{"product_id":"lee-hazlewood-lee-hazlewoodism-its-cause-and-cure","title":"Lee Hazlewood - Lee Hazlewoodism. Its Cause And Cure","description":"\u003c!-- plug-seven-hike-2026-10-29:start --\u003e\n\u003cp\u003e1LP Vinyl - 700234\u003c\/p\u003e\n\u003cp\u003eThe mid-to-late ’60s were strange days for Lee Hazlewood. Having struck gold as songwriter and vocal foil for Nancy Sinatra, he signed up to MGM as an artist in his own right, and between 1966 and 1968, produced three ambitious solo albums that were eclectic, idiosyncratic, and most of all, unpredictable.\u003c\/p\u003e\n\u003cp\u003eIt was a happy time for Lee; his music was hot on the charts, he was fully immersed in his collaboration with his muse, Suzi Jane Hokom.\u003c\/p\u003e\n\u003cp\u003eThe second of his MGM trilogy–1967’s peculiarly named \u003cem\u003eLee Hazlewoodism: Its Cause And Cure\u003c\/em\u003e–took on countrified French ye-ye (“The Girls In Paris”), a tale of a young bullfighter built on Spanish guitar and choral cowboys (“Jose”), a string-drenched song about the passing of time (“The Old Man And His Guitar”), and a western epic about a Native American tribe (“The Nights”). And that was just the first four tracks. Elsewhere, the honky tonk madness of “Suzi Jane Is Back In Town,” the Byrds-like jangle of “In Our Time” and–in the bonus tracks–an instrumental named “Batman” confirm this to be one of Hazlewood’s most far-ranging, far-out LPs ever.\u003c\/p\u003e\n\u003cp\u003eIt’s the result of two main factors: ambition–to top Phil Spector, primarily–and cash, which paid for orchestras, plush studios, and the inestimable talents of arranger Billy Strange. “I think the big sound of those records came out of the Spector thing,” says Hokom, in the new liner notes. “If you can have a big sound and you have money to burn… it was a flamboyancy.”\u003c\/p\u003e\n\u003cp\u003eReleased before the \u003cem\u003eNancy \u0026amp; Lee\u003c\/em\u003e LP–a bona fide hit for Reprise Records– \u003cem\u003eHazlewoodism\u003c\/em\u003e was a tougher nut to crack, a record that confused by combining po-faced delivery with unabashed comical touches. By 1967, Hazlewood had founded the LHI imprint, and was busy building his own empire–one we’ve been lovingly archiving for the past few years. We now present this missing link in the story, plus predecessor, \u003cem\u003eThe Very Special World Of Lee Hazlewood\u003c\/em\u003e and follow-up, \u003cem\u003eSomething Special\u003c\/em\u003e. Welcome to Hazlewood’s magnificent–and mad–MGM years.\u003c\/p\u003e\n\u003c!-- plug-seven-hike-2026-10-29:end --\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003eMedia: Mint (M)\u003c\/p\u003e\r\n\r\n\u003cp\u003eSleeve: Mint (M)\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eTrack List: \u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003eA1.  The Girls In Paris 2:31\u003cbr\u003eA2.  José 4:32\u003cbr\u003eA3.  The Old Man And His Guitar 3:09\u003cbr\u003eA4.  The Nights 3:16\u003cbr\u003eA5.  I Am A Part 2:57\u003cbr\u003eB1.  Home (I'm Home) 2:22\u003cbr\u003eB2.  After Six 2:25\u003cbr\u003eB3.  Suzi Jane Is Back In Town 2:26\u003cbr\u003eB4.  In Our Time 2:42\u003cbr\u003eB5.  Dark In My Heart 2:03\u003cbr\u003e\u003c\/p\u003e\u003ca href=\"https:\/\/www.discogs.com\/sell\/item\/3476630583\" target=\"_blank\"\u003e\u003cspan style=\"font-size: 11px;\"\u003eData provided by Discogs\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e","brand":"Elemental Music","offers":[{"title":"Default Title","offer_id":46418406604937,"sku":"32448144","price":50.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0587\/8834\/8041\/files\/32448144-043956146792f56060fcb6792f56060fcd17376843206792f56060fd0.jpg?v=1777967978","url":"https:\/\/www.plugseven.com\/products\/lee-hazlewood-lee-hazlewoodism-its-cause-and-cure","provider":"Plug Seven","version":"1.0","type":"link"}