Inhaltsverzeichnis für February 2022 in MOJO

NO STRANGERS to dressing up and capering around in their music videos, Foo Fighters have now broadened their acting ambitions into a full-length feature film. Titled Studio 666 and described as a “horror comedy”, the movie is due for theatrical release in the US in February (with a UK release date still to be confirmed). “There’s no other band stupid enough to do this,” Grohl stresses to MOJO. “It’s absolutely insane.” Filmed in the same house in Encino, Los Angeles, where the band recorded their latest LP, Medicine At Midnight – in MOJO 318, Dave insisted it was haunted – Studio 666 was directed by BJ McDonnell (responsible for 2013 slasher flick Hatchet III, along with various Slayer videos). While the band are keeping the full plot details under wraps,…

...VASHTI BUNYAN’S memoir Wayward: Just Another Life To Live will be published by White Rabbit in April. It focuses on her 1970 debut LP Just Another Diamond Day and her creative re-emergence more than 30 years later...coming in May from Omnibus: I’ll Be There, My Life In The Four Tops by DUKE FAKIR with Kathleen McGhee …in spring, Nine Eight Publishing presents The Islander – My Life In Music And Beyond. The autobiography of Island Records boss CHRIS BLACKWELL (out in time for his 85th birthday), Marley, U2 and Roxy will appear alongside Errol Flynn, Miles Davis and Noel Coward, among others …in April, Omnibus publish Rory Sullivan-Burke’s The Light Pours Out Of Me: The Authorised Biography Of JOHN McGEOCH. Within, admirers including Jonny Greenwood and Johnny Marr pay tribute…

Terry Graham: Jeffrey Lee Pierce and Kid Congo Powers, who was just Brian Tristan back then, started the band as The Creeping Ritual in 1979. In a very real way, The Gun Club was an East LA band, a Hispanic band. They were cultural misfits. Kid Congo Powers: The Creeping Ritual was quite literally when I first picked up a guitar. Jeffrey had got Don Snowden to play bass, and Brad Dunning, another friend who had never played, to do the drums. Keith Morris: One of my best friends grew up in Northridge, in San Fernando Valley, and he says he saw Jeffrey walking around the neighbourhood dressed as a member of the SS, just to piss people off. There are a lot of indigenous southern Californians out there, some…

WRITTEN BY John Aizlewood, Martin Aston, John Bungey, Stevie Chick, Dave DiMartino, Grayson Haver Currin, David Hutcheon, Jim Irvin, Colin Irwin, Dorian Lynskey, James McNair, Andrew Male, Andrew Perry, Jon Savage, David Sheppard, Michael Simmons, Lois Wilson. WAS 1971 THE GREATEST YEAR IN MUSIC? Well, if it wasn’t, it’s up there, duking it out with a small handful of credible contenders. But the very very best – why not? MOJO has spent much of 2021 marvelling at 1971’s dazzling fecundity, running 50th Anniversary features on Tapestry, What’s Going On, Blue, Led Zeppelin IV, Hunky Dory, Maggot Brain, Ram and Sticky Fingers, still staggered by their breadth, quality and innovations. In some of 1971’s greatest albums – say, Blue, or Leonard Cohen’s Songs Of Love And Hate – there was timely…

SOUL POWER ★★★ (Burger, 2014) As advertised in the title, Harding’s debut is emotionally focused R&B classicism, too bound to the fundamentals at times but seductive in its stark, taut arrangements. And Harding lets that falsetto fly over the falsetto fly over the Northern soul kicks in Keep On Shining. FACE YOUR FEAR ★★★★ (Anti-, 2017) In its crawl and shadows, Wednesday Morning Atonement bears the mark of co-producer Danger Mouse. After that, it’s Harding’s soul show as he fires up the P-funk voodoo in Go As You Are and tears through Need Your Love like a garage rock Otis Redding. IF WORDS WERE FLOWERS ★★★★ (Anti-, 2021) The title invocation’s sumptuous turmoil and the hard-fought radiance in Hopeful announce Harding’s transformation from disciple to innovator. Everything that follows affirms…

1. Archives Performance Series Volume 00: Sugar Mountain – Live At Canterbury House 1968 (2008) “I never ever have told a lie on-stage,” claims Neil Young, almost 23 in November ‘68, as he pads out a solo set in Ann Arbor with endearingly tallish tales. The nervous, goofy persona is a shock, but the chat does mean the flow of Buffalo Springfield relics and unreleased solo songs is somewhat fragmented. This version of Sugar Mountain first surfaced in 1969 as B-side of The Loner; Young’s contorted attempt at Mason Williams’ Classical Gas remains less feted in the canon. 2. Archives Performance Series Volume 01: Live At The Riverboat 1969 (2009) Choosing one of the Canterbury House and Riverboat shows for inclusion on the first Archives box set, Young opted for…

Urge Overkill ★★★★ Oui OMNIVORE. CD/DL/LP THE FIRST Urge Overkill album in over 10 years opens, bewilderingly, with Wham!’s fluff-pop smash Freedom, lightly amped into a ’90s TV theme. Elevating what resembles a bonus track into pole position feels especially odd given UO’s prior experience of being eclipsed by an incongruous cover version, when the Midwest trio’s 1992 take on Neil Diamond’s Girl You’ll Be A Woman Soon got Pulp Fictionalised. But perhaps the George Michael song has special resonance for Urge’s erstwhile estranged frontmen. “You could take me to hell and back/Just as long as we’re together” sums up Nash Kato and King Roeser’s turbulent 30-year creative liaison, now resumed following a low-profile decade. 2011’s Rock & Roll Submarine yielded solid enough returns 15 years after the band’s messy…

Sunn O))) ★★★★ Metta, Benevolence SOUTHERN LORD. CD/DL/LP MAXIMUM VOLUME has again yielded maximum results for cowled cacophonists Sunn O))) on this release of a panoramically deafening 2019 radio session. Named after the low-budget rockers’ preferred amplification provider in their native Pacific Northwest, the duo of Stephen O’Malley and Greg Anderson first debuted on 1999’s The Grimmrobe Demos ostensibly unleashing unmediated torrents of downtuned feedback. From rudimentary origins, they’ve become respected overlords of drone music, their live performances somehow bridging ribald metal theatricality and scarifying occult ritual, ever transgressive in their aural extremity. They’ve rattled the foundations of arts theatres such as London’s Barbican, and been validated for their heaviness and dexterity by Scott Walker on 2014’s intricately scored team-up, Soused. In 2019, they followed a sequence of digitally assembled…

Bandcamp finds In December 2019, Australian experimental guitarist and drummer Oren Ambarchi performed his 2016 album Hubris with a 14-strong band at London’s Café Oto. With seven guitarists, three drummers, German electronic coordinator Jörg Hiller, Eiko Ishibashi on flute, Mats Gustafsson on shrieking baritone sax and a long-distance Jim O’Rourke on guitar synth, Ambarchi created an ever ascending groove of celestial motorik funk now available on Bandcamp as Live Hubris. You’ll need to calm down after that, so we recommend the appropriately named Eiderdown Records, a Seattle-based label specialising in contemplative acoustic psych-drone from artists such as Prana Crafter and UK guitarist Nick Jonah Davis. If those purchases leave you out of pocket, head over to deathisnot.bandcamp.com where Luke Owen’s ethnographic label are offering everything from Jamaican doo-wop to North…

The Open Mind The Open Mind PHILIPS, 1969 BACK BEFORE online omni-accessibility, buyers of psychedelic esoterica started with Nuggets and worked their way down through the substrata of compilation albums. Certain recurring songs stood out on collections like The Psychedelic Snarl, The British Psychedelic Trip Vol.3 and Nuggets II. One such, sitting alongside selections by The Craig, Crocheted Doughnut Ring and Tinkerbells Fairydust, left a particularly sinister vapour trail: Magic Potion, a 1969 single by south London’s The Open Mind. An eerie invitation to trip hard, the song exists in several states at once, with a buttoned-up Mod appeal, psychedelic menace and distorted heavy metal guitars – a combination which can also be heard on the group’s sole LP “It’s really not like pop and it wasn’t jazz and it…

Depeche Mode 101 ★★★★★ Dir: DA Pennebaker, Chris Hegedus & David Dawkins MUTE FILM/SONY MUSIC. BR/DVD WHEN THE veteran filmmaker DA Pennebaker died in 2019, obituaries invariably highlighted his landmark documentary Dont Look Back, in which the “pioneer of cinéma vérité” (New York Times) captured Bob Dylan in 1965. There were also rightful mentions for Monterey Pop, featuring Jimi Hendrix’s flaming guitar, and concert film Ziggy Stardust And The Spiders From Mars, wherein David Bowie killed off his iconic glam persona. All of which is canonically understandable. But if you scroll through Pennebaker’s filmography to the end of the 1980s you’ll find another, less widely discussed profile of musicians at work which, from a 21st century media perspective, has proved to be remarkably prescient. Co-directed by his creative partner and…

THE HOT NEWS AND BIZARRE STORIES FROM PLANET MOJO SPORTING A beanie hat and looking a tad knackered, Pete Townshend has filmed a series of short video messages (posted to Instagram) from his studio to reveal that an edition of Who’s Next/Lifehouse is coming next year. “Three days working until five in the morning trying to keep up with some Who demos,” he explained, with a mock-maniacal laugh. “If I am looking a bit shattered, it’s because I am.” Pointing his camera at some of the instruments involved in the recordings – old organs, congas, a repaired ukulele – Townshend then redirected the focus onto a vintage eight-track machine that he’s had to augment with old Dolby noise-reduction units in what he described as an “unbelievably terrible lash-up”. As he…

IN SEPTEMBER, when Warner Music announced they would now be representing David Bowie’s 2000-2016 catalogue as well as his post-1968 recordings, they promised “many more exciting releases on tap”; the next logical step being a box set on the template set since 2015, featuring Heathen, Reality, The Next Day and Blackstar. Yet there was no fanfare or anniversary edition when Hunky Dory – often considered Bowie’s best album – turned 50 last month. Bowie-watchers hope it may at last get the expanded treatment in 2022, with the addition of officially unreleased songs including How Lucky You Are and the original version of Shadow Man. There’s also speculation that a supposed post-Hunky Dory LP for which Bowie’s tracklist exists may be realised like ‘lost’ 1974 album The Gouster was in 2016.…

“These Bluegrass Boys were thugs, they looked fucking gangsta.”BILLY STRINGS IF IT’S 10am in Pittsburgh, then it must be breakfast bong o’clock. Tousle-haired bluegrass sensation Billy Strings lights a cone, coughs a first-of-the-day cough, and tells MOJO all about his childhood growing up in a crack house. Strings’ father William died of a heroin overdose when Billy Jr was two, he smoked his first joint – stolen off his grandad – when he was eight, and the first time he tried crack was with his mother, Debra. Debra and his stepdad Terry, a fine guitarist, liked to party and in the tiny rural town of Muir, Michigan, the party was usually at their house. “I grew up with tweakers crashing on the couch and getting hauled off by police the…

WHATEVER HAPPENED TO ZDENEK SPICKA? DEEP Purple don’t know, even though he helped inspire their greatest hit. On December 4, 1971, Spicka, a 21-year-old Czech living in Switzerland, attended a Frank Zappa And The Mothers Of Invention show at the Montreux Casino. Spicka was carrying a flare gun of the kind used to signal distress at sea. During Zappa’s song King Kong, Spicka fired the weapon in the air. Its flare ignited the ceiling tiles, setting the whole wooden building ablaze. “It was a raging inferno,” remembers eyewitness and Deep Purple vocalist Ian Gillan. Luckily, Zappa, his Mothers and the audience escaped death or serious injury. A warrant was issued for Spicka’s arrest, but he fled Switzerland and was never found. “A musician’s life is full of misadventures,” says Gillan…

CHAN MARSHALL IS GREAT AT IMPRESSIONS. First, there’s the mockney rock star one she uses to start our interview, advertising her openness to questions. “I’m here for the PEOPLE!” she shouts. Later, she lapses into an excellent Patti Smith, issuing advice – as Smith once did to an overwhelmed Marshall – on the “respaaahnsibility” that comes with being an artist. Meanwhile, anyone who has heard Cat Power’s adoring Bob Dylan pastiche Song To Bobby will already know Marshall has his phrasing down, but it’s still delightful to hear her slide into his speaking voice as she recalls their 2007 meeting backstage at one of his Paris shows: “What you doin’ in town? You recordin’ or playin’? You got the band with you or solo? You got the same name as…

NEIL YOUNG IS AT THE OTHER end of a Zoom call. Neil can see MOJO, MOJO can’t see him, which is just the way he likes it. At MOJO’s request he hits the camera button and for a moment or two there he is, smiling and waving from a dark, unlit room that might well be a kitchen, before disappearing. If this is the rustic house in Colorado Young shares with his actress wife, Daryl Hannah, or their latest home, a wooden house by the lake near Omemee, Canada, where he spent his childhood, he’s not saying. It’s early in the morning, the sun’s not up yet, nor is anyone in the house besides Neil, though soon we’re joined by what sounds like a team of workmen, hammering away Neil…

Jake Xerxes Fussell ★★★★ Good And Green Again PARADISE OF BACHELORS. CD/DL/LP “FOLK MUSIC,” wrote Bob Dylan in one of the more trustworthy passages of Chronicles, “was reality of a more brilliant dimension... It was life magnified. Folk music was all I needed to exist. Trouble was, there wasn’t enough of it.” Jake Xerxes Fussell, a singing folklorist from Georgia who currently resides in North Carolina, would probably beg to differ. Back in 2019, when his exceptional third album Out Of Sight was released, Fussell told MOJO about the boundless reserves of folk songs still to be reclaimed. “The last thing I worry about is running out of material,” he said. Fussell’s the sort of folk singer who makes an art of picking the richest songs, honouring their historical and…

Robin Guthrie ★★★ Pearldiving SOLEIL APRÈS MINUIT. CD/DL “EVERYONE WHO listened to the Cocteau Twins would hear something else in their head or see different pictures or have their own interpretation,” said Robin Guthrie in a 2006 interview, trying to explain the difference between his former band and their more literal songwriting contemporaries – “Morrissey droning away with some story,” for example. Since the Cocteau Twins split in 1997, the guitarist has largely continued to resist the concrete world, his instrumental music opening up emotional spaces without putting in too many hard boundaries or supporting walls. Pearldiving, Guthrie’s first solo instrumental record since 2012’s Fortune, was recorded in a time of deceptive stillness. There was no travel – previously a key inspiration for him – but there was still turbulence.…

Arthur Russell AUDIKA/ROUGH TRADE. CD/DL/LP CHANCES ARE, if you are a fan of Arthur Russell in 2021 it’s largely down to the work of Steve Knutson and Audika Records. The custodian of Russell’s musical archive and estate since 2004, over the past 17 years Audika have reissued such original and hard-to-find LPs as 1986’s minimalist voice-and-cello masterpiece World Of Echo and the block-chord minimalism of 1983’s Tower Of Meaning, alongside game-changing archive collections such as the agitated pulse-pop poems of Calling Out Of Context, the unguarded country-folk of Love Is Overtaking Me and the graceful, melancholy home demos of 2019’s Iowa Dream. In the process, the range, context and significance of Russell’s genius has expanded from left-field, New York-based avant-garde club innovator to 20th century musical polymath, who has influenced…

The Pretty Things ★★★★ Live At The BBC REPERTOIRE. CD/LP WITH THEIR radical-for-the-times long hair and insurrection-invoking approach to performance, The Pretty Things were the band Andrew Loog Oldham made The Rolling Stones out to be. It’s rumoured Mick Jagger wanted them banned from appearing on ’60s TV show Ready Steady Go!, fearing they would steal the Stones’ thunder. Guitarist Dick Taylor had of course played with Mick and Keith in an early incarnation of that group, but it was in ’63 along with Phil May, a graphic design student at Sidcup Art College in south-east London who played a mean maraca, that he formed The Pretty Things and made sparks fly. Their live shows crackled with an electricity and raw, visceral intensity from the get-go. With the classic line-up…

IN 1973, Japanese folk rock group Happy End arrived at Los Angeles’ Sunset Sound Studios asking to meet Van Dyke Parks. The group, Beach Boys obsessives thanks to the West Coast tastes of founder member Haruomi Hosono, had come seeking “that California Sound”. Parks, then working on his baroque calypso travelogue Discover America, refused to help until he saw the group’s suitcase full of money. The sessions were fractious, complete with a drunken argument about Pearl Harbour, and the resultant album was steeped in a languorous melancholy reflecting Hosono’s disenchantment with both the Western perception of Japan and his own vision of America. The group split and Hosono realised a new sound was required. His first option was to reappropriate the fake Asian exotica of Martin Denny, and make it…

Devil In A Coma ★★★★ Mark Lanegan WHITE RABBIT. £12 IF SOME musicians are to be believed, Covid-19 hasn’t been all bad: the enforced disruption to normal routines affording valuable peace to contemplate and create with renewed vigour. Mark Lanegan’s pandemic experience has been considerably less clement. After “hellhounds at my back in Los Angeles” prompted a hasty move to rural Ireland, he knocked himself out falling down some stairs while discombobulated by coronavirus, cracking ribs and smashing an already gammy knee. Entering hospital on Saint Patrick’s Day 2021, he was put in a medically induced coma and underwent kidney dialysis. His wife Shelley refused to permit an emergency tracheotomy because it might silence his singing voice. She was advised to prepare for the worst. None of this will much…

JANUARY 7 It was all starting to happen for the British blues. The Rolling Stones had just begun their first headline UK tour and were recording their debut LP. Waiting in the wings were multitudinous groups including The Animals, The Yardbirds and, a few years later, Fleetwood Mac. And yet. South Harrow bluesman Cyril Davies, a harmonica master, vocalist and Leadbelly obsessive who had done so much to fan the British blues flame, died today, just weeks from his 32nd birthday. Born in Denham on January 23, 1932, Davies was a panel beater and car mechanic by day. He’d played banjo in trad jazz and skiffle groups before converting to the blues. After he met guitarist Alexis Korner, the two opened the London Blues And Barrelhouse Club at The Round…

THE SMILE, Ted Hughes’ gnarly and mystical 1970 poem, appeared enigmatically on Thom Yorke’s Twitter feed on May 19, 2021, heralding the debut of a new group, also billed The Smile. Three days later, Yorke, Radiohead guitarist Jonny Greenwood and Sons Of Kemet drummer Tom Skinner duly appeared on the Glastonbury Festival Live At Worthy Farm livestream, playing eight varied and intriguing songs encompassing the spidery, Radiohead-like Panavision, The Smoke’s phantom Afro-funk, and the churning, Cure-esque goth-pop of We Don’t Know What Tomorrow Brings. After indie-punk maelstrom You Will Never Work In Television Again, Yorke felt an introduction was in order. “Ladies and gentlemen,” he declared with manic edge, “we are called The Smile. Not the smile as in ‘hahaha’... more the smile of the... the guy who lies to…

WRITER, BROADCASTER and teacher Ben Wardle likens Talk Talk’s out-of-time 1988 masterwork Spirit Of Eden to the “post-rock equivalent of the Sex Pistols at the Manchester Free Trade Hall – everyone who bought it went off and started telling everyone else about it.” This mix of reverence and evangelism will also be present in Wardle’s book A Perfect Silence. Out in 2022, its ambitious aim is to capture the life of Talk Talk’s genius/mystic Mark Hollis and the spiritual-classical music he dreamt up. “[Bassist] Paul Webb was famously quoted as saying, ‘I’d hate to say I ever knew him,’” says Wardle of his elusive subject. “I spoke to a number of people who dismissed it as an impossible task, and to a certain extent, it was.” Only to a certain…

RIGHT NOW, Christone ‘Kingfish’ Ingram is the most explosive new talent in the blues. He speaks through his guitar in long, subtle, articulate lines and delivers his songs with grace and conviction. These are skills most musicians take years to acquire. Ingram is 22. What distances him from other guitar strutting 20-somethings on the blues stage is that he knows in his bones where it comes from – its unique geography of place and connection. Ingram is from Clarksdale, Mississippi, where Muddy Waters, John Lee Hooker, Otis Spann and Ike Turner lived, and Bessie Smith died. Today, it’s the home of legendary blues club Ground Zero and the Delta Blues Museum, a few miles from the crossed-guitars landmark marking the intersection of “blues highways” 49 and 61. The blues hangs…

“I FIRST MET Neil at the Troubadour. He struck me as shy, like gun-shy, and taciturn, kind of in another world, but when he spoke, he was very straightforward. As a songwriter, he was obviously first-rate, original and thought-provoking, and so admired by the best, like Randy Newman. And I loved Neil’s singing: almost a boy soprano, this strange Northern voice, like the sound of a loon. He was always friendly and nice to me, but I barely knew him, or James Taylor, when we were all invited to Nashville to record the Johnny Cash show. After the show, Neil said, ’I'm going to the studio, why don’t you both come?’ I think his producer, Elliot Mazer, had suggested to Neil that James and I should play on his record.…

Elvis Costello & The Imposters ★★★★ The Boy Named If EMI. CD/DL/LP THOSE LOOKING for a recap of the last couple of episodes of The Costello Show should be reminded that it’s been a great season so far. 2018’s Look Now mixed lively guitar pop with co-written Bacharach ballads to excellent effect, while 2020’s Hey Clockface saw our central character travelling solo to Helsinki to deliver some of his best rattling, attitude-y rockers in years. The narrative curve continues with The Boy Named If Costello and co-producer Sebastian Krys have had reason to revisit the singer’s late-’70s past in recent years: remixing This Year’s Girl from the original tapes for the title song of David Simon’s The Deuce; reworking the whole of 1978’s This Year’s Model with guest Hispanic singers…

Duane Pitre ★★★★★ Omniscient Voices IMPREC. DL/LP The New Orleans sound artist returns with a stunning work for piano and electronics. Fans of such contemporary minimalist composers as Kali Malone or Caterina Barbieri will likely have encountered Duane Pitre. His 2009 compilation, The Harmonic Series, reintroduced the ancient tuning pattern of just intonation – previously associated with ‘60s/70s ‘minimalists’ like La Monte Young and Terry Riley – to this new generation of young musicians. Since 2012’s Feel Free album, Pitre has combined traditional acoustic with modern electronic ‘improvisation’ and this new work, influenced by New York composer Morton Feldman’s use of tonal clusters, is the latest result. Although composed of five pieces of varying lengths, offering more harmonic variety, this remains a complete, immersive work, a blissful pulsing conversation between…

Abdullah Ibrahim ★★★★ Solotude GEARBOX. CD/DL/LP Octogenarian South African pianist at the top of his game. While there was no crowd to appreciate Abdullah Ibrahim’s most recent birthday show at Germany’s Hirzinger Hall, it matters not; the ex-Jazz Epistles piano maestro, warmly dubbed “South Africa’s Mozart” by Nelson Mandela, used its acoustics to his advantage. His talent for playing older songs as if they had just sprung unbidden adds heartbroken heft to the Duke Ellington-influenced Sotho Blue and evergreen The Wedding, the latter sounding fresher than when it first surfaced on 1986’s Water From An Ancient Well. Elsewhere, stately, contemplative new efforts In-Tempo and Once Upon A Midnight make light of his technical gifts with careful phrasing, sparing use of low pedals and feather-light dissonant touches. Dotted with unfussy miniatures…

The Band ★★★★ Cahoots: 50th Anniversary Edition CAPITOL/UME. CD/DL/LP BY THEIR own accounts, The Band were dazed, depleted, and drowning in excess when they recorded their fourth album, 1971’s Cahoots. In his 1993 memoir, drummer Levon Helm claimed the LP was made “during the summer” of that year; the group was “a little bit rusty”; and the music “didn’t prove to be that memorable.” In his 2016 book, Testimony, guitarist-songwriter Robbie Robertson actually recalled “heavy snow” on the day that pianist Richard Manuel and Woodstock neighbour Van Morrison cut their booze-fuelled duet 4% Pantomime, named after the different alcohol levels in Johnnie Walker whiskies. As they left the studio, Manuel was so drunk he almost ran over Morrison with his car. Whatever the season, The Band – the most acclaimed…

"ONCE I’M committed to shoot you, I’m gonna love you,” Mick Rock told me in 2008. “That’s the way it’s always been with me. I love everybody who gets in front of my camera. You could be the most obnoxious person in the world. But if you’re in front of my camera, I’ll love you.” Rock’s relationship with his subjects was sealed the hippy-times day he picked up a friend’s camera while acid-tripping and snapped away at his lady companion. Everything about the process – peering through the lens, the focus, the click – was, he recalled, wrapped in mystique. The results were similarly elusive: there was no film in the camera. It was an appropriate beginning for the self-described “free radical, floating about out there”. Rock, then a Cambridge…

FOUNDED IN 2001 in Seattle by Matt Sullivan and Josh Wright, the Light In The Attic imprint has long delighted music aficionados with their quality reissues – or, as they say, “rescuing music and cultural artefacts from the brink of obscurity and sharing them with anyone who will listen.” The catalogue is full of lovingly presented vinyl and CD gems by the likes of Betty Davis, Karen Dalton, Nancy Sinatra, Donnie &Joe Emerson, Serge Gainsbourg, Link Wray, Willie Nelson, Lee Hazlewood, Leo Nocentelli and many more. Now they’re celebrating their 20th anniversary with LITA 20, an ongoing programme of releases spearheaded by jaw-dropping 10-LP boxes Dollars, Dust & Pistoleros: The Westerns Anthology by Ennio Morricone and Goblin’s The Horror Original Soundtracks, plus more OST, live album and Japanese jazz goodness…