• Vinyl record with a colorful cover featuring a woman's face, a car, and abstract elements on an orange background.
  • Artistic depiction of a woman's face with a car and people in the background, featuring the artist's name.
  • Vinyl record with orange disc and colorful cover featuring a car and silhouette of a person.
  • Vinyl record with a colorful cover featuring a stylized face and car, on a light gray background.
  • Vinyl record with a colorful cover featuring a car and a person against a fiery background.
  • Compact disc with a colorful cover featuring a woman's face and a car, on a white background.
  • Cassette tape cover of a woman's face with 'Aunt Betty's' branding on a white background
  • Two artistic panels with fiery backgrounds and various figures, including a woman smoking a cigarette and a person in a red outfit with a helmet.
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Aunt Bettys

Aunt Bettys

$34.98 USD
$34.98 USD
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PRE-ORDER: Ships by February 20, 2026

In 1996, Michael Knott was supposed to become a rock star. After a decade leading underground acts like Lifesavers and L.S. Underground, he'd assembled the Aunt Bettys—an Orange County band aimed for superstardom. Major labels fought over them in a bidding war. Elektra won, offering total creative control and real money. It should have been Knott's moment.

Their self-titled debut delivered everything promised. Recorded at The Green Room and co-produced with Gene Eugene, the album was a "witty, decadent, catchy, assuringly rocking record" pulled straight from Knott's nights in local dive bars. The songs channeled the Stones' swagger, Bowie's glam edge, and Jane's Addiction's intensity—furious guitars, snarling vocals, and supposedly true stories about alien abductions, tattooed lovers, and the walking wounded of late-night bar culture. Knott rewrote classics like "Rocket & A Bomb" and "Kitty Courtesy," elevating them to new sonic heights and cranking up the volume. It was raw, unapologetic rock and roll.

But the relationship with Elektra deteriorated rapidly. Promotion never materialized, and the album was released in August 1996 with barely a whisper. The band dissolved within months. College radio stations in San Diego spun "Jesus" and "Addict," but most of the country never heard them. Critics who noticed praised it—the Los Angeles Times called out its "raunchy, celebratory rock" and Knott's ability to find "common humanity in people whose failings polite society would deem unspeakable." But for most listeners, Aunt Bettys simply didn't exist.

The album refused to disappear. Over the years, it became a cult favorite, evidence of Knott's fearless songwriting and proof that sometimes the best records are the ones nobody wanted to sell.

Lost in Ohio is reissuing Aunt Bettys on vinyl for the first time, with a deluxe package that honors the album's legacy. The original Tim Okamura paintings are lost, so renowned artist Stephen Cefalo created two brand-new 12x24 oil paintings inspired by the originals. The album has been freshly remastered by Christopher Colbert from the original tapes and pressed on 180-gram vinyl. Liner notes by Lara Noel Hill (the band's A&R rep at Elektra) and never-before-seen photos complete the package. CD and cassette versions are also available, all featuring the same care and detail. This is the version the album deserved in 1996.

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