Name: 1966
Brand: Karen Dalton

Bonus disc

Bonus disc: No

Catalogue number

DMOR230.1

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Colour

Clear

Colour details

Discogs ID

Format multiplier

Download code

Download code: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Extended format

Extended format: Yes

Format detail

Format Music US

Limited edition

Release date

2020-12-11

Signed copies

Signed copies: No

Supplier US

Tax rate US

Sales:8.875

UPC / Barcode

795528003014

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Total Cap

1 / Extended format: Yes / LP / Rough Trade Exclusive: No / Signed copies: No / clear

DE30LP

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Green

Extended format: No

2021-02-26

Light in the Attic

1 / Extended format: No / LP / Rough Trade Exclusive: No / Signed copies: No / green

Artist

Karen Dalton

Genre US

Folk

Label US

Delmore Recording Society

<p>Karen J. Dalton (Jean Karen Cariker) was an American folk blues singer and banjo player associated with the early 1960s Greenwich Village folk music scene, particularly with Fred Neil and the Holy Modal Rounders as well as Bob Dylan.</p>

<p>Dalton, whose heritage was Cherokee, was born in Enid, Oklahoma. She sang blues, folk, country, pop, and Motown. She played the twelve string Gibson guitar and a long neck banjo.</p>

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Karen Dalton was a remote, elusive creature. A hybrid of tough and tender with an unearthly voice that seemed to embody a time long past. As is often the case with such fragile beings, she instinctively understood that the only way to survive the harshness of the world around her, was to keep herself hidden. So it comes as no great surprise that she rarely sang in public or ventured into the unnatural setting of a recording studio. Only twice, for 1969’s It’s So Hard To Tell Who’s Going To Love You The Best and then again for 1971’s In My Own Time, was she coaxed from her habitat into the studio. Other times she made music in casual settings, sitting around a kitchen table or wood burning stove with her friends, singing and playing until daybreak.

In 1966, Carl Baron brought his reel to reel over to her remote cabin in Summerville, Colorado and recorded one of those exquisite musical evenings. Karen and Richard Tucker were rehearsing for a gig when Carl hit the “Record” button. The result is a 45-year-old tape, carefully exhumed, documenting Karen at her most raw and unfiltered. On it are Fred Neil and Tim Hardin songs we’ve never heard Karen give voice to before, as well as traditional songs she uncannily makes her own, including a devastating version of ‘Katie Cruel’, that is so powerful, it is as if the ghost of Katie Cruel seeped into her blood. This recording is a window to her Summerville cabin opened, allowing us to eavesdrop on Karen Dalton at her most pure and unaffected.

1966

Music US

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