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Recent Best Sellers
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2LP
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SRS 3508LP
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Rock för kropp och själ stands as the final, definitive statement from Träd, Gräs och Stenar during their original tenure with the legendary Silence label. By 1972, the band had reached a breaking point. After five years of relentless touring -- defined by marathon three-to-four-hour performances delivered four or five nights a week -- the collective was physically and creatively spent. The weight of expectation had become a burden; the band felt pressured to deliver "maximum ecstasy" and total psychic immersion at every single gig. This period of high-intensity "flipped out" performances culminated in their final appearance at the Falun prison in July 1972, after which the members dispersed to refocus and recreate their individual artistic paths. Expanded content: Includes a bonus LP of rare live material from Denmark and Gothenburg.
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WWSLP 116LP
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LP version. Wewantsounds continues its extensive reissue program of Meiko Kaji's early discography, originally released by Teichiku Records in Japan between 1972 and 1974. The Quentin Tarantino muse -- famous for her starring roles in Lady Snowblood and Stray Cat Rock -- was also a gifted singer. Otoko Onna Kokoro No Aika is another collection of superb cinematic songs featuring Kaji's signature mix of Japanese pop and groove, backed by lush, atmospheric orchestrations. This includes her rendition of "Tokyo Nagare Mono," the theme song for Seijun Suzuki's cult 1966 film Tokyo Drifter. This reissue features the original artwork, an OBI strip, and a four-page insert with new liner notes by Hashim Kotaro Bharoocha, who interviewed Meiko Kaji for the occasion. Japanese actress Meiko Kaji has become a worldwide cult icon, partly thanks to Quentin Tarantino, who heavily based his Kill Bill films on the 1973 revenge classic Lady Snowblood. While her previous albums often featured a few key theme songs from her films, Otoko Onna Kokoro No Aika is a classy offering of Showa kayōkyoku (pop) and enka, the "Japanese blues." Kaji approached the record with an actress's sensibility, treating each cover as a dramatic role. The tracklist is anchored by two highlights: the funk-infused arrangement of "Ginza No Cho" (Ginza Butterfly) and Kaji's iconic rendition of "Tokyo Nagare Mono" (Tokyo Drifter). While the latter was famously the theme for Seijun Suzuki's 1966 cult yakuza film of the same name, Kaji's version brings a modern, 1970s feel to the melody. Throughout the record, traditional themes are infused with contemporary grooves, blending lush orchestrations with funky basslines to create a hypnotic, cinematic atmosphere that is uniquely her own. Reissued in its full glory for the first time and remastered by Teichiku in Tokyo, Otoko Onna Kokoro No Aika is a welcome new addition to the Wewantsounds Meiko Kaji reissue campaign, which is sure to please all of her fans worldwide.
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WWSLP 117LP
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Wewantsounds continues its Middle East reissue series with Assa'd Khoury's 1978 rarity, Electronic Touches Belly Dance. Reissued for the first time in nearly 50 years in partnership with Byblos Records founder Mozart Chahine, the album features Oriental classics reimagined through Khoury's pioneering electronic keyboards. This definitive edition includes original artwork, remastered audio, a new introduction by Ahmed Khalil (Dikraphone), and an exclusive interview with Chahine, the album's producer, conducted by Mario Choueiry (IMA). Long a highly coveted find for DJs and vinyl collectors worldwide, Assa'd Khoury's 1978 album Electronic Touches Belly Dance has earned its cult status as one of the most sought-after instrumental LPs from the region. This release marks the very first reissue of the album, which has remained virtually impossible to find since its original pressing. Khoury (1953-2020), a Syrian virtuoso pianist, violinist, and leader of the Spring Band, bridged Levantine tradition with the cosmic, psychedelic textures of the late 1970s. As Dikraphone's Ahmed Khalil notes in his introduction, the music serves as "a sensory portal to a bygone Damascus, where a psychedelic Farfisa and mesmerizing rhythms create a unique groove" that remains remarkably fresh today. The album's history is tied to the legacy of the venerable Lebanese Chahine family. Mozart Chahine, son of the inventor of the quarter-tone keyboard, founded the Byblos label to champion music from the region. In an exclusive interview conducted by Mario Choueiry (IMA), he recalls encountering Khoury at his Damascus music store and recording the entire album in a single day. "The musicians were seasoned, much like jazzmen," Chahine reminisces, noting that the session captured a rare, immediate energy between the ensemble members. The musical journey spans the Arab world, offering electronic reinterpretations of Arabic standards and paying respect to Egyptian master Sayed Darwish. A cult classic that will surely please all Arabic groove lovers.
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2LP
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BEC 5772110
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2026 repress. Justice's highly-acclaimed debut album from 2007. French-only vinyl version, in deluxe gatefold sleeve. Retreating to their underground post-nuclear shelter/studio, French duo Gaspard Augé and Xavier de Rosnay worked on their first album as if their lives depended on it. The result is a mind-fuck of an album that proves that Justice's unique talent is to be found where least expected. Take for example "Let There Be Light" and its strident, angry electro, driven by a jabbing bassline; "D.A.N.C.E," a pure piece of vicious house sung innocently by a choir of children; "Newjack," a funky parody of the opulent times of the French Touch; "Phantom," taking over where "Waters Of Nazareth" left off to drift towards "Phantom Pt. II" and its head-swirling disco violins; "Valentine," an erotic, melancholic nursery rhyme, like a tribute to Vladimir Cosma and "Tthhee Ppaarrttyy," a pure electro-funk track where the sexy Uffie plays more than ever the cheeky Lolita. Justice have thrown established rules out the window (the notion of good and bad taste, the thin line between underground and pop music, the pigeon hole labeling between rock and electro, etc.) with a fantastic talent for synthesizing and mixing their influences with total candor, be it the cosmic disco of Larry Levan or Vladimir Cosma's panty-wetting romantics, Camel's prog rock or the anxious theme of Goblin for Dario Argento, to the flashy funk of the Brothers Johnson or "ABC" by the Jackson 5. Cross isn't a collection of random dancefloor singles. Cross is for listening at home or in clubs. Cross is a link between pop at its purest and experimental music. Cross brings together hardcore elements and cheese. Cross makes the Goths link arms with the rave kids. A generational manifest, ideally positioned on the side of the dancefloor, Cross, insolent with youth, is a testimony that the French electro scene is healthier than ever.
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WWSLP 123LP
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First-ever vinyl reissue of Hadley Caliman's 1971 modal/spiritual jazz cult classic, Iapetus. Composed and arranged by Bayeté Todd Cochran, featuring remastered audio, original gatefold artwork with unissued session photos and new liner notes written by Todd Cochran. Wewantsounds continues its reissue program of Bob Shad's cult jazz label, Mainstream Records, with Hadley Caliman's superb 1972 album, Iapetus. Recorded in LA and featuring a heavyweight lineup of West Coast players including Todd Cochran, Woody "Sonship" Theus, Luis Gasca, and Victor Pantoja, the majority of the album was composed by Todd Cochran (aka Bayeté) soon after he had composed Bobby Hutcherson's Blue Note classic, Head On. A true hidden treasure, it is reissued here on vinyl for the first time since 1971, featuring its original gatefold artwork with rare first-generation photos. This edition comes with newly remastered audio and a two-page insert with exclusive liner notes by Todd Cochran, reflecting on Hadley Caliman and the making of the album. Tenor saxophonist and flutist Hadley Caliman was a key figure in the West Coast late '60s underground scene, whose versatile style made him a first-call collaborator across genres. A fixture of the San Francisco music scene, Caliman's rich tone and musical creativity saw him crossing over into the city's lively jazz and psychedelic rock circles, contributing to recordings by Gerald Wilson, Mongo Santamaria, Santana, and the Grateful Dead. By 1971, he had established himself as a prominent member of this creative community, which led to his signing with Bob Shad's Mainstream Records. Following his 1971 self-titled debut, Caliman returned to the studio later that year to record Iapetus. The session featured a heavyweight lineup of fellow West Coast fixtures, including trumpeter Luis Gasca, bassist James Leary, and a powerhouse percussion section of Woody "Sonship" Theus, Victor Pantoja, and Hungria Garcia. The album's sophisticated modal structures were captured by pianist and composer Todd Cochran.
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V 25AH426
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2025 restock. Victory present a reissue of Pacific, originally released in 1978. Reuniting the best session musicians Japan had to offer to make an album that would evoke the atmospheres of the South Pacific islands, the kind of places Japanese people spend their vacations. Pacific is a treat to the ears; its theme of the southern Pacific ocean and its warm cerulean waters relax its listeners with a fusion of city pop, soft jazz, and that good old 1970s funk while remaining surprisingly fully instrumental throughout all contributions from artists Haruomi Hosono, Shigeru Suzuki, and Tatsuro Yamashita. A true cult LP and an inspiration for a lot of so called "vaporware" music. LP includes insert.
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SF 133LP
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Hot on the heels of their spectacular self-titled debut album, The Handover is back with their second long form composition, New Old Medicine. Aly Eissa (oud), Ayman Asfour (violin), and Jonas Cambien (vintage organ/synth) have been cutting their teeth on the international touring circuit for the past two years, landing from town to town in their seductive spaceship to blow people's minds and then dematerialize into the void. An outline for a new piece began to emerge along the route and late last year during a stop in Berlin, this metamorphosis of the trio's sound was recorded in pristine form by Rabih Beaini at Morphine Studios. Attempting to define the music is not as important as allowing it to define itself -- from person to person, village to village. All we can do is suggest what may resonate to lure you into the arena; psychedelic, folkloric, Egyptian, etc., as these excerpts from the liner notes suggest: "Though one long piece, New Old Medicine moves through several unofficial chapters. It originates in the psychic depths with a pensive melody. Gradually solidifying, the organ's first solo ushers the piece into a swaying, reverent dance. This dance nears its end with a vigorously percussive section on oud, handing it off to the violin for a climactic solo. A momentary pause, then the rhythm thickens, and the musicians ride untethered through the midnight. This frenzy is followed by a calm repose on placid water. But this calm is merely a deep inhale before the final charged ascent into cosmic rapture." Don't sleep on this one! Limited edition vinyl pressing with two-page insert including liner notes by Tucker Wiedenkeller.
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VAMPI 353LP
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Marcos Valle is one of those artists you simply can't overlook if you have even a passing interest in Brazilian music. Whether your taste leans toward bossa jazz, samba, psychedelic folk, or modern soul, Valle has surely recorded a great album for you. By the late 1960s he had already released enough outstanding records to secure a place among the greatest Brazilian artists of all time, but fortunately his career didn't stop there. He has continued recording fabulous albums over the following decades, right up to the present day. This second album by Marcos Valle (1965) is one of the foundational works of bossa nova. In fact, the record includes one of the most widely heard and covered Brazilian songs in history: "Samba de Verão." In addition to his work as a composer -- alongside his brother Paulo Sergio -- Marcos Valle also begins to reveal himself here as a great singer, with a soft, almost fragile voice, while his acoustic guitar recreates the same intimacy of the nighttime atmosphere in which he composed most of the songs. The arrangements were co-written with Eumir Deodato, with the participation of other renowned Brazilian musicians, and they surround Valle's compositions with elegant string orchestrations, bossa rhythms, and jazzy touches of swing. Highlights include the sophisticated beauty of songs like "Preciso Aprender a Ser Só," the rhythmic 3/4 feel of tracks such as "Seu Encanto," and the powerful "Deus Brasileiro." First vinyl reissue in over 50 years! Pressed on 180g vinyl.
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LP
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FTR 834LP
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"Messrs. Corsano and Dorji are both familiar names in the Feeding Tube discography. Chris has played drums on eight FTR LPs (and recorded two other), and Tashi has played guitar on six (details upon request if you are lazy.) But this is the first time they have appeared on vinyl as a duo, and we are damn proud to have them. Over the past years Chris has recorded with a lot of the era's best guitarists -- Bill Nace, Ben Chasny, Thurston Moore, Nels Cline, David Vanzan, Bill Orcutt, Rick Bishop, Glenn Jones, Jim O'Rourke, Flo Stoffner, and onward. And Tashi has worked with some fine-ass drummers -- Thom Nguyên, Tyler Damon, Michael Zerang, Dylan Fujioka, Susie Ibarra, Marshall Trammell, etc. So perhaps this team-up was inevitable. They played their first live duo show at a one-off in 2023 and it went so well, they set up a four date tour for 2025. This set was recorded at the tour's inaugural date in Tashi's hometown, Asheville NC, at Ritual Botanica, a space run by Tashi's pals, Potion. And it is a corker. Chris runs through a panorama of his playing styles. Sometimes he flashes polyrhythmic jazzoid explosions across every available drum head. At others he lays into a slightly off-kilter backbeat like some sort of prog rock lumberjack. Simultaneously, Tashi lays out lines of space-oid feedback, drives through angular chunk-riffs ala early John McLaughlin, or spirals into psych flairs worthy of Japan's sub-underground masters. Together, they make a powerful argument for the divine mastery of drum/guitar duos, a non-standard format first introduced (to me, anyway) on Randy Holden's Population II. Live at Ritual Botanica is a different animal than Holden's classic LP, but a stone by any other name, y'know?" --Byron Coley, 2026
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2LP
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WRWTFWW 078LP
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2026 repress forthcoming in June. WRWTFWW Records announce the first ever vinyl release for Pizza Hotline's brilliant 2022 full-length Level Select, originally only released on cassette and digital. The liquid drum & bass meets Y2K era video gaming aesthetics monster is now available in a limited-edition transparent vinyl double LP with a glorious 45rpm cut, packaged in a heavyweight 350gsm sleeve. Entirely written and composed by UK producer Pizza Hotline (apart from "GLACIER ZONE", a collaboration between Pizza Hotline and DJ Total 90), the stellar eight-song album was initially released as a limited cassette in January 2022 and quickly gained cult status -- making a full-on vinyl release quite the necessity. It's here now with the previously unreleased track "POLYGON DREAMSCAPE" (which sounds as magical as its title) and 45rpm cut for louder, bigger, deeper bass rumbling. Spellbinding, atmospheric, and beautifully melodic, Level Select is a large scope dreamy adventure of liquid DnB filled with ambient escapades, ethereal jungle, high vibe breaks, and a heavy loving dose of late '90s/early 2000s video game influences. Hypnotic late-night hype and pensive chill moods mesh with ease in a cinematic soundscape that re-contextualizes and gives a new life to a beloved music genre -- LTJ Bukem, Peshay, the Wipeout OST or Soichi Terada's Ape Escape come to mind, and sounds and soundtracks from the Sony Playstation, the Nintendo 64, and the Sega Saturn resonate from the speakers. It's all fresh with a subtle nostalgia and so much heart. An instant classic. Press start.
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LP
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CT 085LP
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2026 repress; reissue of the 1976 historic collaboration between producer instrumentalist Augustus Pablo and dub engineer King Tubby.
"If you had to pick one album that best represents the pinnacle of the art of dub, you'd cull the candidates down pretty quickly to ten or 12, and it would get very difficult after that. Few would fault you for ending up with this one, though, which stands as perhaps the finest collaboration between two of instrumental reggae's leading lights: producer and melodica player Augustus Pablo and legendary dub pioneer King Tubby. Among other gems, this album offers its title track -- a dub version of Jacob Miller's 'Baby I Love You So'-- which is widely regarded as the finest example of dub ever recorded. But the rest of the album is hardly less impressive. 'Each One Dub', another cut on a Jacob Miller rhythm, possesses the same dark and mystical ambience, if not quite the same emotional energy, as 'King Tubby Meets Rockers Uptown,' and the version of the epochal 'Satta Massaganna' that closes the album is another solid winner. Pablo's trademark 'Far East' sound (characterized by minor keys and prominent melodica lines) is predominant throughout, and is treated with care and grace by King Tubby, who has rarely sounded more inspired in his studio manipulations than he does here. Absolutely essential." --Rick Anderson, All Music
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2LP
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WRWTFWW 128LP
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WRWTFWW Records presents their fifth archival release taken from cult Tokyo label Form@ Records' catalogue, this time with the first-ever vinyl edition of Re-Form Ver-1.0. The remarkable, yet not widely known, 1999 remix compilation is now available as a limited edition 45rpm cut double LP housed in a heavyweight sleeve. Originally only available on CD in extremely limited quantities, Re-Form Ver-1.0 resurfaces as a fascinating document of Form@ Records' late-1990s creative peak. Re-imagining key pieces from the label's catalogue, the remix collection offers a rare glimpse into Tokyo's electronic underground, where techno, house, ambient, and IDM breathe freely through Form@'s soulful and exploratory vision. Throughout, the compilation balances dancefloor sensibility with introspective listening, embodying the warm human approach to machine music the label excels in. Another essential time capsule from a crucial era of underground music, Re-Form Ver-1.0 echoes the spirit of Warp's Artificial Intelligence era, alongside the forward-thinking energy of Ken Ishii, Carl Craig, The Black Dog, and Ian O'Brien, while keeping its feet and individuality firmly rooted in local context -- the magic recipe for creating a universal, timeless language of electronic expression. Featuring Missing Project, Virgo, Tensor, Penance, and Led-M.
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LP
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WWSLP 065LP
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2026 repress. Wewantsounds reissue Mawood one of the cornerstones of Egyptian music, recorded in 1971 by legendary Arabic singer Abdel Halim Hafez. Famously sampled by Jay-Z on "Big Pimpin'", Hafez is captured here live with his full orchestra including Omar Khorshid on guitar. The album mixes traditional Arabic music with modern instrumentation and shades of '70s groove. "Mawood" is one of Hafez's all-time classics, written by the legendary composer Baligh Hamdi. Alongside Oum Kalthoum, Warda, Farid el Atrache, and Mohammed Abdel Wahab, Hafez revolutionized Egyptian music and became a hugely popular star across the whole Arab world. Blessed with striking good looks, Abdel Halim Hafez started his career in the early '50s and quickly attracted the attention of one of the Egyptian radio's A&Rs who took him under his wing and invited him to perform on the radio. His career went from strength to strength and from 1953, he was associated with the Egyptian revolution led by Nasser. His music mixing tradition and modernity made him one of the most loved singers of the 1950s as he developed a romantic edge that became his signature style (he was dubbed "the dark-skinned nightingale"). In the mid-50s, hot on the heels of his success in music, he launched his acting career in the thriving Egyptian film industry and also became a hugely popular actor. Hafez worked with the greatest composers of their time including Mohammed Abdel Wahab and Baligh Hamdi. Recorded live in 1971, "Mawood" is one of the singer's most recognizable standards. The song stretches over the two sides of the album and consists of several sections alternating instrumental parts and sung ones. The song, written by Egyptian poet Mohamed Hamza, sees Hafez talking to his heart, apologizing for driving it from failure to failure and concluding that, to find solace, one must keep love at bay. He's backed by his full orchestra featuring traditional instrumentation and those powerful strings that influenced the likes of Jean-Claude Vannier, together with modern instrumentation including organ and electric guitar by Omar Khorshid adding his unmissable twang to the ensemble. Mawood mixes tradition and modernity and develops into a hypnotic epic full of groove with a superb soulful performance by one of the greatest singers of the 20th century. Remastered for vinyl; features the original LP artwork with a two-page insert featuring new liner notes (English/French) by Mario Choueiry (IMA, Paris).
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LP
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JB 012LP
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Carlos Dafé (born October 25, 1947) is a singer and songwriter from Rio de Janeiro, recognized as one of the iconic voices of the Brazilian samba-soul era. Born into a family of musicians and trained at the conservatory, he rose to prominence in the 1970s alongside Tim Maia, Cassiano, and Hyldon, shaping the sound of Rio Noir with his warm baritone voice and soulful phrasing. His 1977 album, Pra Que Vou Recordar, became a cult classic among collectors and DJs worldwide, earning him the title of "Prince of Brazilian Soul." Still active today, Carlos Dafé remains an essential reference for artists exploring the boundaries between samba, soul, and MPB (Brazilian Popular Music). Released in 1977, Pra Que Vou Recordar reveals Carlos Dafé at the peak of his art, blending samba-soul, MPB, and the warm groove of the 1970s Rio de Janeiro scene. Surrounded by some of the city's finest musicians, Dafé showcases his baritone voice in deeply melodic arrangements and a series of songs that have become fan favourites. An album imbued with soul and elegance. The sound of Brazilian Black music at its most sincere and timeless.
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2LP
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AU 1031LP
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"On what would have been Arthur Russell's 75th birthday, Audika Records presents a remastered/redux double vinyl rerelease of the much-beloved compilation Love Is Overtaking Me of Arthur's folk, pop, and country songs including 'Planted a Thought,' 'Close My Eyes' and 'I Couldn't Say It To Your Face.' Originally released in 2007 the redux edition includes new masters from a recently found pristine tape reel and was remastered by Timothy Stollenwerk at Stereophonic Mastering in Portland, OR. Revised artwork by Molly Smith with extensive liner notes from Arthur's partner Tom Lee. Over twenty years ago, Audika Records began compiling and releasing the exceptionally varied, long sought-after music of Arthur Russell, and in the process has succeeded at helping the beloved, late artist find the broader audience he always believed he would reach. A new generation of listeners and critics has come to appreciate Russell as a visionary and an influence upon a broad range of today's most compelling musical artists. While much critical and popular affection for Russell's music has come about well after his untimely death from AIDS in 1992, many fellow artists believed in his genius and were drawn to collaborate with him during his lifetime. The legendary producer John Hammond (Billie Holiday, Bob Dylan, Bruce Springsteen) recorded Russell on several occasions; a number of these recordings now heard on Love Is Overtaking Me, along with songs recorded with various incarnations of The Flying Hearts, a group formed by Russell and Ernie Brooks whose shifting lineup included, by turns, Jerry Harrison, Rhys Chatham, Jon Gibson, Peter Gordon, and Peter Zummo as well as Larry Saltzman and David Van Tieghem. Several other Russell projects are represented on Love Is Overtaking Me, including The Sailboats, Turbo Sporty, and Bright & Early. Compiled from over eight hours of material, Love Is Overtaking Me reaches back further to Russell's earliest compositions beginning in 1973 and spans forward to his very last recordings, made at home in 1991. Several of the songs featured prominently in Matt Wolf's now herald 2008 film Wild Combination: A Portrait of Arthur Russell."
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LP
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VAMPI 322LP
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Step into the golden era of soul-jazz with the long-awaited vinyl reissue of Vibrations by Roy Ayers Ubiquity -- a record that captures the unmistakable warmth, groove, and sophistication that defined Roy Ayers' sound at its peak. Originally released in 1976, Vibrations stands as a cornerstone in Ayers' catalog, marking a moment where his signature blend of jazz, funk, and soul reached a refined, deeply cohesive form. Building on the foundations laid in earlier works, this album presents a tighter, more focused musical vision without sacrificing the lush textures and emotional depth that made his music resonate worldwide. Roy Ayers was a pioneering vibraphonist, composer, and producer whose influence stretches far beyond jazz into R&B, neo-soul, and hip-hop. Often referred to as the "Godfather of Neo Soul," Ayers crafted a sound that feels both timeless and forward-thinking, pairing silky vocals with hypnotic grooves and rich instrumental arrangements. His work throughout the 1970s helped shape the sonic DNA of modern Black music, and Vibrations is one of its purest expressions. The album flows effortlessly between moods: from the jazz-inflected elegance of "Searching" to the irresistible funk pulse of "The Memory," the dancefloor-ready "One Sweet Love to Remember," and the laid-back, atmospheric title track "Vibrations." Each track showcases a masterful balance between musicianship and groove, brought to life by a stellar ensemble of collaborators who elevate every moment. Beyond its original impact, Vibrations has taken on a second life through hip-hop. Its grooves, breaks, and melodies have been extensively sampled by generations of producers and artists, becoming a foundational source for crate diggers and beatmakers alike. Tracks from the album have been reinterpreted and flipped by influential names such as A Tribe Called Quest, J Dilla, Dr. Dre, and Common, cementing its legacy as a vital bridge between 1970s soul-jazz and contemporary hip-hop culture. After almost two decades out of print, Vampisoul present this much-needed vinyl reissue of an essential album in Roy Ayers' career. Whether you're discovering it for the first time or returning to a beloved classic, this album remains an essential piece of musical history. Pressed on 180g vinyl.
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2LP
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ZORN 065LP
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2026 repress; reissue, originally released on CD in 2005. Eric Dolphy's final studio album is hailed as one of the finest examples of mid-60s post-bop. Dolphy, having recorded the album in February 1964, was in Europe less than six weeks later and his all-too-brief life ended less than two months after that. It marked his last flurry of original compositions and is considered his apex. It is fascinating to consider whether he would have moved past or away from the album in 1965, had he lived. Though Dolphy should not be considered an avant-garde musician by the term's most common definitions, most interpretations of Out To Lunch have been done by players working squarely in that area. So it is with this album, the most ambitious in its recreation of the five-tune disc (with one original added to the final "Straight Up And Down", extending the piece to almost thirty minutes). All five compositions from the original quintet LP are revisited in the same order, the record sleeve even duplicates the old album jacket, although a photo taken by Daidō Moriyama inside Tokyo's Shinjuku railway station replaces the enigmatic "Will Be Back" sign. Otomo Yoshihide first came to international prominence in the 1990s as the leader of the experimental rock group Ground Zero, and has since worked in a variety of contexts, ranging from free improvisation to noise, jazz, avant-garde, and contemporary classical. Recognizable themes ("Hat and Beard," "Out to Lunch," "Straight Up and Down") appear, and individual players -- including Alfred Harth on bass clarinet -- don't carry forward echoes from the past in the spirit of a sincere and heartfelt homage. However, a good deal of the time all bets are off; in addition to the usual brass, reeds, bass, and drums (and of course a bit of vibraphone, here played by Takara Kumiko) are such sonic paraphernalia as sine waves, contact mike, no-input mixing board, and, of course, "computer." Otomo himself plays electric guitar. From composition to composition and even during episodes within compositions, the band takes radically different approaches. There are blasts of free jazz energy not too far removed from the Peter Brötzmann Tentet, an impression reinforced by the presence of spluttering wild man Mats Gustafsson on baritone sax. Not surprisingly and often in contrast with the Dolphy original, the music is dense and filled to overflowing with sounds -- sometimes due to fundamental reworkings in structure rather than just the larger size of the ensemble. Dolphy is transported into the 21st century and allowed to romp through modern developments in music.
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VAMPI 342LP
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Tim Maia's self-titled 1973 album is one of those records that hits you from the very first groove and doesn't let go. Originally released on Polydor Brazil, this was the fourth in a series of Tim's self-titled albums -- and many fans and critics still consider it the crown jewel. Packed with irresistible hooks, lush arrangements, and that unmistakable Tim Maia swagger, the album captures the singer at the peak of his creative powers. If you're new to Tim Maia, here's the quick story: born in Rio de Janeiro, Tim was a larger-than-life icon whose music married American soul and funk with Brazilian samba and pop long before "fusion" was a buzzword. A true musical polymath, he absorbed everything from Curtis Mayfield to Motown and translated it into a sound entirely his own -- gritty, passionate, and full of groove. He didn't just introduce soul to Brazil; he made it Brazilian. On this 1973 release, Tim pushes everything up a notch. The arrangements are bigger, slicker, and surprisingly majestic, without losing the raw spirit that earned him a devoted following. From the moment "Réu Confesso" opens the album, you know you're in for something special -- smooth, funky, and heartfelt in all the right ways. The bittersweet "Gostava Tanto de Você" remains one of his most beloved classics, while "O Balanço" bursts with Brazilian flavor that practically dares you not to move. And with tracks like "Do Your Thing, Behave Yourself" and "Over Again," Tim shows just how naturally the soul idiom fit him, even when he switched to English. This record has everything: deep grooves, soaring strings, magnetic vocals, and that unmistakable sense of joy that Tim Maia carried into every session. It's a front-to-back winner -- one of those albums that deserves a spot not just in Brazilian music history, but in any collection that celebrates great soul, funk, and timeless grooves. If you're a longtime fan, it's a reminder of why Tim Maia is legendary. If you're discovering him for the first time, this is the perfect place to start. Either way: press play, turn it up, and let Tim do his thing. Reissue on 180g vinyl.
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LP
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VL 900037LP
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Domingo is the debut album by Brazilian singers Caetano Veloso and Gal Costa, released in 1967 by the Polydor label. Still lacking the tropicalist edge that Caetano would adopt on his next album, Domingo falls within the traditional bossa nova genre.
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LP
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RANDB 180LP
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The last gig played by The Who before the Quadrophenia tour was this seven-track "greatest hits" set, broadcast on Dutch television in March 1973. Featuring material from Tommy and Who's Next, the encore was a lengthy but engrossing version of "Magic Bus." Comes with full recording details and extensive sleeve notes.
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2LP
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VL 900310LP
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2026 repress. Two 180-gram LPs with 15 bonus tracks from the deluxe CD edition. Despite his huge success with his 1971 political concept album What's Going On, Marvin Gaye left social concerns behind for those of a more intimate nature with this 1973 album. Let's Get It On album broke new ground, gaining its place in history as one of the most sexual albums ever recorded, laying the basis for every slow jam ever after, and making Gaye both socially concerned and sexy -- a potent commercial combination.
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CD
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WRJ 001CD
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2024 repress. We Release Jazz (WRWTFWW Records' new sister-label) presents its first release, the official reissue of Ryo Fukui's highly sought-after masterpiece Scenery, originally released in 1976. Unquestionably one of the most important Japanese jazz albums ever recorded, Scenery reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous, and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From "It Could Happen To You" and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of "Early Summer", or the incredible teamwork of "Autumn Leaves" where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence, and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz. Often compared to McCoy Tyner or Bill Evans, Ryo Fukui was a genius in his own right, a true master of his craft whose perfectionism gave birth to some of the greatest music ever recorded. Scenery is his magnum opus and an absolute must-have. The Hokkaido wizard-pianist followed Scenery with the soulful gem Mellow Dream (WRJ 002CD/LTD-LP) in 1977. He then focused on improving his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui) and releasing two live albums. Ryo Fukui sadly passed away in March 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come. Sourced from the original masters. CD comes in digipack.
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LP
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SOR 008LP
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Every N*gger is a Star is the legendary soundtrack to the cult 1973 Jamaican film! Composed and arranged by popular Jamaican singer and bassist Boris Gardiner, this music still sounds as the perfect blend between reggae and Blaxploitation oriented soul-funk groove. Needless to remember that in 2015 the title track was sampled for the opening track of Kendrik Lamar's iconic album To Pimp For A Butterfly -- in other words an essential release for all the ghetto-sounds freaks out there!
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LP
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LMS 1725745
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LP version. Printed inner sleeve. Depeche Mode, Yazoo, Erasure's Vince Clarke, Blancmange's Neil Arthur, and the electronic producer-writer-synth-nerd Benge have joined forces to form the new project Doublespeak. Their self-titled debut album revisits eleven of their favorite songs from the past four decades, each reimagined and renewed in the timeless space of gleaming analog electronica. The DoubleSpeak album is divided between songs from the postpunk netherworld brought blinking into the light (Fad Gadget, The Sound, Young Marble Giants), pop radio monsters ushered back down a dark stairway into the club (ABBA, David Essex, The Carpenters) and buried treasures from the 1990s onwards (The Magnetic Fields, Ed Dowie, Laptop). Collectively, the album amounts to a shadow autobiography of the three collaborators' continuing musical education. DoubleSpeak is the great human songbook, synthesized. Empathic vocals, bold arrangements and glowing analog electronics turn familiar and forgotten songs into a personal, forward-looking electronic statement. Also features songs by Thomas Leer/Robert Rental and John Hartford.
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LP
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FARO 255LP
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Repressed; LP version. Hidden away amidst the bustle of Rio de Janeiro's Catete neighborhood is a small alleyway behind a cast iron gate. At its end is Bairro Saavedra, the courtyard surrounded by Neo-colonial houses where Brazilian guitar virtuoso Fabiano do Nascimento spent much of his childhood. Built in 1928, this secluded neighborhood with its wooden shutters, tiled floors and tranquil benches, provides the inspiration for the title of Do Nascimento's new album VILA, a collaborative project with a sixteen-piece orchestra led by trombonist and arranger Vittor Santos. Recorded between Rio de Janeiro and Los Angeles, VILA is grand, tender, warm, playful and nostalgic. On this stunningly ambitious work, the delicate compositions led by Nascimento's guitar, which sits central in the mix, are surrounded by Santos' breathtaking orchestral arrangements which swirl in all directions: complimenting, questioning, responding; in constant conversation. Like the eclecticism of the architecture Do Nascimento grew up surrounded by, his music straddles many worlds at once. He is known as a Brazilian acoustic guitar master and as such has collaborated with Arthur Verocai, Airto Moreira, and Itibere Zwarg. But equally at home in Los Angeles's jazz and experimental music scenes, Do Nascimento is also known for his work with artists like Sam Gendel and Carlos Nino. Vittor Santos is an arranger and trombonist who has worked extensively with many of the greats of Brazilian music, including João Donato, Marcos Valle, Toninho Horta, and Elza Soares.
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2LP
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LOVE 146LP
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2026 repress. Since hard-snagging ears and feet in 2023 with 12"s for FELT and his own label, Guy Brewer's Carrier has become the go-to project for those who had almost given up on chasing this sort of ultra-subtle but vitally distinctive new permutations in dance music. For the past two years his unpredictable variations within a style have kept listeners all tip-toed and seat-edge with organizations of a finely chiseled percussive palette and smoldering ambient noise that distills the salient aspects and spirits of D&B, dub techno, and electro-acoustic music with utterly unique traction. In effect, he's enacted a clear leap of imagination and proprioception from previous work issued as part of Commix and solo as Shifted that only continues to reveal absorbing new fissures and hallucinatory psychoacoustics on this first album detail. Previewed at Berlin Atonal '25, Rhythm Immortal now sees Brewer tilt the project into slower, resoundingly atmospheric realms, better to luxuriate in the instinctive guile and integer-stepping style 'n pattern of his incredible sound. At the album's poles, a vocal cameo by cult gynoid Voice Actor follows from Gavsborg's on a preceding 7" single to ideally model his sound's mutability and compatibility with trip hop forms, and Memotone helps seal the deal with a hovering glow lent to "Offshore," whilst Carrier jostles the reins throughout with masterful control of his thing, crisply purposed to the album canvas. In that context it's perfectly adaptable to bodies supine or in motion.
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LP
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ZORN 113LP
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Originally self-released in 2023, Stella Kola, the debut album from Beverly Ketch (Jow Jow, Weeping Bong Band) and Robert Thomas (Sunburned Hand of the Man, Dalthom), now returns in a renewed edition -- bringing wider attention to a record that already felt like a quietly essential artifact from the moment it first appeared. Given the pair's respective roots -- and the presence of collaborators drawn from across the Northeast experimental underground -- one might expect "a brutal blast of acid swirl." Instead, what emerges is something far more unexpected. The album is "steeped, not in noise and dissonance, but in the fragrant, captivating folk of Linda Perhacs, Judee Sill, Karen Dalton, and Bridget St John." From the opening moments the record reveals its core sensibility: "a ballad that digs deep into the psychedelic-folk tradition until it takes root in a freshly sporous permaculture." What follows is a set of songs that feel both carefully assembled and organically grown -- delicate structures held together by a wide circle of contributing musicians, including Wednesday Knudsen (flute), P.G. Six (harp, guitars, keys), Gary War (synth), Jen Gellineau (viola, violin), Willie Lane, L. Gray, and others. Rather than functioning as studio additions, these collaborators form a genuine collective presence. Like many of the '60s folk records it echoes, Stella Kola carries "the feeling of community and camaraderie" at its core, shaping a warmth that runs through the entire release. The album's emotional palette leans toward a quiet, persistent melancholy. Its sound edges into the terrain of Fairport Convention and Pentangle, with references to "Beggar's, Kings, Dark Damsels, and Tarot," yet never settles into revivalism. Instead, Ketch and Thomas extend the tradition outward, refracting it through their own distinctly American, underground language. Even among a prolific and unpredictable network of underground musicians, Stella Kola stands apart. With its return in reissue form, the album reasserts itself not just as a hidden gem, but as an essential document of contemporary folk experimentation -- an intimate, collective work that continues to unfold with time.
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LP
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SOW 002LP
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2026 repress. Sowing Records present a reissue of Hip Harp by Dorothy Ashby with Frank Wess, originally released in 1958. Born in Detroit in 1932, Dorothy Ashby can be easily recognized as the woman who gave the harp a jazz voice. In her hands, the harp, an originally classical instrument which seemed to just scare people, became a highly versatile swinging voice able to drive a whole jazz rhythm section. Recorded in 1958 by master Rudy Van Gelder and originally released on the Prestige label, Hip Harp is a perfect example of Ashby's artistry. At the head of a fine quartet featuring the great Frank Wess on flute, Herman Wright on bass, and master Art Taylor on drums, Ashby creates a unique combination of deeply jazz elements expressed through a totally new sound. Clear vinyl.
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LP
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SOW 005LP
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2026 repress. Sowing Records present a reissue of Dorothy Ashby's debut album, The Jazz Harpist, originally released in 1957 by the Regent label. Recognized as the woman who gave the harp a jazz voice, here, Ashby is at the head of a highly distinctive combo featuring Frank Wess on flute, Eddie Jones or Wendell Marshall on bass and master Ed Thigpen on drums. The Jazz Harpist is an unprecedented mix of evocative classic sounds and jazz soul, awarded by AllMusic as her first and best album, period! Clear vinyl.
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2LP
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TRESOR 129X-LP
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2026 repress; double LP version. Silver pantone, UV spot varnish. 180 gram vinyl. Tresor Records announce forthcoming special editions of the entire catalog of Drexciya and related projects. 2022 marks the 20th anniversary of the passing of James Stinson and the releases of the Transllusion and Shifted Phases albums. In recognition, the rights holders, their families, and the label have commissioned Detroit-based contemporary artist Matthew Angelo Harrison to re-conceptualize the covers of Tresor's Drexciya-related catalog. The series starts with Neptune's Lair, first released in 1999, with the Hydro Doorways single arriving shortly after. These records, individually and as a catalog, represent some of the most crucial moments in the Tresor label history, with the sound and mythic world of Drexciya undoubtedly inspiring generations. Detroit's Drexciya, with their close ties to Underground Resistance, emerged in 1991. With an encoded agenda and socio-political mission aimed at the world, a new page of Drexciya's grand history was written entitled Neptune's Lair. Drexciya is the sound of originality embodying all the musical styles and history that Detroit the city has seen and been part of. Drexciya is music for change that defies categorization; traditionally armed with freestyle electro, techno, funk, and jazz while covering an entire spectrum of moods. While words won't do Neptune's Lair proper justice, rootsy Kraftwerkian techno, gives way to G-style electro, while jazzy freestyle funk evolves alongside classic 4/4 club sound. Although the roots run deep, Neptune's Lair heralded an important new chapter in the musical connections between Detroit's finest and Tresor.
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CD
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ESPDISK 5044CD
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Amazingly, this is Charles Downs's first album as sole leader, recorded shortly after he turned 81. Starting in the 1970s, he performed as Rashid Bakr, a name he chose out of admiration for drummer Rashid Ali; this is how he was known while performing in various Cecil Taylor ensembles, with Jemeel Moondoc's Ensemble Muntu, and as a member of Other Dimensions in Music, to name just a few. He reverted to his birth name in the 21st century. Featuring Hery Paz (saxophone), Jamie Saft (piano), and Joe Morris (bass). Recorded by Jim Clouse at Park West Studios on December 16, 2024. Mixed by Jamie Saft at Calamari Gardens, Maine. Front cover by Joe Morris; package design/layout by Diana K.
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2LP
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WRWTFWW 120LP
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WRWTFWW Records unleashes the first ever release of legendary post-disco, funk, soul and electronic UK trio Imagination's cult album Night Dubbing in (well deserved) double LP format. The limited edition full-length comes with pristine audiophile treatment and luxurious packaging: a 45rpm and Half Speed Mastered DLP housed in heavyweight silver cardboard sleeve. Imagination's singular 1983 album Night Dubbing is a refined deconstruction of black British soul and club pop, filtered through the deep studio and mixing techniques of dub music. Elegant, restrained, and, in its very own subtle way, radical, the record reshapes choice selections from the group's stellar catalogue into an immersive and out-of-this-world listening experience. The special mixes on Night Dubbing are built on time and space. Basslines elongate and dissolve. Vocals appear, vanish, and reappear like ghosts. Drums fall away into vast silences, while echoes, tape edits, and precise engineering maneuvers smoothly slide across the stereo field, revealing themselves like magic over repeated listens. Far from simple extensions or 12" versions, Night Dubbing treats the studio itself as an instrument, opening new dimensions of sound. Often cited as a foundational record in the genesis of the house genre, the album also features the historic Larry Levan remix of "Changes," a Paradise Garage anthem that helped shape the direction of club music for decades to come. More than 40 years on, Night Dubbing remains a seminal work. Its influence continues to echo through contemporary dance music, offering a blueprint for how pop could be transformed into something darker, stranger, more physical -- a timeless sound that drifts effortlessly from the dancefloor into space. Important note: it sounds amazing played on 33rpm too!
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CD
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WWSCD 116CD
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Wewantsounds continues its extensive reissue program of Meiko Kaji's early discography, originally released by Teichiku Records in Japan between 1972 and 1974. The Quentin Tarantino muse -- famous for her starring roles in Lady Snowblood and Stray Cat Rock -- was also a gifted singer. Otoko Onna Kokoro No Aika is another collection of superb cinematic songs featuring Kaji's signature mix of Japanese pop and groove, backed by lush, atmospheric orchestrations. This includes her rendition of "Tokyo Nagare Mono," the theme song for Seijun Suzuki's cult 1966 film Tokyo Drifter. This reissue features the original artwork, an OBI strip, and a four-page insert with new liner notes by Hashim Kotaro Bharoocha, who interviewed Meiko Kaji for the occasion. Japanese actress Meiko Kaji has become a worldwide cult icon, partly thanks to Quentin Tarantino, who heavily based his Kill Bill films on the 1973 revenge classic Lady Snowblood. While her previous albums often featured a few key theme songs from her films, Otoko Onna Kokoro No Aika is a classy offering of Showa kayōkyoku (pop) and enka, the "Japanese blues." Kaji approached the record with an actress's sensibility, treating each cover as a dramatic role. The tracklist is anchored by two highlights: the funk-infused arrangement of "Ginza No Cho" (Ginza Butterfly) and Kaji's iconic rendition of "Tokyo Nagare Mono" (Tokyo Drifter). While the latter was famously the theme for Seijun Suzuki's 1966 cult yakuza film of the same name, Kaji's version brings a modern, 1970s feel to the melody. Throughout the record, traditional themes are infused with contemporary grooves, blending lush orchestrations with funky basslines to create a hypnotic, cinematic atmosphere that is uniquely her own. Reissued in its full glory for the first time and remastered by Teichiku in Tokyo, Otoko Onna Kokoro No Aika is a welcome new addition to the Wewantsounds Meiko Kaji reissue campaign, which is sure to please all of her fans worldwide.
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LP
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ESPDISK 3026LP
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2026 repress. Legendary Sun Ra bassist (Ronnie Boykins 1935-1980) stepped out on his own for his first and only release as a leader on The Will Come, Is Now. He was invited by ESP in 1964 to record his own album, and in February 1974, he told ESP that he was finally ready, and the session took place later that month. This recording not only features Boykins's solid abilities as a bassist, including his marvelous arco work, but also his talents as a composer and arranger. In addition, one is treated to an all-natural bass sound, a rare sound during this particular era of jazz history. In septet format, Boykins's six originals create a variety of moods and textures that not only evoke the music of Sun Ra but also reflect Boykins's own sensibilities as an artist. Original pressings, made just before ESP-Disk' went on hiatus for forty years and thus less common that other ESP LPs, often go for upwards of $150. 180 gram vinyl features original artwork.
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Book
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9781913172992
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Hardback. 816 pages. "No band has reshaped the possibilities of popular music like The Velvet Underground. Formed in New York in 1965, the Velvets emerged from the nexus of art, fashion, politics, music and counterculture. Although widespread popularity and acclaim evaded them during their four-album lifespan, their enduring, cross-generational appeal meant the Velvets could count iconic contemporaries like Leonard Cohen, David Bowie, and Jimi Hendrix as fans, alongside future legends such as Roxy Music, the Pretenders and Sonic Youth. Do What You Fear Most chronicles how an unlikely group of upstarts came to define the musical zeitgeist. In a sprawling and engrossing narrative, Richie Unterberger follows the group from their disparate origins to their ascendancy as Andy Warhol's Factory house band in New York City. It explores the creative alchemy between the core trio of Lou Reed, John Cale, and Nico, the shocking exits and ever-changing lineups, as well as the wider New York cultural scene of the period. Rigorously researched and packed with previously undocumented insights, this book features many first-hand interviews with the group's associates, as well as material newly unearthed from the Lou Reed Archive and the Andy Warhol Archive, alongside never-before-seen images and ephemera."
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LP
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BEWITH 200LP
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Gap Mangione's monumentally influential Diana In The Autumn Wind. They said it could never be done. And with good reason. Be With has spent the past 12 years trying to license this legendary 1968 recording from Gap and, after much work, it's finally here. Remarkably, this is the first ever vinyl reissue of Gap Mangione's Diana In The Autumn Wind, produced with the full and extensive participation of Gap. An exceedingly rare album, it's been coveted by funk, soul, jazz and hip-hop sample fiends for decades. It's unarguably the most sought-after album for J Dilla/Madlib sample collectors. It has also been brilliantly sampled by A Tribe Called Quest, Large Professor, Ghostface Killah, Kendrick Lamar, and Talib Kweli. But this record is so much more than a sample-spotters curio. It's solid gold throughout. Bursting with killer funky-jazz grooves and tracks adorned with warm electric piano, the release is notable for featuring some extremely significant players at the very outset of their careers; Tony Levin, at 21, whose superb playing on both acoustic and electric bass was the harmonic mainstay of the trio and Steve Gadd, at 23, one of the greatest drummers of his generation. Gap's story is told in his words alongside rare photos across a sumptuously designed two-page insert and, to augment this deluxe edition further, it's all wrapped up in a beautiful, no-expense-spared luxury tip-on sleeve, as per the original hens-teeth release. The tracks are short but complex, with that extraordinary rhythm section backing the beautiful piano, organ and electric piano work of Gap. It's a stunning blend of the vibrant, driving music of the Gap Mangione Trio coupled with the sensitive composition and superb orchestration of Gap's legendary brother, Chuck Mangione, who helmed an amalgam of seemingly disparate elements -- rock, big band jazz, solo improvisation and "classical" music -- into a spectacularly cohesive whole that has aged wonderfully well. As Gap himself notes in the liners, "with this group I was able to explore and add new and exciting elements from rock, Brazilian and then-current pop music." Under the watchful eye -- and extremely attentive ears -- of Gap Mangione himself, the audio for Diana In The Autumn Wind has been carefully remastered by Be With regular Simon Francis, with a few much-needed tweaks here and there, according to the artist's wishes. At the prestigious Abbey Road Studios, Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at the always stellar Record Industry in Holland.
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LP
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TR 614LP
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LP version. Though vaguely considered along the lines of noise, space rock, dream pop and psychedelic, The Telescopes have consistently expanded boundaries, coloring outside the lines with possibility. This house has many rooms, embraced across genres, influential to many, all embracing, in an orbit of its own. Static Charge is The Telescopes' 19th studio album since the group's inception in 1988 -- and their seventh release on Tapete Records. After a three-month tour of the UK and Europe, the all-embracing sounds of The Telescopes return with a lean blitz of seditionary hits. Take a jolt of Static Charge and step beyond the realm of natural vision. Stone age beats, outsider sounds, low end disturbance unite in resistance to the new weirdness of existence. The Telescopes experience is known for having an ever-revolving line up that can vary between one and twenty people. On this album, The Telescopes are a four-piece consisting of The Telescopes founder and protagonist Stephen Lawrie on guitar and vocals, Darrell Carter on guitar, Robert Prest on bass with John Lynch on drums and percussion. Interesting facts: John can also be found playing with The Jonny Halifax Invocation. Darrell releases great music under the name of Fromme and Robert's father used to fly Fela Kuti around in a private jet. The album was written, recorded and produced within a two-month period from November 2025 to January 2026 at Stephen Lawrie's Butterfly House studio in Shropshire. The whole album was recorded mostly live with the only overdubs being vocal harmonies. There are seven songs in total.
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2LP
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RBLP 002LP
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Shrouded in mystery when it first appeared, Tiger & Woods' debut album quickly took on a life of its own. With little more than whispers surrounding the project, the music spoke loud enough: a set of extended disco constructions carefully tuned, remixed, over-dubbed, sliced and diced by the elusive duo of Larry Tiger and David Woods. What began as a cult phenomenon soon caused a stir across dance floors and record bags worldwide. Now, for the first time ever, that legendary debut finally arrives on vinyl. Through the Green captures Tiger & Woods at the moment their distinctive language of groove first took shape. Rooted in the spirit of disco edits but already stretching beyond the format, the album blends loop-driven funk, house-leaning propulsion and the unmistakable bounce that would soon become their signature. It's the sound of two producers refining a craft that would later blossom on albums like On The Green Again, where their approach expanded into a wider palette of boogie, electronica, Italo and up-tempo house. But here is where the story begins. Before world tours, live sets and the creation of their own T&W Records imprint, there were these tracks: hypnotic, playful and engineered with a dancer's instinct for tension and release. Each cut unfolds like a perfectly extended club moment, full of warmth, swing and that unmistakable Tiger & Woods sense of fun and function. Years after its original digital release, Through the Green remains a cornerstone of modern disco-house culture. Pressed to wax at last, it finally receives the physical format it always deserved: grooves built for the turntable, the dance floor and the crate. The mystery might be gone. The magic, however, remains very much intact.
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10"
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BEWITH 001HEART
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2025 repress, limited! Be With presents the first-time reissue of the first ever heart-shaped red vinyl 45. Extremely limited! The smooth titan of blue-eyed soul, Bobby Caldwell transcended genre tags with consummate ease; he was a musical icon of real class and versatility, cherished the world over. Here are two timeless masterpieces of sophisticated jazzy soul brilliance that are strictly canonical. The originals of these red heart-shaped vinyl records go for stupid money -- if you can find one in good condition. Here's your chance to snag a real collectors item for fans of Bobby and, well, LOVE, the world over. The eternal "What You Won't Do for Love" became a national anthem. It perfectly captured Bobby's ability to infuse a contagious groove with introspective and relatable lyrics. With its instantly recognizable horn riff and Caldwell's soulful delivery, this timeless, chiller anthem continues to captivate audiences and define his musical legacy. A perennial favorite, it has been heavily sampled, such is its unique allure; Aaliyah sang over snatches of it on "Age Ain't Nothing But A Number" and you can hear Caldwell's vocal sample used for the hook on Tupac's posthumously released "Do For Love." Bobby's dynamite "Open Your Eyes" was immortalized by the eternal J Dilla in the hip-hop canon with his production of Common's epochal "The Light," which heavily samples the magical "Open Your Eyes." On a post paying tribute to Bobby in March 2023, Questlove claimed that he "got word Brother Bobby loved it." Bobby's original has seen new life even more recently from the likes of Dwele and Kendrick Lamar and deservingly so, as its insistent drums and staccato piano created a modern-soul classic.
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2X7"
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SQMX 004EP
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Ella Fitzgerald meets Gangsta Rap and the Beach Boys encounter their despotic father. American Psyche by Raymond Pettibon and Oliver Augst is an ABC of jazz standards and nostalgia on speed, "that the world will never forget." Limited trans red vinyl, folded riso-printed cover.
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LP
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VAMPI 321LP
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2026 repress. An essential Roy Ayers album blending soulful jazz roots with crisp 1970s funk. Featuring Ayers' signature vibes, tight arrangements, and standout tracks like "The Boogie Back" (sampled by the likes of NWA, 2Pac, and De La Soul) and "Change Up the Groove," this LP is a must-have for any fan of jazz-funk and vintage grooves. Step into the vibrant soundscape of the 1970s with Change Up the Groove, a hidden gem from Roy Ayers Ubiquity's early Polygram years. Often overlooked in favor of Ayers' bigger hits, this soulful album is a masterclass in jazz-funk fusion, capturing the essence of Ayers' evolving style as he bridged the gap between his jazz roots and the rhythmic snap of the '70s funk revolution. From the very first track, Ayers' signature vibes take center stage, shimmering with emotion and groove. The album leans heavily into instrumental richness, with standout contributions from jazz greats like the legendary Bernard Purdie on drums. Strings weave in and out subtly, enhancing Ayers' already deep and textured arrangements. Change Up the Groove isn't just an album -- it's a snapshot of Roy Ayers' artistic evolution, full of rhythm, heart, and timeless groove. Whether you're a longtime fan or just discovering his legacy, this record is essential listening.
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LP
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MGART 611LP
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2026 repress. First-ever official reissue on vinyl since 1975. Ash Ra Tempel is the eponymous debut studio album by the Krautrock band Ash Ra Tempel. It features guitarist Manuel Göttsching with drummer Klaus Schulze and bassist Hartmut Enke. Engineered by Conny Plank, it was recorded in March and June 1971 on Ohr Records. This 50th Anniversary Album will be released in memoriam of all the musical contributors to this release and on Manuel Göttsching´s MG.ART label.
"On our album, the track 'Amboss' represents the first layer. Conventional instruments communicate familiar music which is in part expanded through electronic means. In the second track of the album -- 'Traummaschine' -- the actual basic sound approach is dissolved into an electronic Nirvana which no longer allows the concrete identification of actual instruments. Innocent, virgin listening, free from any and every association, can finally begin -- and the music can be absorbed and processed free from the limitations of categorization. That is the purpose of our music: To convey freedom without any predetermined criteria or traditions. Thank you for your attention." --Manuel Göttsching (Taken from the original A-R-T Bio 1970)
Available on 180gram Black Vinyl (MGART 611LP) and 140gram Limited Transparent Vinyl (MGART 611TV-LP). Sticker, 50th Anniversary RE-Edition, Re-Cut carefully overseen by Manuel Göttsching. 350 gram Quadro Fold Out Sleeve that exactly replicates complex/original OHR die-cut jacket, A2 Poster, 2x (German and English) A4 Inlay with Original Bio Sheet written by Manuel Göttsching (1970). Pressed at Optimal, Germany.
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LP
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ESPDISK 1026LP
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2026 repress. ESP-Disk present a vinyl reissue of Henry Grimes Trio's The Call, originally released in 1966. It has occasionally been assumed that Henry Grimes got this December 28, 1965 recording date as a reward for his long service in the avant-garde of jazz. Having already honed his musical conception with a varied range of players, from Benny Goodman and Arnett Cobb to Lee Morgan, Gerry Mulligan, and Sonny Rollins to McCoy Tyner, Steve Lacy, Albert Ayler -- including Spirits Rejoice (ESPDISK 1020CD/LP)--, Don Cherry, and Cecil Taylor (to name just a few), the service was certainly there, but he got this gig fully on his merits. For The Call, Grimes teamed with highly original clarinetist Perry Robinson (as label owner Bernard Stollman has noted, "a virtuoso who merits far wider recognition...and this recording reflects both of their contributions, in equal measure") and stalwart drummer/ESP-Disk' regular Tom Price. As a bassist, Grimes's melodic style is well up to the task of being co-equal voice with a horn, resulting in a thoughtful and texturally rewarding LP with a level of quality far above the rote sideman session cliché, and far away from equally clichéd ideas of unrelentingly full-bore free jazz. It offers the sound of three excellent musicians listening to each other and responding superbly. The Juilliard-trained Grimes appeared on six other ESP LPs besides those already mentioned. He retired at some point after the last of them, 1967's Marzette Watts LP, and went so far off the scene that it was rumored that he had died. Happily, that was not the case, and he reemerged in 2003, moved back to New York, and returned to his prolific ways until illness slowed him down and then took him from us earlier this year (2020). Standard weight vinyl featuring original artwork.
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LP
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FARO 190LP
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2026 repress. LP version. Far Out Recordings present a reissue of Azymuth's Outubro, originally released in 1980. Following on from their seminal album Light As A Feather (1979), Outubro ("October") began Azymuth's run of prolific output for Milestone Records throughout the decade. Typifying the consummate craftsmanship of the three members's performances - each with such distinct personality and together so perfectly balanced - their perfectionist attitude to sound is maintained across the production on the album, beautifully coloring the expressionist fusion of samba rhythm, jazz progression, funk attitude and psychedelic electronics. The album hosts a wonderful mix of tempos and styles, from Alex Malheiros's earth-shaking slap-bass on "Dear Limmertz", which was to become a hit on London's underground disco and jazz-dance club scenes alike, to the late maestro Jose Roberto Bertrami's genial melodic Rhodes excursions on the vocoder laden, samba-jazz masterpiece "Un Amigo", while Ivan "Mamao" Conti's signature swing on "Maracana" exemplifies the root of Azymuth's "samba doidoi" ("crazy samba") philosophy. The two cover versions on the album consist of the title track, which was originally penned by Milton Nascimento, and Chick Corea's "500 Miles High", both of which magically re-imagine the originals and further demonstrate the immense virtuosity of this cult recording. This reissue was mixed and mastered from the original tapes.
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2LP
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FIELD 039LP
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Continuing its faithful documentation of the early years of Monolake, Field Records present the first-ever vinyl pressing of seminal 1999 album Interstate. In a kaleidoscopic lattice of micro-rhythms and exquisitely dynamic textural work, Robert Henke and Gerhard Behles fully collaborated for the final time on this record -- and created an electronica landmark in the process. Monolake's evolution from their earlier dub-techno-tinted works saw their exploration of Max/MSP go further out. The duo yielded greater complexity in the behavior of their sound palette to achieve an organismic quality that remains an enduring influence on so many strands of experimental electronic music today. Interstate is a vivid record that builds up eight different ecosystems of sound and subtly threads elegant grooves through their root structures. There's a house-like undulation to the low-end driving "Tangent-I" and "Tangent-II," but the infinitesimally detailed layers of sound on top swoon from techno synth shimmers to trickling waters, snaking delay trails and pin prick percussion. You can hear the unmistakable, snappy rhythmic thrust of drum and bass driving "Ginza," but here it's used as an engine for the crispest array of designer percussion and dub-soaked synth chirrups. Across every track, Henke and Behles demonstrate a potent combination, both groovily instinctive and eternally fascinating to try and pick apart. After Interstate, Behles departed to focus entirely on the development of Ableton Live and Henke steered Monolake towards a leaner -- but no less pioneering -- sound. Every Monolake record has its own unique context and sound, and the circumstances of Interstate could never be repeated. Capturing the leaps in progress that were being made in digital music production at the end of the millennium, it's an information-rich document of a moment in time that still sounds wildly futuristic 27 years later.
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LP
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VAMPI 370LP
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Soogie (1969) was Willie Rodríguez's first album for Mary Lou Records. Mary Lou Records, at that time, was also one of the labels in the right place at the right time, just before Fania smashed almost all the competition. The album is mostly comprised of guaguancós, boleros, and improvised-space-filling descargas (jam sessions). This is remarkable, as it hardly includes boogaloo, which was still prevalent during those years, yet already on the way out. According to Bobby Marín, its musical director said, "we didn't call it salsa at the time; it had no name. It was mambo or música movida, they used to call it on the radio." The first tune, "My Dog Soogie"' which provides the title for the recording, is a playful guaracha about a dog. The following track is the wildly popular "La Puerta del Dolor." "El Chivo" (the goat) is a spicy guaracha, which changes into a son montuno-guajira. "Grande" is a guaguancó, followed by "Los Callos de Dolores," also a delightful guaguancó. Then comes the ballad "Porque yo te Amo," a monster hit of the sixties by popular Argentine singer Sandro. Next, there is "Al Compás del Güiro," a guaguancó, with the delicious chorus that goes "cómo va, cómo va, cómo va, mi güiro cómo va." "Paul's Thing" is an instrumental guaguancó, with engrossing sax solos. Finally, the smashing, extended descarga "Salsa con Willie Rodríguez." A reissue of a rare and in-demand 1969 salsa gem after decades unavailable! Includes an insert with liner notes.
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LP
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WWSLP 112LP
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LP version. Wewantsounds presents the release of Tokyo Funk Diva, a compilation highlighting the work of Hitomi "Penny" Tohyama, one of Japan's leading funk voices of the 1980s. Blending funk, boogie and soulful grooves, Penny brought a distinctive energy to Japan's music scene during the decade. Compiled by Nick Luscombe -- who previously curated Tokyo Dreaming for the label -- the set marks the first time Hitomi's music has been compiled outside of Japan. Featuring newly remastered tracks and liner notes by Luscombe, the release offers fresh context to Penny's work and its role in the evolution of Japanese funk and groove culture. Hitomi "Penny" Tohyama was one of the few female singers to fully embrace Japan's burgeoning funk and boogie movement of the 1980s. Born in Okinawa in 1957 and raised partly in California, she developed a cosmopolitan outlook that would shape her music. At a time when the country's pop scene was shifting toward slick, funk-oriented productions, Penny crafted a distinctive style that fused boogie, disco, and funk with her confident, soulful delivery. Her albums for Nippon Columbia recorded in the '80s capture this vibrant moment, combining sophisticated studio craft with the pulse of Tokyo's nightlife. The selection includes cult classics such as "Sexy Robot," "Love is the Competition," and "Instant Polaroid," with lesser-known gems such as "Exotic Yokogao" and "I Love You Shika Omoitsukanai." Together they showcase the singer's versatility, moving effortlessly between syncopated upbeat floorfillers and chilled mid-tempo grooves. While her music earned recognition at home, these releases were never widely available outside Japan and slowly became prized finds among DJs and collectors. Tokyo Funk Diva presents highlights from this catalogue for the first time in an international release. Compiled by broadcaster and tastemaker Nick Luscombe, the selection has been newly remastered and comes with Luscombe's liner notes, retracing Penny's career and her role in the evolution of Japanese boogie and disco. As he writes in the liner notes, "It's this deep musical craftsmanship -- both in the songwriting and performances -- that gives Penny Tohyama's work its lasting power. Her music feels as fresh and relevant today as it did when it was first released." With its mix of sharp production, irresistible rhythms, and Penny's unmistakable presence, Tokyo Funk Diva serves both as a long overdue introduction to one of Japan's original funk queens.
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2LP
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WRWTFWW 085LP
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2026 repress. WRWTFWW Records is announces the first-ever physical release of Louisiana-based composer and producer Jammin' Sam Miller's full HD re-creation/restoration of the beloved Super Metroid video game soundtrack. The limited biovinyl double LP is packed with 27 tracks and features an exclusive artwork by French illustrator Pierre Thyss, as well as an obi strip. Composed by Kenji Yamamoto and Minako Hamano, the soundtrack for 1994 SNES exploration/action-adventure/sci-fi/alien video game Super Metroid has always been a fan-favorite. A true masterclass in music storytelling, it beautifully evokes the epic and eerie adventure of the game's protagonist Samus Aran with superb use of atmospheric sounds, space-operatic arrangements, rumbling bass, oppressive techno-futurist moods, tribal drums, and airy synth themes, admirably balancing the ominous feel of a dark menace and contemplative, even soothing, ambient soundscapes. Jammin' Sam Miller assiduously recreated the soundtrack note by note, by finding the original equipment used to create it, translating the MIDI into a modern studio context, adding in keyboard samples, and re-mixing and re-mastering the whole score. He explains: "This was made possible by locating the original instrument samples from workstation keyboards and drum machines before they were put into the game and rebuilding the soundtrack from the ground up, applying some modern mixing techniques along the way to lift the veil of 16bit compression and create an updated listening experience." Super Metroid is pressed on biovinyl, a sustainable alternative to traditional vinyl. Biovinyl replaces petroleum in S-PVC by recycling used cooking oil or industrial waste gases, resulting in 100% CO savings in bio-based S-PVC production. Furthermore, it is 100% recyclable and reusable, embracing the circular economy ideology.
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LP
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MR 329LP
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2026 restock. LP version with a 12-page full-color booklet with extensive notes and unseen photos. "With only six singles released between 1965 and 1966, and from an apparently remote place such as Lima, Peru, Los Saicos created a raw, wild and visceral sound, the Southern Hemisphere equivalent of the garage rock that was coming out of the U.S. Northwest at the same time. Theirs is the same DNA shared by The Sonics, The Cramps and Black Lips. This release compiles all their recordings and tells their amazing story. This snarling maelstrom of nihilism was cut in Lima when the rest of the world was wetting itself over The Beatles, direct links to both The Stooges and The Cramps here and several more equally-enthralling combos. The latter spawned several generations of individuals who would dig deep to previously (mostly) unheard seams of music and other forms of culture that have since become part of the mainstream fabric. Another strong case of the same kind of happenstance to my mind is that which preceded the much-vaunted 'punk' explosion of the '70s." --Lindsay Hutton
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CD
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LMS 1725744
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Depeche Mode, Yazoo, Erasure's Vince Clarke, Blancmange's Neil Arthur, and the electronic producer-writer-synth-nerd Benge have joined forces to form the new project Doublespeak. Their self-titled debut album revisits eleven of their favorite songs from the past four decades, each reimagined and renewed in the timeless space of gleaming analog electronica. The DoubleSpeak album is divided between songs from the postpunk netherworld brought blinking into the light (Fad Gadget, The Sound, Young Marble Giants), pop radio monsters ushered back down a dark stairway into the club (ABBA, David Essex, The Carpenters) and buried treasures from the 1990s onwards (The Magnetic Fields, Ed Dowie, Laptop). Collectively, the album amounts to a shadow autobiography of the three collaborators' continuing musical education. DoubleSpeak is the great human songbook, synthesized. Empathic vocals, bold arrangements and glowing analog electronics turn familiar and forgotten songs into a personal, forward-looking electronic statement. Also features songs by Thomas Leer/Robert Rental and John Hartford.
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