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The newly expanded 20-page LP 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. 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\u0026amp;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 \u0026amp; 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. Dalton, who rarely performed her own compositions, selected a range of material to interpret-from traditionals like Katie Cruel and Same Old Man to Paul Butterfield's In My Own Dream and Richard Tucker's Are You Leaving For The Country. She also expanded upon her typical repertoire, peppering in such R\u0026amp;B hits as When a Man Loves a Woman and How Sweet It Is. 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