Lyrically Kristofferson's as sharp as Dylan and as caustic as Cash - "...nothing looks as empty as a motel bed..." (from Smile At Me Again), "...she's got six gold records and been married seven times" (from Slow Down) and "...I like Bobby Gentry and that sexy Mama Cass, but if you don't like Hank Williams buddy, you can kiss my ass..." These are songs about whiskey-drinking loose women and needle-chasing young men who are "...driven towards the darkness by the devils in his veins..." (from Billy Dee). Great stuff...and smart too.

The stark piano playing of Donnie Fritts accompanies Kristofferson's lone guitar on "Epitaph (Black And Blue)" - it was written for Joplin after she died and obviously played with real pain and hurt. And then there's the opposite - great fun with Billy Swan on the last track about women on construction sites in New York - a tape box that was rescued from Swan's shed.

Obviously LITA is hoping that this release will warrant a reappraisal of Kristofferson as a major writing force - but I don't know if that's going to happen. Some of it is good, some a bit weak, but the better stuff is truly fantastic - it really is. And as I listen and re-listen to these songs - I'm reminded of Bruce Springsteen's "Nebraska" and Johnny Cash's "American Recordings" - albums I adore - and I'm sure many of their fans hold them precious too - being a true representation of their inner voices precisely because they're so raw and stripped-down.

As Kristofferson finishes singing the highly emotional words to "Enough For You" - he stops and says (rather impressed with himself) - "Was that just perfect!" And at times it's hard not to agree.

“Please Don’t Tell Me How The Story Ends: The Publishing Demos 1968-72” by KRIS KRISTOFFERSON is a major release from a wonderful reissue label and in award-winning presentation too. Light In The Attic have done the great man proud…

--> PS: LITA have also issued it a 2LP Vinyl Set with the full booklet.

"In My Own Time" by KAREN DALTON (2006 Light In The Attic CD Remasters) - A Review by Mark Barry...

"…Any Way You Made It Was Just Fine…"

Some artists carry the weight of legend – voice, talent, mercurial – segueing immediately into drugs, heartbreak and destruction. They shone brightly for a while and then imploded – forgotten now – except by the few who were around the flames at the time. Karen Dalton is one of those artists. And this astonishing Light in The Attic Records reissue is determined to rectify that crappy oversight…

US released November 2006 – "In My Own Time" by KAREN DALTON on Light In The Attic Records LITA 022 (Barcode 826853002226) is a straightforward 10-track CD reissue of her second and last vinyl album and plays out as follows (34:35 minutes):

1. Something On Your Mind

2. When A Man Loves A Woman

3. In My Own Dream

4. Katie Cruel

5. How Sweet It Is (To Be Loved By You)

6. In A Station [Side 2]

7. Take Me

8. Same Old Man

9. One Night Of Love

10. Are You Leaving For The Country

Tracks 1 to 10 are her 2nd and last studio album "In My Own Time" - originally released May 1971 on Paramount Records PAS 6008 in the USA and June 1971 in the UK on Paramount SPFL 271 (it didn't chart in either country). 

Guest musicians included pianists Richard Bell and John Simon, Steel Player Bill Keith with Amos Garrett and John Hall adding Guitars. The CD is housed in a gatefold card sleeve and having loved the Kris Kristofferson, Rodriguez and Michael Chapman reissues on LITA – the lavish booklet on this beauty is no different. It's a joy to look at featuring contributions from fans like Lenny Kaye, Nick Cave and Devendra Banhart.

The album’s short 10 tracks are entirely cover versions and give full reign to her utterly unique guttural voice and sloppy-as The Rolling Stones interpretations of them. Dalton had a Billie Holiday 'gargling gravel for breakfast' kind of beauty when she sang – like she was about to collapse any second – a sort of Bette Midler drunk at the microphone with laryngitis (you get the audio picture).

It opens with a Dino Valente original (not on his lone 1968 Epic LP) called "Something On Your Mind" – a ballad that aches in the loveliest of ways. And of course you're then that hit with that voice – wow! It's followed by Percy Sledge's "When A Man Loves A Woman" which you would think would work but it’s a tad forced and my least favourite take on here. Better is her cut of Paul Butterfield's "In My Own Dream" (from his 1968 LP of the same name) that takes the original and adds on sweet pedal steel languidness to it (very cool). We enter Americana banjo territory on the gorgeous Traditional of "Katie Cruel". It's the kind of song that raises chills (people have even featured in You Tube for just that reason) and LITA actually issued it as a limited edition 45" in the States. Side 1 ends with an upbeat version of Marvin Gaye's "How Sweet It Is (To Be Loved By You)" - a Holland-Dozier-Holland classic - but it's good rather than being great.

Side 2 kicks off with a winner - "In A Station" - a Richard Manuel song from The Band's brilliant 1968 debut album "Music From Big Pink". It somehow makes the song warmer whilst still retaining that reminiscing-beauty it always had ("...wonder could you ever know me…"). She goes country with George Jones' "Take Me" – a fabulous smoocher – and again with that pedal-steel ache and a gripping vocal. We return to Banjo for "Same Old Man" while Joe Tate's "One Night Of Love" gets a bit of funky guitar and rolling piano. It ends on my all time fave – "Are You Leaving For The Country" by Robert Tucker – a song I've placed on CD-R compilations which have had people regularly ask – who the hell is this!

I love the way 'Light In The Attic' go the full-throated whole hog on their reissues – gorgeous fat booklets – original tapes remastered – and a pride in their release that oozes out of every nook and cranny. The album itself isn’t all genius by any means and five-star ravings are probably a little over the top – but (and this is the big but) – there is genuine magic on here and so much that screams out to be rediscovered (I can count on one hand the number of times I've seen a UK pressing on Paramount Records across 45 years of collecting).

Her only other studio LP was her debut "It's So Hard To Tell Who's Going To Love You The Best" on Capitol Records ST-271 in 1969. Harvey Brooks (featured bassist on Dylan's "Highway 61 Revisited" and Miles Davis' "Bitches Brew") produced the record - which also boasted liner notes by New York Village folk-hero Fred Neil - author of "Dolphins” and Midnight Cowboy's closing theme song "Everybody's Talkin’” sung in the film by Nilsson.

Karen Dalton died in 1993 after years of drug-related problems aged 55 – largely forgotten and massively under-appreciated. Well this superlative LITA reissue does her voice, talent and magic justice at last. Beautifully dishevelled and then some...

PS: A 2009 LITA reissue offers a 4-track bonus CD with alternate takes of Something On Your Mind, In My Own Dream. Katie Cruel and Are You Leaving for The Country