f you’re a fan of 20th-century pop music, it’s a good bet you’re familiar with Nancy Sinatra. It’s far less likely, though, that you’ve heard of Lee Hazlewood, the man behind Sinatra's hits “These Boots Are Made for Walkin',” “ Summer Wine” and “Sugar Town.” At a time when mega producers like Phil Spector and George Martin were dropping huge boulders in the pop-music pond, it’s not surprising that the cumulative ripple effects of Hazlewood’s smaller pebbles have slipped under the collective radar. But avid fans like me are hoping that Light in the Attic Record’s decision to remaster and reissue Hazelwood’s 1968 masterpiece Nancy & Lee on vinyl will renew interest in his underappreciated genius and give credit to Sinatra’s considerable vocal talent.

When asked to describe the work of Lee Hazlewood, I’m always reminded of the Martin Mull quip, “Writing about music is like dancing about architecture.” Hazlewood poses a special challenge for writers because he fashioned a self-contained world with its own logic and quirky agenda. I can’t find a better example of Hazlewood’s unique aural palette and creative eccentricities than Nancy & Lee. The disc is an oddball confection that’s equal parts cowboy psychedelia, rockabilly, country, pop, folk, and corny humor topped with a healthy dollop of utterly lush but not-quite-over-the-top studio production that prompted critics of the day to label his music “the saccharine underground.”

I like the "saccharine underground" wordplay because it’s a sly wink at the subliminal charms of Nancy & Lee. On first blush, this record’s reverb-drenched vocals and soaring orchestration can sound a bit cheesy and melodramatic. But repeated listenings reveal it to be a far weightier work. The 13 songs form a multifaceted prism that reflects the full spectrum of emotional contradictions and psychological introspection that anyone who grew up in the 1960s will recognize as trademarks of the era. A testament to the substance beneath Nancy & Lee’s hyper-polished surface are the list of musicians who cite it as a major influence (Beck, Sonic Youth, Frank Black, Nick Cave) and the album’s appearance on so many critics’ “best of” lists throughout the decades since its release.

In addition to the innovative sonic representations of dusty canyons and shimmering western sunsets that make up the backdrop of Nancy & Lee, careful listeners will notice how the passionate but nuanced delivery of Sinatra and Hazlewood’s duets captures the collision of values that were part of the era. The desperate search for a more meaningful life depicted in “Elusive Dreams” and “Some Velvet Morning” contrasts sharply with the goofy send-up of hipster posing in “Greenwich Village Folksong Salesman.” The combination of Hazlewood’s world-weary baritone and Sinatra’s lighthearted playfulness lends a special poignancy to numbers like “Summer Wine” and infuses covers like “Jackson” with an edgy coolness.

There would be no Nancy & Lee were it not for the creative juggernaut of talented session musicians known as the Wrecking Crew (drummer Hal Blaine, electric bassist Carole Kaye, and guitarist Glen Campbell) and the considerable influence of legendary arranger Billy Strange. The 180-gram vinyl is wonderfully presented in a gatefold format and comes with a gorgeous 15-page booklet packed with detailed session notes and striking photographs taken by Ron Joy. Also included is an extensive interview with Sinatra in which she offers a candid glimpse into the personal dynamics and technical challenges that went into this landmark recording.