- LP - black vinyl
- LP - silver vinyl
- Two 180-gram, 45 RPM LPs cut from new 2021 transfers and pressed at RTI, featuring bonus tracks from the original album sessions.
Previously unreleased 7” single: Live at Beat Club, Germany (April 1971). Repro of 1971 French edition 7” single: Something On Your Mind b/w One Night Of Love.
20-page booklet featuring unseen photos and liner notes by Lenny Kaye, plus contributions from Nick Cave and Devendra Banhart.
- Definitive edition of Karen Dalton’s 1971 Masterpiece.
Two 180-gram, 45 RPM LPs cut from new 2021 transfers and pressed at RTI featuring bonus tracks from the original album sessions.
12” 180-gram, 45 RPM EP: Live at The Montreux Golden Rose Pop Festival (May 1971), newly remastered (2021) and previously unreleased in any format. B-side includes a beautiful etching of Karen, illustrated by renowned artist Jess Rotter.
Previously unreleased 7” single: Live at Beat Club, Germany (April 1971)
Repro of 1971 French edition 7” single: Something On Your Mind b/w One Night Of Love
Both 7” singles pressed at Third Man Pressing and housed in old-style tip-on jackets
20-page booklet Includes a 18”x24” fold-out movie poster of the acclaimed documentary film Karen Dalton: In My Own Time, illustrated by artist Matt McCormick
Karen Dalton’s 1971 album, In My Own Time, stands as a true masterpiece by one of music’s most mysterious, enigmatic, and enduringly influential artists. Light in the Attic is honored to celebrate the 50th anniversary of In My Own Time with a special edition of this monumental classic.
Featuring Dalton’s interpretations of songs like “Are You Leaving for the Country,” “When a Man Loves a Woman,” “Katie Cruel,” and her posthumously recognized signature performance, “Something On Your Mind,” will be available in a 50th anniversary Deluxe Edition, which expands exponentially upon Light in the Attic’s 2006 reissue of the album, co-produced by Nicholas Hill.
This 50th Anniversary Deluxe Edition features the newly remastered (2021) In My Own Time album, presented on three sides of 45-RPM, 180-gram vinyl pressed at Record Technology Inc. (RTI), with the fourth side showcasing alternate takes from the album sessions. The set also contains two 7-inch singles, featuring previously-unreleased live recordings captured at Germany’s Beat Club in 1971, both pressed at
Third Man Record Pressing and housed in tip-on jackets. All audio has been newly remastered by Dave Cooley, while lacquers were cut by Phil Rodriguez at Elysian Masters. A 20 page booklet—featuring rarely seen photos, liner notes from musician and writer Lenny Kaye, and contributions from Nick Cave and Devendra Banhart—rounds out the package, which comes housed in a special trifold jacket.
The Oklahoma-raised Karen Dalton (1937-1993) brought a range of influences to her work. As Lenny Kaye
writes in the liner notes, one can hear “the jazz of Ella Fitzgerald and Billie Holiday, the immersion of Nina
Simone, the Appalachian keen of Jean Ritchie, [and] the R&B and country that had to seep in as she made
her way to New York.”
Armed with a long-necked banjo and a 12-stringed guitar, Dalton set herself apart from her peers with her
distinctive, world-weary vocals. In the early ‘60s, she became a fixture in the Greenwich Village folk scene,
interpreting traditional material, blues standards, and the songs of her contemporaries, including Tim Hardin,
Fred Neil, and Richard Tucker, whom she later married. Bob Dylan, meanwhile, was instantly taken with her
artistry. “My favorite singer in the place was Karen Dalton,” he recalled in Chronicles: Volume One (Simon &
Schuster, 2004). “Karen had a voice like Billie Holiday and played the guitar like Jimmy Reed.”
Those who knew Dalton understood that she was not interested in bowing to the whims of the record
industry. On stage, she rarely interacted with audience members. In the studio, she was equally as
uncomfortable with the recording process. Her 1969 debut, It’s So Hard to Tell Who’s Going To Love You
The Best, reissued by Light in the Attic in 2009, was captured on the sly when Dalton assumed that she was
rehearsing songs. When Woodstock co-promoter Michael Lang approached Dalton about recording a follow-
up for his new imprint, Just Sunshine, she was dubious, to say the least. The album would have to be made
on her own terms, in her own time. That turned out to be a six-month period at Bearsville Studios in
Woodstock, NY. Producing the album was bassist Harvey Brooks, who played alongside Dalton on It’s So Hard to Tell Who’s Going To Love You The Best. Brooks, who prided himself on being “simple, solid and supportive,”
understood Dalton’s process, but was also willing to offer gentle encouragement, and challenge the artist to
push her creative bounds. “I tried to present her with a flexible situation,” he told Kaye. “I left the decisions to
her, to determine the tempo, feel. She was very quiet, and I brought all of it to her; if she needed more, I’d
present options. Everyone was sensitive to her. She was the leader.”
In My Own Time – Karen Dalton has been added to your bag.