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3LP BOX/3CD
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MEGAUK 030BOX
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Last copies of this now deleted edition. Recording is the Trip - The Karen Dalton Archives is a three-LP, three-CD box set, including a download card and a shirt. Three LPs: Includes for the first-time ever on clear vinyl, limited edition the 1962 double live album Cotton Eyed Joe remastered, the 1963 home recordings album Green Rocky Road remastered. The three CDs are the same albums as the LPs. Includes one download card of 13 unreleased home recordings including a mesmerizing take on "God Bless The Child". 56-page book with scans of Karen Dalton Personal Archives photographs, music sheets, lyrics, memos, all disclosed here for the first time. Includes a Karen Dalton recycled fabric t-shirt (featuring her own guitar tabs), press about Cotton Eyed Joe (1962/2007) and Green Rocky Road (1963/2008), Box set size: 12.4x12.4x1.5.
"All the informality of someone thinking aloud, which suits her signature vocals perfectly. In overdubbing, she seems to consider tempos and time signatures almost as restricting as a real studio. A particularly personal statement, a career marker" --Pitchfork (8/10)
"Like a lost book of the Old Testament. Less like a folk record and more like a warp in the space-time continuum. The most beautiful and harrowing album you'll hear this year. The results are startling. Her rendering of 'Katie Cruel' on In My Own Time has been hailed as definitive but she improves it here. Bewitching." --UNCUT (4/5)
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2CD
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MEGAUK 015CD
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2015 repress of this acclaimed 2007 double album of previously unheard Karen Dalton live recordings from 1962. These recordings were an unexpected treat, following the hugely acclaimed 2006 reissues of Karen Dalton's studio albums It's So Hard to Tell Who's Going to Love You the Best (1969) and In My Own Time (1971). Karen Dalton met Joe Loop in Boulder, Colorado, in 1962; Joe Loop made these recordings of Dalton singing and playing 12-string guitar and banjo at The Attic in Boulder in October 1962. Colorado was a hotbed of folk music; folk singers would stop off in Denver and Boulder en route to California and New York. The area's sparse population welcomed their company, at a time when young nonconformists were personae non gratae in most states. It was a cheap place to live, Boulder had a large university, and both Denver and Boulder had very active folk entrepreneurs. After missing her name in every music history book and encyclopedia for decades, it has since been noted that Karen Dalton was hugely influential on the founding father of folk rock, Fred Neil. Fred Neil only ever broke his reluctance to make public statements on one subject: his awe for and debt to Dalton. Karen Dalton's first LP was recorded in 1969 and it was hard to guess whether she was inspired by Neil or the reverse. His song, "Red Are the Flowers," for instance -- released on his 1964 debut album Tear Down the Walls (as "Red Flowers") in a duet with Vince Martin -- was more in line in terms of style and tempo with the day's hootenannys than with the LPs that Neil would eventually record in 1966 (Fred Neil) and 1967 (Sessions) under the benevolent laissez-faire production of Nik Venet. Karen Dalton's rendition of "Red Are the Flowers" showcase her playing Neil's song in the style that he would later evolve into, when unhinged, and foretells the lyricism that one Tim Buckley would self-admittedly lift from his all-time model, Neil. Another example is "It's Alright," a breath-taking cover of a Ray Charles tune. Another major singer-songwriter under Dalton's spell, Tim Hardin, made no secret of his passion for Ray Charles's music. Hardin is known to have turned from art to music because of his encounter with Dalton in New York, and he spent most of the '60s with her and Joe Loop around Boulder.
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CD
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MEGAUK 018CD
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2017 repress; now at mid-line pricing; originally released in 2008. Another chapter in the ever-evolving story of Karen Dalton. These are home recordings, taped by Joe Loop, as was the acclaimed double live album Cotton Eyed Joe (MEGAUK 015CD, 2007). These recordings were made at Dalton's home in Boulder, Colorado, on a reel-to-reel. It sounds like the album Dalton would have released in 1963 had she been given the opportunity. Here are the first takes of "Ribbon Bow," "Katie Cruel," and "In the Evening," and a more complete document of Dalton's repertoire on banjo. During their first long stay in Colorado, Dalton and her husband Richard Tucker were lucky enough to find in Joe Loop an enlightened club owner who would book them often but who was also a self-taught sound engineer. Joe Loop recorded a couple of Dalton's shows, and would also occasionally bring his reel-to-reel machine to Dalton and Tucker's house on Pine Street so they could record their burgeoning musical ideas. Some jams were recorded with Tucker trying his hand at the saxophone, without the ease he showed on vocals. But Dalton was overwhelmed by the reel-to-reel machine's possibilities and would gladly experiment by herself with overdubs -- something of a portastudio a couple of decades before it became a musician's household commodity. By the grace of Joe Loop's faith, we now have a document of what a 1963 Karen Dalton album would be like.
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CD/DVD
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MEGAUK 010CD
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2016 repress. Re-release of this absolutely essential all-time classic folk/blues album, originally released in 1969 and reissued by Megaphone in 2006. Includes booklet and stunning DVD with archival footage. Discovered by Fred Neil, produced by Nik Venet (the man who signed The Beach Boys and took The Beatles to America), and hugely influential on Tim Hardin, Karen Dalton is the lost girl of Greenwich Village, and this is her debut album. Bob Dylan, in his bestselling memoir Chronicles: Volume One (2004), writes, "My favorite singer in the place was Karen Dalton. She was a tall white blues singer and guitar player, funky, lanky and sultry... Karen had a voice like Billie Holiday's and played the guitar like Jimmy Reed and went all the way with it. I sang with her a couple of times."
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