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Recent Best Sellers
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2LP
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SF 131LP
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This double LP of instrumental Hindustani, Carnatic and folk 78rpm shellac records from India comes with a full color 12-page insert of gramophone record ephemera, shops, labels, manufacturing details and graphics. The LPs feature over 25 artists recorded between 1904 and 1959 playing a panoply of instruments: jalatarang, dilruba, sarod, clarionet, pakhawaj, violin, been, kazoo, shehnai, tabla, sarangi, sitar, vina and more. Artists include Imdad Khan (the first sitarist ever recorded), Ahmedjan Thirkhawa, Bundu Khan, Amir Hussain, Allauddin Khan (who taught Ravi Shankar), and others both forgotten and revered. The Indian classical instrumental tradition is one of incredible proficiency and expressiveness using instruments and techniques created over generations that seem to perfectly and uniquely compliment Indian culture, landscape and tradition. Sympathetic strings resonate inside sitars and sarangis to manifest shimmering reverberant spiritual spaces; horns, reeds and flutes extend the range, volume and melodic inventiveness of the voice; a mind-boggling array of elaborately turned percussion instruments allow for rhythms as complex or as simple as the flowing Ganges River. Classical music in India was perhaps at its height during the 78rpm period as the raj era was ending and the world was globalizing. 2LP gatefold with 12-page full color booklet insert. Produced by Robert Millis (Climax Golden Twins/Victrola Favorites) and features never reissued recordings and is the long-anticipated follow up to the Indian Talking Machine book/CD (Sublime Frequencies 099), which was also produced by Millis from his collection of 78rpm records and ephemera.
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LP
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BELA 006-077LP
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Black Tape II is only the second widely available release by Ohkami No Jikan (The Time of the Wolf), one of the more esoteric groups of the 1990s Tokyo underground. Recorded in 1992, it illuminates a largely undocumented facet of Nanjo Asahito's psychedelic cosmology, distinct from his better-known work with High Rise, Musica Transonic, and Toho Sara. Aside from a handful of limited, handmade cassettes and CD-Rs on his La Musica label, there's only been one Ohkami No Jikan album, Mort Nuit, that made it beyond the collector inner circle. One of Nanjo's longest-running, most mysterious outfits, Ohkami No Jikan's conceptualization -- as a psych outfit "that explores 'stasis' and 'motion,' both actively and philosophically" -- hints at the intensity of the music here. There's a pellucid beauty to much of Black Tape II, with the simplest, most erotically charged chord changes descending from the heavens, Nanjo moaning consumptively as the songs slip by in an acid daze. The 1992 line-up here, with Asai Fumiyo on bass and Nagao Kouji on drums, was one of many variations of Ohkami No Jikan; simultaneously languorous and heavy, at times pushed into the red with arcing blasts of feedback, the group feels cosmically aligned with Nanjo's purity of vision. Housed in a custom die-cut, "Uni-Pak" style gatefold with metallic ink, spot finishes and matching La Musica inner sleeve. La Musica Records was a label founded by Asahito Nanjo in Tokyo during the 1990s. It released nearly 200 cassettes and CD-r's, all handmade in micro-editions and sold at shows. The catalog featured artists and recordings largely of obscure, often completely unknown origin, sanctioned and "grey-area" documentation of the Tokyo psychedelic underground. Black Tape II is part of Black Edition's work to bring La Musica's unique and confoundingly beautiful catalog to light.
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IF 1100LP
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LP version. Forest Green biovinyl. Includes Poster 30x60 cm, printed inner-sleeves. Tragic Magic brings together Julianna Barwick and Mary Lattimore, two of contemporary ambient, experimental and electronic music's most celebrated composers, for a unique collaboration at the Philharmonie de Paris, with extraordinary access to the Musée de la Musique's instrument collection, in partnership with the French label InFiné. The album features seven immersive, evocative compositions guided by the human spirit -- intimate, grounded in friendship, both earthly and cosmic -- and part of a greater continuum, reflecting the solace and transformative power of artistry across generations. Co-produced by Trevor Spencer (Fleet Foxes, Beach House), Tragic Magic was created in just nine days, a testament to the "musical telepathy" that has developed between Barwick and Lattimore over years of touring and friendship. Arriving in Paris from Los Angeles shortly after the 2025 wildfires, their sessions combined improvisation with the emotions and experiences they carried, in a setting both inspiring and deeply supportive. Lattimore selected harps tracing the instrument's evolution from 1728 to 1873, while Barwick chose several iconic analog synthesizers, including the Roland JUPITER and Sequential Circuits PROPHET-5. In freeform dialogue between voice and instrument, they create a meditation on tragedy, wonder, and the restorative power of shared experience. The duo, often joined by Spencer, also explored the city, sharing meals and visiting museums and landmarks, each encounter leaving an impression on their next session. The experience allowed them to work intimately with rare instruments, blending their personal sensibilities with centuries of history, resulting in music that honors the past while remaining a deeply authentic expression of the present. Throughout Tragic Magic, Barwick and Lattimore find something beyond themselves: a sense that while everything may not be okay, beauty persists. Their approach -- transforming life into music, observing, feeling, and creating -- continues a lineage of creative expression and visionary invention, embodied in the very instruments they employed for this project.
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BELA 005-045LP
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A collection of intimate songs traced from the spectral darkness by Nanjo Asahito, the notorious leader of some of Japan's key underground psychedelic units (High Rise, Mainliner, Musica Transonic, Toho Sara, etc) Recorded between 1980 and 1988 and previously only available in a cassette micro-edition released by his La Musica Records label in the mid-1990s. Remastered and available for the first time on vinyl and digital. From the original La Musica cassette notes: "A compilation of secret projects recorded over a period of twenty years. Deeply personal music that achieves a strange balance between beat folk balladry and off-key mumbling. Suggestive self-celebratory music conceived as a confirmation of existence." A lesser-known side of Nanjo Asahito -- if all you know of his work is the overloaded, intensified psych-rock and free-sound of his group projects then the solo songs on M gently redraw the contours of Nanjo's private universe. There's something gem-like in the way these five songs are formed, even as they accrue grit and dirt while drifting out of the speakers. Here, Nanjo grabs handfuls of gentle chord changes, allows them to rotate in the air, suspended in reverb, flickering in half-light, as he murmurs drowsy melodies. The closing "Eucharist" pushes everything through a thin layer of distortion; elsewhere, tinkling piano, from guest Matsuoka Takashi, who also performed with Keiji Haino's Nijiumu, disturbs dust molecules to dance through hazy air. LP is housed in die-cut "Uni-Pak" style gatefold with metallic gold ink and soft touch finishes with printed inner sleeve. Vinyl pressed at RTI.
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WWSLP 109LP
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LP version. Wewantsounds presents the first vinyl reissue of Disappointment-Hateruma, the 1976 ALM Records release by percussionist Toshi Tsuchitori and Ryuichi Sakamoto. The album is notable as Sakamoto's first recording issued under his own name and represents one of the few occasions he explored fully improvised music during the 1970s. It provides a vital document for understanding Sakamoto's early development as a composer and performer, capturing a period when he was experimenting with ambient soundscapes and textured improvisation. This edition features original artwork, audio remastered by Heba Kadry and new liner notes by Andy Beta. Ryuichi Sakamoto is widely recognized as one of the most important artists of his generation. At the time of Disappointment-Hateruma, he was still a student at the Tokyo National University of Fine Arts and Music and active in Shinjuku's experimental music circles. He was busy contributing to Transonic Magazine, performing with the multimedia group Gakushudan, and working with musicians pushing the boundaries of jazz, free improvisation, and contemporary composition. On his side, revered Japanese percussionist Toshi Tsuchitori, who had recently returned from New York, brought influences from Milford Graves' approach to drumming, including African rhythms, ritualized performance, and a holistic approach that combined music, movement, and philosophy. Sakamoto and Tsuchitori had previously played together in Gakushudan, but neither considered those early encounters definitive. This recording captures one of the rare moments when Sakamoto's exploratory piano work met Tsuchitori's distinct rhythmic language in a studio setting. The album, originally released in 1976 on producer Yukio Kojima's highly influential ALM Records imprint, is structured across four tracks, with the first, "綾 (Aya)," filling the entirety of Side 1 on the LP, while Side 2 contains three shorter pieces, each exploring different combinations of instruments and sound sources. The recordings employ a wide array of textures, from prepared piano, bells, marimba, and gongs to EMS synthesizer and voice. Together, the tracks create hypnotic, ethereal soundscapes and rich sonic textures that highlight the interplay between Sakamoto's experimental piano work and Tsuchitori's percussive expertise. Remastered by renowned sound engineer Heba Kadry, this new edition highlights the detail, range, and clarity of the original album, making the ultra-rare Disappointment-Hateruma available worldwide for the first time. It stands as a key early document of Sakamoto's work and situates the recordings within the broader context of his formative years and Tokyo's mid-1970s cutting-edge music scene.
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MR 486LP
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2026 repress. Released exclusively in Germany in March 1966, Black Monk Time by The Monks has become a cult classic -- praised as a groundbreaking forerunner to punk and krautrock. From the explosive opener "Monk Time" to the fierce "Complication," Black Monk Time rejected flower power for something more urgent -- anger, humor, and innovation developing a confrontational, rhythm heavy sound. Though the album was overlooked at the time, its bold sound and sharp lyrics have earned it lasting influence and critical acclaim. The Monks were five American G.I.s stationed near Heidelberg, West Germany. Originally performing as a typical beat group under the name the 5 Torquays, they evolved into something far more radical. After discovering guitar feedback by accident and embracing a raw, percussive approach, they caught the attention of two German ad men -- Walther Niemann and Karl Remy -- who became their managers and helped reinvent their identity. Dressed in monks' robes with tonsured hair and noose neckties, the band developed a confrontational, rhythm heavy sound. Their sole studio album, produced by Jimmy Bowien and recorded in Cologne in late 1965, defied musical norms. At the time, Polydor Records deemed the music too radical for American audiences, delaying its U.S. release. Despite its initial commercial failure, the album is now seen as a pivotal moment in rock history -- loud, strange, and unapologetically ahead of its time. The Monks' story is as unlikely as their sound: five ex-soldiers and two ad executives creating one of the most daring records of the '60s. The band never sparked the revolution they hinted at, but decades later, Black Monk Time still resonates. This is your chance to experience the album that dared to be different -- don't miss it. Remastered sound from the tapes, pressed on 180g vinyl.
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2LP
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CSR 203LTD-LP
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White vinyl version. Cold Spring marks a decade since the label first released Coil's landmark album Backwards, with a special 10-year anniversary vinyl reissue. After the ground-breaking release of 1990's Love's Secret Domain album, Coil were not dormant; the main project was Backwards, which was started in 1992, updated considerably between 1993 and 1995, and transferred in 1996 to New Orleans, where it was finished in the magic of the Nothing studios of Trent Reznor (Nine Inch Nails). The album saw the fruition of Jhonn Balance's recent vocal coaching, producing haunting, passionate vocals, while reaching new heights. 23 years after its initiation, these tracks have been beautifully preserved by Danny Hyde and are finally available in highest quality audio. Differing substantially from the later, remixed incarnation, "The New Backwards" (2008), Backwards contains the original versions of Coil's much-loved tracks; "A Cold Cell" and "Fire Of The Mind," which have appeared on various compilations over the years, and are now presented as originally intended. This album is the essential bridge between LSD and the later "Musick To Play In The Dark" series. It is an essential conduit, to understand the journey that was taken. 180g heavyweight vinyl in a gatefold matt-laminate sleeve with silver detail.
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BORNBAD 191LP
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LP version. Abdou El Omari was born in 1945 in Tafraout, south of Agadir -- a village suspended between the pink granite peaks of the Anti-Atlas and the waves of the Atlantic. A landscape already musical in itself. He grew up in the dry mountain light, surrounded by the rhythms of nature and Berber's culture. Very little is known about the man -- a veil of mystery still surrounds his life, only deepening the fascination. In the 1970s, as Morocco was transforming, Abdou El Omari shaped a sound of his own -- a visionary blend of spiritual jazz, psychedelic funk, Moroccan traditions, and early electronic experimentation. Today, his work is resurfacing, rediscovered by a new generation of listeners in search of lost horizons. This record stands among its rarest and most precious fragments. At twenty-two, he founded his first group, Les Fugitifs, which gained him local fame. Soon after, he released records and cassettes on labels such as Cléopâtre, Hassania, Boussiphone, Hilali, and his own, Al Awtar, while performing on RTM (national radio and television). He also composed for artists like Naima Samih, Laila Ghofran, and Aicha El Waad. In 1976, through the label Gam, he released his only vinyl album, Nuits d'été -- a record that would become cult decades later, reissued in 2017 by Radio Martiko. In the 1980s, his music grew quieter, more secret. He tried to recover his old tapes from the studios he had recorded in, but gradually withdrew from the scene and returned to hairdressing. A pioneer of musical fusion, he opened paths that would remain unexplored for years. He passed away in 2010, never witnessing the rediscovery of his music by diggers, bloggers, and collectors online. One day, his close friend and poet Aziz Essamadi, rescued a cardboard box from the trash -- a box containing Abdou El Omari's personal archives. It was later entrusted to Casablanca based collector Ahmed Khalil, founder of the label Dikraphone. Inside were treasures preserved by chance: demos, rehearsals, private recordings, unseen photographs -- and a stunning, almost forgotten cassette. Here, El Omari sounds bolder than ever, exploring territories where pop, cosmic disco, electric blues, and Moroccan tradition merge without boundaries. Armed with his ARP Odyssey synthesizer, hypnotic grooves, and the celestial layers of his Farfisa, he expanded the dialogue between deep roots and electronic exploration. This album is the continuation of a vision -- a music of the Moroccan future: rooted, but reaching for the unknown. Colorful, magnetic and timeless, here is music for dancing as much as for dreaming.
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CT 085LP
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2025 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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LP
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WWSLP 082LP
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Wewantsounds presents for the first time on vinyl Brion Gysin's cult recordings, produced by Ramuntcho Matta in the '80s and early '90s. The release features the hypnotic 32-minute journey "Dreamachine," which transforms the effects of Gysin's legendary light art device into a mesmerizing audio experience, alongside the track "The Door," featuring the visionary saxophonist Steve Lacy. A towering figure in avant-garde art, literature, and sound, Gysin influenced generations of creators, from William Burroughs to David Bowie and Laurie Anderson. The recordings on Dreamachine reflect Brion Gysin's fascination with altered perception. Matta had returned to Paris after a late-1970s stay in New York following the death of his brother, Gordon Matta-Clark, and had already produced Gysin's album Junk and the single "Kick" featuring Don Cherry. At the center is the title track "Dreamachine" a hypnotic 32-minute piece built on minimalist repetition, echoing the stroboscopic effects of Gysin's iconic light sculpture. Slowly evolving grooves create a trance-like state, drawing on Afrobeat in the lineage of Fela Kuti and the laid-back, cyclical guitar patterns of King Sunny Adé's juju music. Conceived as a sonic extension of the eponymous visual device, invented by Gysin with Ian Sommerville, Dreamachine reshapes the listener's sense of time and perception. The record also includes "The Door," a striking collaboration featuring the legendary saxophonist Steve Lacy, adding further depth to the avant-garde jazz elements of Gysin's world. This vinyl features remastered audio and an insert with a striking photo of Gysin and Burroughs in front of the Dreamachine, shot by French photographer François Lagarde, alongside liner notes by Jason Weiss situating the recordings in historical and artistic context.
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AWE 003LP
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LP version. Laurel Halo returns with an album of original soundtrack music, composed for the film Midnight Zone by visual artist Julian Charrière. Following the path of a drifting Fresnel lighthouse lens as it descends through the Clarion-Clipperton Fracture Zone -- a remote abyssal plain in the Pacific Ocean, rich in rare metals and increasingly targeted for deep-sea mining -- the film traces a descent into one of Earth's last untouched ecosystems. Charrière's film reveals the deep not as void, but as a luminous biome teeming with fragile life: bioluminescent creatures, swirling schools of fish, and elusive predators. The suspended lens becomes an abyssal campfire, attracting species caught in the tides of uncertainty, their futures hanging in the balance. Echoing this tension, Halo's compositions evoke a sensory freefall, where gravity falters and light and sound flicker in uncertain rhythms. Midnight Zone is a sonic drift through the space between what we seek to extract, fail to understand, and must protect. Halo's score evokes the life that exists beyond a physical airbound capacity. The material features long, subtle passages of electro-acoustic ambient, drone and sound design, slowly flowing and unfolding with rich detail. The music, composed largely on a Montage 8 synthesizer and Yamaha TransAcoustic piano at the Yamaha studios in New York City, possesses an uncanny quality: that of synthetic waveforms being amplified and sung through the stringboard of the physical body of the TransAcoustic piano. Combined with stacks of violin and viol da gamba, the music on Midnight Zone possesses trace elements of a human hand in an otherwise sunken landscape. Patient, submerged, and alive. The album will be the third on Halo's imprint, Awe. The film is central to Charrière's current solo exhibition Midnight Zone. The exhibition engages with underwater ecologies, exploring the complexity of water as an elemental medium affected by anthropogenic degradation. Reflecting upon its flow and materiality, profundity and politics, its mundane and sacral dimensions, the solo show acts as a kaleidoscope, inviting us to dive deep.
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2LP
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WRWTFWW 126LP
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WRWTFWW Records presents the first-ever vinyl release of Art Form I, the overlooked 1997 compilation from Tokyo's cult imprint FORM@ RECORDS, now available as a limited-edition double LP housed in a heavyweight sleeve as part of the ongoing collaborative series between the Swiss and Japanese labels. Originally issued only on CD, Art Form I is a fascinating deep dive into the rich and singular world of late '90s Tokyo electronic music -- an inspired collection of timeless IDM, techno, ambient, and electronica experiments. Showcasing a roster of visionary underground artists including fan-favorite Virgo (Landform Code, Remnants), the compilation maps the innovative spirit of the era: emotional machine music, intricate rhythmic architecture, mind-expanding textures, and the soulful heart that serves as the solid foundation of everything FORM@ RECORDS. Art Form I reminds of the pioneering explorations from Warp's Artificial Intelligence series, B12, The Black Dog, Ken Ishii, and early Carl Craig, all while maintaining its own distinctive local identity. This long-awaited vinyl edition offers listeners a fully immersive rediscovery of a pivotal moment in underground music. Featuring Mag-Net-Walker, Tensor, Minerva, Souther, Dendrobium, Micro Wave Assessment Chisei, Led-M, and Penance.
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2LP
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WRWTFWW 127LP
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WRWTFWW Records presents the first-ever vinyl release of Art Form 2, the seminal 1998 compilation from Tokyo's cult label FORM@ RECORDS, now available as a limited edition double LP housed in a heavyweight sleeve, as part of the ongoing collaborative series between the Swiss and Japanese labels. Initially available only in CD form, Art Form 2 emerges as a quiet artifact from an exploratory phase in FORM@ RECORDS' late-1990s trajectory. The compilation drifts through the deeper layers of Tokyo's electronic underground, where IDM, techno, ambient, and downtempo dissolve into one another within an atmosphere of deliberate experimentation. Both intimate and forward-looking, it preserves a moment in which a local scene, largely unseen, was patiently reshaping the future beyond the reach of prevailing global narratives. Flowing with carefully sculpted rhythms, immersive sound design, and a subtle sense of machine soul, Art Form 2 reflects the maturity of the FORM@ aesthetic in 1998. The compilation resonates with the spirit of Warp's Artificial Intelligence era, Carl Craig's melodic futurism, Ken Ishii's cerebral techno, B12's deep electronics, and Ian O'Brien's emotive touch, while remaining unmistakably rooted in its own local context. Timeless and singular, it stands as a beautifully preserved time capsule of underground electronic music. Featuring Circle Limit, Led-M, Missing Project, Tensor, Tek Of 606, Misty Fuzz, Fossil, Modern Living, and Toh Chisei.
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LP
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COSMR 049LP
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First ultra-rare album from the cultish experimental jam band formed in 1967 in Orange County, released on Radish record, little more than a private press label. Incredible project guided by Phil Pearlman (later behind Relatively Clean Rivers). A hypnotic sound with a high degree of experimentation, underground psych and acid avant-garde music, often likened to The Velvet Underground -- but filtered through a distinctly West Coast lens.
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2LP
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CSR 203X-LP
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Cold Spring marks a decade since the label first released Coil's landmark album Backwards, with a special 10-year anniversary vinyl reissue. After the ground-breaking release of 1990's Love's Secret Domain album, Coil were not dormant; the main project was Backwards, which was started in 1992, updated considerably between 1993 and 1995, and transferred in 1996 to New Orleans, where it was finished in the magic of the Nothing studios of Trent Reznor (Nine Inch Nails). The album saw the fruition of Jhonn Balance's recent vocal coaching, producing haunting, passionate vocals, while reaching new heights. 23 years after its initiation, these tracks have been beautifully preserved by Danny Hyde and are finally available in highest quality audio. Differing substantially from the later, remixed incarnation, "The New Backwards" (2008), Backwards contains the original versions of Coil's much-loved tracks; "A Cold Cell" and "Fire Of The Mind," which have appeared on various compilations over the years, and are now presented as originally intended. This album is the essential bridge between LSD and the later "Musick To Play In The Dark" series. It is an essential conduit, to understand the journey that was taken. 180g heavyweight vinyl in a gatefold matt-laminate sleeve with silver detail. Also available in white color vinyl (CSR 203LTD-LP).
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CT 119LP
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2025 restock; 1995 release. "A virtual wizard of the mixing desk, Overton H Brown has been one of the key figures in dub since the late 1970s. Getting his start as a teenager at King Tubby's legendary studio in Waterhouse, Brown was known as 'The Scientist' because his imaginative approach to the mixing desk and electronic gadgetry seemed to derive from magical powers that linked him to some intangible, futuristic realm."
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LP
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DMOO 092LP
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2026 repress. Jorge Ben's 1963 debut, Samba Esquema Novo, introduced his infectious blend of bossa nova and samba, propelled by the timeless "Mas Que Nada" and "Chove Chuva." While his later sound leaned more into rock and Afro-Brazilian rhythms, this album bursts with swirling melodies, rich harmonies, and big-band energy, all anchored by Ben's distinctive, minor-key guitar work. A vibrant, era-defining classic.
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2LP
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BORNBAD 086LP
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2026 repress. French pop connoisseurs La Femme present Mystère. La Femme have made a huge mark on modern Paris's cultural landscape, with the two sides of the city - the glamour and the grit - ingrained in their music. Since the release of their debut album, Psycho Tropical Berlin (BORNBAD 051LP, 2013), their rise has only gained momentum with fans including directors Jacques Audiard and Romain Gavras to legends Jean Michel Jarre and Hedi Slimane. Returning with a more psychedelic sound and guest vocalists that slice through the starkest of electro beats, Mystère sees La Femme celebrating their wonderful city. From the chattering tête-à-tête heard on "Conversations Nocturnes" to the throbbing disco beat of "SSD", a direct reference to the pulsing nightlife hotspot and multi-cultural district Strasbourg Saint Denis where the band is based. Mystère's true intrigue however, lies in La Femme's enigmatic questioning of falling in and out of love. A compendium of short stories describing loves and losses, each song breaks down language barriers through an inventive and astute knack for melody. The elation of a passionate encounter is captured on the ricocheting electronics of "Tatiana", the melancholic acoustic guitar echoes in "Le Vide Est Ton Nouveau Prenom" and the sorrow of a war-torn couple in "Psyzook". Whether delicate or drenched in dirty disco, the impact of Clémence, Marlon and Sacha's gothic mantras mixed with the guest vocal talent of Clara Luciani, Jane Peynot, Naomi Greene, Mathilde Marlière, Angela Hureau, Battista Acquaviva and Sarah Ben Abdallah is perhaps where La Femme's true meaning can be found. Sacha on his band's all-inclusive philosophy: "We don't like the idea of having a leader or a chief: everyone brings to the band what they can and want." Recorded between a castle in Brittany and a Paris basement before being finished up with Sonny Diperri (Animal Collective) in LA, Mystère once again sees backgrounds blurred and worlds collide. The band's chic retro-futurist surf-pop sound possesses the same dose of glamorous punk stomp as before, but this time around it's layered with an elegant fusion of influences from Ennio Morricone, Marie Et Les Garcons's disco-rock touch and the lysergic romanticism of The Velvet Underground. Through increased use of strings and further exploration of sound, Mystère also incorporates the band's new love of oriental sounds, Turkish disco, Tuareg blues, medieval psychedelia to mainstays Brian Eno and Pink Floyd.
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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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BEWITH 184LP
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Hogan, The Hawk & Dirty John Crown sounds like the soundtrack of a blaxploitation movie from the early '70s and, packed with funky fusion and smoother orchestral numbers, it is basically that. Featuring a veritable who's who of killer library break snakes, it's not hard to see how this commands over £350 on secondary markets. This beautifully presented reissue, part of Be With's fresh campaign with the legendary library label Music De Wolfe, is well overdue. Recorded for De Wolfe in 1972, Hogan, The Hawk, Dirty John Crown is a fantastic start-to-finish listen. The flute-funk of Hawkshaw and Parker's opener "The Hawk" comprises driving, fuzzy, wah-wah-drizzled bell-laced breaks with synths and basslines to murder for. Up next, Haseley's "The Happening" is a carefree, rhythmic builder with strings and horns. Hawkshaw and Parker's amazing "Main Chance" is likely the reason you're here; it's a moody, beaty proto-hip-hop banger; all rolling drums and flute-laced, organ-drenched, synth-funk breaks. The cool AF "Hogan Baby" has a soft, rounded, bluesy feel. Grant's pounding "Dirty John Crown" brilliantly conjures swirling string-swept serenity atop driving, incisive drama-funk breaks. Hawkshaw and Parker come roaring back with the murky, creeping crime-funk of "Swarf" with killer basslines underpinning slow-mo high-class flute-funk. Reg Tilsley enters the fray with the bright, snappy, carefree "Turnover." The brief "Tarantula" gets listeners back on track with the driving crime funk breaks, super clean yet brooding. Side 2 opens with the car chase swag of Haseley's dramatic, driving "Precinct". Haseley's rolling "Sidewinder Version 1" is robust and exuberant with bouncy horns before a cracking Parker-Hawkshaw one-two featuring the tense "Pressure" and the deeply soulful "Call Me", a relaxed, medium-tempo organ feature. With building piano and strings Gordon Grant's excellently titled "Scorch" is as aggressive and dramatic as you'd hope. Hawkshaw and Parker's furtive flute-funk of "Digger" precede the light, melodic and romantic themes of Tilsley's "Marianne" whilst "Sidewinder Version 2", a faster iteration of Track B2 sees Haseley close out this remarkable set in bouncy, bright fashion. The audio for Hogan, The Hawk, Dirty John Crown has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. 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 Record Industry in Holland. The original, iconic sleeve has been restored as the finishing touch to this long overdue re-issue.
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BEWITH 182LP
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After many years of fruitless praying, a true collector grail can finally grace every turntable the world over. Bright And Shining is a miraculous leftfield library classic from the genius mind of Barbara Moore. With originals almost impossible to find, you already know how crucial this beautiful reissue is. Recorded in 1981 for Sylvester Music Company, Bright And Shining is breezy, dreamy and funky in a perfectly smooth jazzy-soul-groove fashion, with Moore's patented celestial male-female vocal harmonies this time benefitting from the addition of Fender Rhodes and pumping bass lines. As one particularly enthusiastic Discogs user put it: "If Eno is responsible for Music for Airports, Moore is responsible for Music for Holidays." Indeed, this is brilliantly unique, "maximum happiness music." If you miss the sun-dappled soft-psych soul of Koushik, the heavenly vocal arrangements of the great Library Music doyenne Barbara Moore will see you just right. The gigantic title track, "Bright And Shining," gallops out the gate, all sophisticated, jazzy leisure-soul with sax and guitars backing Moore's effortless vocal swag in this relaxed, mid-tempo head-nod strut. Up next, the sunny, vibey "Fly Me High" features strolling, "unworded" vocals alongside breezy alto sax and electric guitar. The jazzy "Real Thing" is another exercise in strolling sophistication, complete with wordless vocal harmonies. The fairly self-explanatory "Voice Over Sax" sounds precisely how you would expect; a relaxed sax number with heavenly vocal support. The audio for Bright And Shining has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. 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 Record Industry in Holland. The original, iconic sleeve has been restored as the finishing touch to this long overdue re-issue.
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WWSLP 120LP
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LP version. Wewantsounds continues its Yoshiko Sai reissue program with the release of Mikkou, the Japanese singer-songwriter's second album released in 1976 on Black Records. The album, produced by ace arranger Isamu Haruna, keeps the same formula as Mangekyou (WWSCD 096CD/ WWSLP 096LP, 2025) with Yoshiko Sai's beautiful songs and dreamy vocals over cool funky arrangements, this time featuring legendary guitarist Masayoshi Takanaka. This is the first time Mikkou is widely available outside of Japan, with remastered audio, original artwork and a four-page insert including new liner notes by Hashim Kotaro Bharoocha who interviewed Yoshiko Sai for this special occasion. Yoshiko Sai holds a singular place in Japanese music history. Since her 1975 debut Mangekyou, the Japanese singer-songwriter has captivated listeners with her ethereal voice, poetic lyrics, and enigmatic presence, earning a devoted cult following that endures decades later. Mikkou represents a bold broadening of her artistic palette, drawing inspiration from the Silk Road and the rich cultural heritage of her native Nara. Sai's compositions on Mikkou explore themes of femininity, freedom, and the passage of generations. Tracks such as "Kaasama no Uta" ("Mother's Song") and "Tenshi no Youni" ("Like an Angel") blend blues, jazz, and folk sensibilities with evocative instrumentation including tabla, sitar, and dulcimer, reflecting the album's Silk Road influences. The title track, "Mikkou" ("Secret Passage"), captures the sense of a hidden journey -- both literal and imaginative -- mirroring the adventurous spirit threaded throughout the record. Sai also created the album's artwork, inspired by her reflections on historical Persian travelers and the interconnected flow of cultures along the Silk Road. As Sai remarked in conversation with Hashim Kotaro Bharoocha about the title track, "That idea of sneaking off somewhere felt exactly right for the mood at the time -- it was like approaching everything in life as if you were stowing away along every path." This Wewantsounds release marks the first time Mikkou is available outside Japan, offering a rare glimpse into the fragile, dreamlike universe of Yoshiko Sai.
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FARO 254LP
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LP version. Brazilian avant-jazz vanguardists Grupo Um celebrate their 50th anniversary, sharing a second previously lost 1970s album from the vaults. Nineteen Seventy Seven (titled after the year it was recorded) is another rip-roaring instrumental fusion treasure from the band which spawned from within Hermeto Pascoal's famed mid-1970s São Paulo collective. Like their debut album Starting Point, Grupo Um's Nineteen Seventy Seven was recorded when Brazil's military dictatorship was at its most repressive. Just like Hermeto Pascoal's Viajando Com O Som (1977) and Grupo Um's previous album Starting Point (1975), both of which remained unreleased until the 21st century, Zé Eduardo asserts that the 1977 album was flatly "without any chance to be released at that time." Recorded at Rogério Duprat's Vice-Versa Studios in São Paulo, the group were under both time and space restraints. Expanding from a trio to a quintet, original Grupo Um members Lelo Nazario (keys), Zé Eduardo Nazario (drums), and Zeca Assumpção (bass) were joined by saxophonist Roberto Sion and percussionist Carlinhos Gonçalves. Carlinhos, Zé and Zeca had already played together in the group Mandala, while brothers Lelo and Zé had just finished a stint backing Hermeto Pascoal during his years in São Paulo. Lelo was deeply immersed in modular synthesizer experimentation during this period, working extensively with the ARP2600 and EMS Synthi AKS. These electroacoustic explorations formed the sonic foundation for "Mobile/Stabile," one of his first compositions to merge modular synthesis with Brazilian music, a fusion that would ripple throughout the Brazilian jazz scene. The piece premiered at the first São Paulo International Jazz Festival in 1978, performed by Grupo Um with guest trumpeter Márcio Montarroyos. The version on Nineteen Seventy Seven is the first recording of the composition. Nineteen Seventy Seven combines Afro-Brazilian rhythm, modular synthesis and a plethora of whistles, percussion and effects pedals. Grupo Um's daring music represents a manifesto of resistance during the dictatorship years, but it's one which remains just as relevant today.
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JIAOLONG 034CD
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Daphni's fourth studio album Butterfly at first picks up where his last album, 2022's Cherry left off. Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly's lead single "Waiting So Long" (feat. Caribou). An unlikely duo -- in that both artists are the same man, Dan Snaith -- it is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It's simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. Daphni music has always been Snaith's way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong. Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like "Clap Your Hands" which picks up the energy of "Sad Piano House" and flips it, exposing the gritty and intoxicating underbelly of Snaith's hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile "Hang"'s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. "Lucky" is squirmy and elusively intoxicating, "Invention" skitters down meandering, inviting corridors, "Talk To Me" grumbles and broods in the murk, and "Miles Smiles" could roll on endlessly, so confident in its groove. Right from the inception of the Daphni alias, the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. Also available on black (JIAOLONG 034LP) and pink color vinyl (JIAOLONG 034CLP).
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XI 119CD
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Restocked. R.I.P. Eliane Radigue (January 24, 1932 ? February 23, 2026). 1998 release. Voted one of 1998's top 15 Records of the Year in Modern Composition by the writers and critics of The Wire, Trilogie de la Mort is a work in three parts for anolog Arp synthesizer. The first third of the work, Kyema, is inspired by The Tibetan Book of the Dead and invokes the six intermediate states that constitute the existential continuity of the being. Kailasha, the second chapter, is structured on an imaginary pilgrimage around Mt. Kailash, one of the most sacred mountains in the Himalayas. Koumé makes up the last part of the trilogy and emphasizes the transcendence of death.
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ST 2580LP
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2025 limited restock. "Smile (sometimes stylized as SMiLE) is the unfinished album by the Beach Boys intended to follow their 1966 album Pet Sounds. the project came to be regarded as the most legendary unreleased album in popular music history. The album was produced and almost entirely composed by Brian Wilson with Van Dyke Parks, both of whom conceived the project as a 'teenage symphony to God' It was a concept album that was planned to feature word paintings, tape manipulation, experiments with musical acoustics, themes of youth and innocence, and comedic interludes, with influences drawn from mysticism, pre-rock and roll pop, doo-wop, jazz, ragtime, musique concrète, classical, American history, poetry, spirituality, and cartoons. A mythology grew around the project, and its unfulfilled potential inspired many, especially those in indie rock, post-punk, electronic, and chamber pop genres."
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MR 495LP
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The birth of Los Indios took place at a key moment for Bolivian music, in May 1968, during the "Festival de la Canción" held at the Félix Capriles Stadium. This event was a milestone for the so-called Bolivian new wave, featuring various groups from all over the country. A month later, Jorge Filipo Dalence, in association with Freddy Valdivieso, decided to launch their own band, Los Indios, ready to make their mark on the music scene. Their discography includes one LP and a handful of EPs released on the Caracol and Imperio labels. Their album not only showcases their musical talent but also represents an important moment in the evolution of rock in Bolivia. The combination of their unique style helped open new doors for other artists in the country's music scene. By 1969, the group was enjoying overwhelming success and widespread popularity. This collection brings together some of their best recordings, captured over the course of their short life as a band, blending beat sounds with garage rawness through a repertoire full of covers of artists such as Deep Purple, Wilson Pickett, and Eduardo Araujo (via Los Iracundos). This is a joint release with the Peruvian label Rey Record and includes an insert with notes on the band's history.
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BEWITH 183LP
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Great Day is one of the very best albums on the Music De Wolfe label and certainly one of the most sought-after library records, full stop. It's been sampled by such heavyweights as Madlib, LTJ Bukem, El-P and The Alchemist (among many others). Originally released in 1972, it's credited to Music De Wolfe legends Simon Haseley (real name Simon Park) and "Peter Reno" (a collaborative alias used by composers Clifford "Cliff" Twemlow and Peter Taylor). It's one of the most consistent libraries you'll ever hear, packed with heavy blaxploitation-esque drama-funk break themes. It opens with the feel-good, breezy piano beat number "Little Big John" before switching up to modern sweeping orchestral with heavy drums on the warm, deeply emotive "Summer Friend." Total highlight "Hammerhead" is as heavy as you'd want, from a track so-titled. It's a driving, imposing, orchestral funk-rock monster, famously used by The High & Mighty for their classic "Dirty Decibels" and as the backing for Beyonce's ace "Woman Like Me". Up next, "Crimson" is melodic, plaintive and moodily introspective; a soft, oboe-enhanced instrumental of delicate beauty. The expansive title track, "Great Day" is melodic and bold; a horn-fueled, mid-tempo rhythmic workout which builds to rather big end. Rounding out this first side, "Hard Crust" ups the ante with thrilling wah-wah funk-rock, a dramatic, pounding and aggressive thriller. Side B opens with the steady, stealthy crime-funk of "Highball" before segueing brilliantly into the Hammond-laced relentless flute-funk of the driving "Bora." The powerful wah-wah wonderful "Hold Back" is haunting orchestral funk-rock, sampled by Madlib, El-P, Rakim, Sean Price and The Alchemist. The cop show funk of "Silver Thrust" is fast, purposeful and persistent. The dynamic "Convoy" is a brassy, organ-fueled sports-soundtrack b-boy breaks monster. To close out this extraordinary set, the insistent "Barracuda" presents dramatic rock feels over a persistent funky flute beat. The audio for Great Day has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. 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 Record Industry in Holland. The original, iconic sleeve has been restored as the finishing touch to this long overdue re-issue.
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VAMPI 349LP
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Quinteplus was born in Buenos Aires at the end of the 1960s, emerging directly from the ideas and experiments of the legendary Agrupación Nuevo Jazz. Founded in the early '60s, this collective brought together some of the most forward-thinking figures in Argentine jazz functioned as a creative lab where musicians questioned where jazz could go next. Among the key ideas discussed was the fusion of jazz with Argentine folk styles such as zamba, chacarera, malambo, cueca, and candombe, as well as a deeper look into African rhythms as a bridge between musical worlds. Two members of that collective, keyboardist Santiago Giacobbe and bassist Jorge "Negro" González, carried those ideas forward when they formed Quinteplus in 1969. The group came together naturally: all the musicians already knew each other and had played in different projects around the Buenos Aires scene. They shared a strong admiration for Julian "Cannonball" Adderley's quintet, along with a clear goal -- to develop a modern jazz language grounded in local Argentine rhythms. From the start, Quinteplus stood out for its openness and adventurous spirit. Rhythm was central, and so was experimentation. The band belonged to a generation of Argentine jazz musicians eager to explore electric instruments and new textures, anticipating what would soon be known as jazz-rock. This was happening in Buenos Aires at the very same time Miles Davis was opening new doors with In a Silent Way and Bitches Brew. In 1971, Quinteplus recorded its first and only studio album for EMI. The original lineup featured Jorge Anders on tenor saxophone, Gustavo Bergalli on trumpet, Giacobbe on keyboards, González on upright and electric bass, and Norberto "Pocho" Lapouble on drums and percussion -- who also illustrated the album's iconic sleeve. The record is a refined showcase of the band's musical vision: original compositions, fluent jazz language, folk-derived rhythms, funky electric textures, tight ensemble playing, and standout brass solos. Though critically praised, the album received little label support and sold modestly, eventually becoming a sought-after collector's item. Quinteplus disbanded in 1973, their music was perhaps too bold and unconventional for its time. This first-time reissue brings back a vital chapter of Argentine jazz history, revealing a band that was truly ahead of the curve and still resonates powerfully today.
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CT 805LP
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2025 restock. Reissue of Ital Dub, originally released in 1975. This is Augustus Pablo's first collaboration with King Tubby.
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VAMPI 347LP
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Roberto y su Nuevo Montuno recorded their first album, El Nuevo Montuno Llegó (1970), when Roberto Berríos was just 22 years old. This was also the debut release on Haddock's own Uniart label. Berríos remembers that they did the recording in two sessions, splitting it up into four tracks per visit. The engineer was the famed Pedro "Pedrito" Henríquez, who recorded El Gran Combo, Roberto Roena and many others. The band had a mix of tasty, powerful originals, from Tony Cintrón's title track that announced the band had arrived, "El Nuevo Montuno Llegó," to Quique Dávila's mournful "Triste Arrabal." Then there was the hit Santería themed tune, "Llamé a Changó," which was a song that Quique Dávila brought to the band, but had been originally composed by Carlos Pinto, though Quique was given the credit. Dávila also composed "Me Queda Un Guaguancó," which is Roberto's favorite song on the record (as well as a fan favorite), with Papo sounding like his friend Héctor Lavoe, and Quique Dávila's proud manifesto declaring that Puerto Rico now had its own son montuno, "Oye Tu Son, Borinquen," featuring the pianist's tasty but brief solo. The cover versions came from the group's earliest period when most of their repertoire consisted of renditions of beloved but lesser known tunes, and include Louie Ramírez's "Balancéate" (a favorite of Roberto's from Ray Barretto's songbook), Bobby Valentín's "Monina y Ramón" (recorded during his stint with Willie Rosario), and a bolero indelibly sung by Cheo Feliciano when he was with the Joe Cuba Sextet, "Dichoso," written by Joe Cuba's talented pianist, Nick Jiménez. Some of the arranging was done by Cintrón and some by Dávila, though Quique had some help from his old friend from El Combo Moderno, Freddie Miranda, who at that time was with Roberto Roena's Apollo Sound. Roberto says that the arrangements of the cover tunes were made specifically to be different and more contemporary sounding than the originals. El Nuevo Montuno Llegó has become a legendary salsa dura classic from Puerto Rico and Vampisoul are thrilled to present this first legitimately licensed and remastered vinyl reissue. It includes detailed liner notes that reveal the untold story of the band and their debut album, and rare photos.
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WWSLP 119LP
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Wewantsounds reissues Music By Lee Mason, the cult classic from the Chappell Recorded Music Library, originally released in the UK in 1971. Credited to Lee Mason & His Orchestra, the album is in fact the work of renowned British composer and arranger Pete Moore -- best known for producing the iconic "Asteroid" theme in 1968 for the Pearl & Dean cinema advertising company. One of the funkiest library albums of its era, blending cinematic tension, funky grooves, and jazzy undertones, Music By Lee Mason features the track "Shady Blues," famously sampled by Madlib. Newly remastered and featuring liner notes by Kevin Le Gendre, this long-overdue reissue brings a lost classic back to vinyl for the first time since 1971. Recorded at the dawn of the prolific '70s UK library music boom, Music By Lee Mason was part of the successful Chappell Recorded Music series -- produced for television, film, and advertising professionals. Working under the "Lee Mason" alias, Pete Moore used the format to explore a wide palette of sounds: funky rhythm sections, fat horns, bumping bass lines, and catchy melodies that reveal both sophistication and swing. Across its eleven tracks, the album moves seamlessly between funky grooves, jazzy arrangements, and cinematic moods. "Shady Blues" in particular has become a cult favorite among crate-diggers, its slow-burning groove later sampled by Madlib for the Lootpack track "Answers" featuring Quasimoto, giving the piece new life in the spheres of hip-hop and digging culture. A prolific composer and orchestrator for television, radio, and film, Pete Moore (1924-2013) worked with the likes of Peggy Lee, Fred Astaire, and Connie Francis, bridging the worlds of orchestral scoring and modern jazz-pop arrangement. Alongside his celebrated commercial work, his contributions to the Chappell Music catalogue exemplify the depth and craft of British library composition during the 1960s and '70s. This reissue of Music By Lee Mason has been newly remastered and features exclusive liner notes by Kevin Le Gendre, who provides fresh insight into Moore's enduring influence of his music. With its sophisticated arrangements, catchy grooves, and unmistakable sense of mood, Music By Lee Mason stands as one of the defining statements of the British library era which Wewantsounds is delighted to reissue for the first time since 1971.
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BORNBAD 047LP
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2026 repress; LP version. Comes with a four-page insert. Clothilde, queen of the "Swingin' Mademoiselles." Why Clothilde? Why not that more star-worthy, internationally-acclaimed Françoise Hardy, or the more akin to the sub-genre, France Gall? Because she's the most characteristic, archtypical French mademoiselle, that's why! Christine Pilzer, even Jacqueline Taïeb before her, both may have been rediscovered first in this style unique to French '60s pop, and Stella also may have been the most out and out "anti-ye-ye" with her slightly anti-establishment and derisive lyrics countering the pop system and establishment, but Cleo's all about text, not that much as a whole production. As such, Clothilde takes the crown. Not only has Clothilde the most natural (albeit unknowingly) disposition as a chanteuse, singing such subversive lyrics with as much second degree detachment as possible but also, the music itself is highly original: inventive arrangements including French horn, musical saw, church bells, barrel organ, marimba, brass fiddle, woodwinds, and busy fuzz guitar amidst all that slapstick comedy-like audio bric-à-brac. Almost avant-garde in concept, it was imagined and produced by Clothilde's impresario, manager and indeed creator, legendary Disques Vogue A.D. Germinal Tenas. This could've only come out of France.
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MGART 904LP
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2025 restock. 180-gram LP version with embossed chessboard artwork print and printed inner sleeve. In celebration of the 2016 35th anniversary of the December 12, 1981, recording of Manuel Göttsching's legendary E2-E4, one of electronic music's most influential recordings, Göttsching's MG.ART label presents an official reissue, carefully overseen by the master himself. Includes liner notes by Manuel Göttsching, archival photos, and an excerpt of David Elliott's review in Sounds from June 16, 1984.
"As the story is sometimes told, Göttsching stopped in the studio for a couple of hours in 1981 and invented techno. E2-E4 is the most compelling argument that techno came from Germany-- more so than any single Kraftwerk album, anyway. The sleeve credits the former Ash Ra Tempel leader with 'guitar and electronics', but few could stretch that meager toolkit like Göttsching. Over a heavenly two-chord synth vamp and simple sequenced drum and bass, Göttsching's played his guitar like a percussion instrument, creating music that defines the word 'hypnotic' over the sixty minutes . . . A key piece in the electronic music puzzle that's been name-checked, reworked and expanded upon countless times." --Mark Richardson, Pitchfork
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2LP
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ROOM 182LP
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In March 1969, the Velvets (with Doug Yule now on bass) embarked on a nationwide tour. One of these dates included a stint at the "End Of Cole Avenue" club in Dallas, one of the Velvets' few live performances where a professional sound engineer was actually on hand to record the sets. Some of the songs recorded over those few nights showed up in 1974 on their 1969: Velvet Underground Live album, but the sound quality was not great due to the use of third or fourth generation tapes. However, the first-generation tapes have since resurfaced, and the difference in sound quality (heard here) is a welcome one.
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OJO 25013LP
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Clear color vinyl. Released in 1972 and long out of reach, Belle Gonzalez's only album is one of those rare records that feels like a secret passed from hand to hand. Her voice is gentle yet full of presence, carrying songs that drift between British folk and the soft sway of Brazilian rhythms. It's music that feels both of its time and strangely timeless, the kind of record you play once and then can't forget. After decades in obscurity, Belle finally returns, restored with care and ready to be heard the way it always should have been.
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EFFICIENT 052LP
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Efficient Space continues to bind its mind with Altered States Tapes, offering another service to How So?, Th Blisks' 2022 debut in home-cooked experimentation. A blurring of three vastly different heads into a single disjointed, but fluid organism, How So? finds Yuta Matsumura (The Lewers, Keanu Nelson), Amelia Besseny (Troth, Impatiens) and Cooper Bowman (Troth, CD3) working with vocals, melodica, deeply pulled samples, guitar, drum machine, synths and resourceful percussion. An Elixa-blueprint of sideways ambient rituals, fog-thick melodica dub and paranoid trip hop by way of Sydney's pioneering industrial collagists, the LP recirculates beyond its original 150-copy confines for those who missed its first apparition.
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BEWITH 185LP
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A great name. A great cover. And, of course, outstanding library music. Soul City Orchestra's Meal Ticket houses titanic funk, mellow groove and symphonic disco-soul. Released in 1977 on Rouge, a subsidiary of the prestigious and long-established British library label Music De Wolfe, Meal Ticket was crafted by the studio band Soul City Orchestra (a pseudonym for the De Wolfe in-house composers Chris Rae and Franck McDonald). The driving instrumental funk-rock of the A Side is enhanced with strings and no little drama. However, it's undoubtedly the peerless flipside that makes this record an essential part of any collection. Head straight to highlight "Chamber Maid"; insistent, conga-driven funky rock with lashings of string-heightened drama. It's sophisticated, classical and deeply classy. The majestic, powerfully emotive "Sore Head" contains an excellent intro drum break and sultry slo-mo disco breaks throughout. It's low-key stunning. With a few melodic switch-ups, it's symphonic soul heaven and is comfortably the best and most beautifully crucial track on Side A. The breezy, Philly soul-tinged "Short Change," its intense strings reminiscent of the Salsoul Orchestra and TSOP, presents an easy-glide funk that's just irresistible. The funky, cool and slick AF "Wheeling And Dealing" is laconic flute and string-propelled sophisticated mid-tempo disco soul. It's worth the price of admission alone. The breezy, mellowed out disco-funk workout "The Jam" is a deliciously slinky and sophisticated soul strut. The crowning glory is the sweeping, sublime symphonic disco breaks of horn-infused "Soul City Drive," an absolute monster of radiant heavy soul-funk à la Barry White with great string and brass arrangement. Basically, this is essential for all groove-aficionados. The audio for Meal Ticket has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. 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 Record Industry in Holland. The original, iconic sleeve has been restored as the finishing touch to this long overdue re-issue.
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LP
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NMN 184LP
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Edition of 300. Includes 8-page booklet. In 1969, while American minimalism was consolidating into its most recognizable forms, Charlemagne Palestine was conducting solitary experiments with oscillators and sine waves that only now reveal their visionary scope. This was the New York of lofts and abandoned industrial spaces, of artists pushing sound toward its physical limits -- a city where the boundaries between music, performance art, and bodily endurance were dissolving. Battling the Invisible unearths two electronic studies from that crucial year, paired with rare 1972 Bösendorfer sessions -- a document that illuminates the passage from pure electronics to the keyboard as an instrument of prolonged ecstasy. "Low Sounds 3" opens the record with fifteen minutes of low frequencies that seem to emerge from the very foundations of the sonic edifice. There is no development in the traditional sense, but a static presence that gradually colonizes the listening space. Think Eliane Radigue's meditative drone work filtered through a raw, almost brutalist sensibility. "Sine Tone Study" on Side B extends this practice for nearly nineteen minutes -- sine waves overlapping, creating beating patterns, zones of interference explored with the patience of an entomologist. The two 1972 Bösendorfer fragments function as bridges toward the Palestine the world knows better -- the strumming ecstasies, the hypnotic accumulation of overtones, the piano as a vehicle for transcendence. Here the physical approach to the keyboard is already evident -- what he would describe as a "battle." This release is part of Alga Marghen's The Golden Research series -- a concept devised by Palestine himself around the idea of "perfect sound." The series focuses exclusively on completely unreleased archival materials, bringing to light legendary recordings that have never been heard before. The LP includes a 8-page interview conducted by Sumner Crane and Rudolph Grey in January 1979 at Palestine's NYC loft, with Arto Lindsay present, later redacted by Alan Licht. The insert is an anastatic reproduction of the original 12-page typescript. Unfiltered, explosive -- Palestine on violence, on the body as battleground, on his Brooklyn childhood. Essential reading.
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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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LP
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LPCT 125LP
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2025 restock. Some of Barrington Levy's most significant (and enduring) recordings from Channel One Studio, mixed by Scientist. Originally released in 1982. "It's difficult to overstate the transformative effect that Barrington Levy's earliest recordings had on the sound of Jamaican music. In late 1979, Levy's spare, hauntingly arranged early singles such as 'Shine Eye Gal,' 'Collie Weed,' and 'Shaolin Temple' completely overtook Jamaican dancehalls and streetside sound clashes. . . . By the time Levy released Poorman Style in 1982, he was arguably Jamaica's preeminent vocalist. Poorman Style features a set of punishing rhythms from the crack studio outfit The Roots Radics, with production work from singer-turned-label owner Linval Thompson and former King Tubby protégé Scientist. The title track -- a crisply observed sufferers' tale full of tragic notes and indelible details from everyday life -- hits particularly hard." --iTunes
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LP
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AKENAT 006LP
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Volume 2 of this series focused on the amazing sonic treasures Bollywood music has to offer. This second volume is centered on the incredible instrumental gems that populate Hindi cinema soundtracks. 14 tracks of pure Bollywood instrumental genius to continue the dive into the mind-blowing world of Hindi cinema music. Covering a time span of three decades, this compilation mixes well-known names with lesser-known talents from the endlessly thrilling vaults of Hindi movie soundtracks and throws a couple of delicious covers for a truly unforgettable sonic experience. Includes liner notes. Featuring Charanjit Singh, R.D. Burman, Sapan & Jagmohan, Raghunath Seth, Chic Chocolate, S. D. Burman, Van Shipley, Kalyanji Anandji, O.P. Nayyar, Govind Naresh, Usha Khanna, S. Hazarasingh, Babla & His Orchestra, and Laxmikant-Pyarelal.
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LP
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DMOO 087LP
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2026 repress. A true icon of jazz, Billie Holiday (1915-1959) redefined vocal artistry with her raw emotion and unmistakable phrasing. Discovered by producer John Hammond in 1933, she recorded with Benny Goodman before rising to fame alongside jazz greats. Her haunting voice and timeless classics, like "Strange Fruit," captured both beauty and pain. Though personal struggles and addiction took their toll, her influence remains immeasurable. Arrested for heroin possession on her deathbed, she left behind a legacy that still resonates through generations.
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3LP
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IMPREC 399LP
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2026 restock. "Grayfolded is literally a hundred or so great nights rolled into one extraordinary extended high. Gorgeous sonic origami." --Rolling Stone
"An extended time-warped psychedelic jam that is meticulously hallucinatory." --New York Times
This deluxe 2025 vinyl edition of The Grateful Dead's Grayfolded was pressed at Optimal in Germany, known for their high-end audiophile pressings. In 1993 Canadian composer John Oswald was invited by Phil Lesh to transform historical recordings of the Dead into something new, along the lines of what they had attempted in their Anthem of the Sun album. Oswald chose to focus on the Dead's Dark Star, which, over the course of a quarter century, they had expanded and transformed in myriad ways in live performances. Oswald was given access to the Vaults, where over the course of a month, with the guidance of the Dead's resident archivist Dick Latvala, he collected 105 performances, which through the following year he formed, folded, fondled, and finessed into a kaleidoscopic unstuck-in-time documentary of the Grateful Dead in some of their most psychedelic, symphonic, and rocking excursions -- a singular 110-minute fantasy performance. Here it is, Deadheads, the ultimate Dark Star. Deluxe audiophile pressing cut in Toronto under the watchful ears of John Oswald. Elaborately printed packaging in a heavy-duty triple gatefold jacket includes liner notes by musicologist Rob Bowman featuring interviews with Jerry Garcia, Phil Lesh, and Robert Hunter plus six "time maps" which chart the source concerts of Dark Star. Music performed by The Grateful Dead (c) Grateful Dead Productions Inc. & Ice Nine Publishing Inc. Taken from over 100 performances of Dark Star recorded between 1968 and 1993. Built, layered and "folded" to produce one large, new re-composed Dark Star. Original recordings of the Grateful Dead in performance have been processed using Plunderphonic techniques. John Oswald is best known as the creator of the music genre Plunderphonics, an appropriative form of recording studio creation which he began to develop in the late sixties. This has got him in trouble with, and also generated invitations from major record labels and musical icons. Meanwhile, in the '90s he began, with several commissions from the Kronos Quartet, to compose scores for classical musicians and orchestras, the latest of which is an orchestral work, commissioned by the BBC, combining aspects of The Beatles, Gyrgy Ligeti, and Terry Riley. He also improvises on the saxophone in various settings, dances, and is a successful visual artist, best known for the chronophotic series Stillnessence.
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LP
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DMOO 056LP
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2026 repress. Recorded in October 1959, with heroin a caustic presence, In Milan is the first of the albums Chet Baker cut in Europe, revisiting West Coast cool jazz nuggets with drummer Gene Victory and a set of local players, including bassist Franco Serri and pianist Renato Sellani, bolstered by saxophonists Glauco Masetti and Gianno Basso on select tracks. Bop favorites such as Charlie Parker & Miles Davis' "Cheryl" and Davis' "Tune Up" are handled with care, and there's a fine take of "Line For Lyons," which Baker first recorded as a member of Gerry Mulligan's Quartet, with a great solo by Serri. It's Baker at his best -- thoroughly excellent! Printed on clear vinyl.
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LP
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WRWTFWW 017LP
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2025 repress. We Release Whatever The Fuck We Want Records present the first ever official vinyl pressing of the soundtrack for Mamoru Oshii's critically acclaimed and all around legendary science fiction anime film Ghost In The Shell (1995), adapted from Masamune Shirow's groundbreaking manga series of the same name. The haunting score is composed by Kenji Kawai, one of Japan's most celebrated soundtrack composers alongside Joe Hisaishi and Ryuichi Sakamoto, whose work includes Hideo Nakata's Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai's compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme "Making Of Cyborg", Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a timeless and unparalleled soundtrack that admirably echoes the film's musings on the nature of humanity in a technologically advanced world. Ghost In The Shell is widely considered one of the best anime films of all time and its influence has been felt in the work of numerous movie directors, including James Cameron's Avatar (2009), the Wachowskis's The Matrix (1999), and Steven Spielberg's AI: Artificial Intelligence (2001). For fans of anime, manga, movie soundtracks, science fiction, ambient, folklore, Japan, Akira (1988), artificial intelligence, Midori Takada. Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon).
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LP
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WWSLP 098LP
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LP version. Following the success of the Tokyo Glow and Funk Tide sets, Wewantsounds once again teams up with Tokyo-based DJ Notoya for a breezy selection of funk and boogie recorded in Japan for King Records in the '70s and '80s. Most tracks here are making their debut on vinyl outside of Japan and the album, like its predecessors, has been designed by Optigram's Manuel Sepulveda and is annotated by DJ Notoya. The audio has been newly mastered in Tokyo by King Records and remastered for vinyl by Colorsound in Paris. For Tokyo Bliss, Japanese Funk expert DJ Notoya has picked a diverse selection of great funk, boogie and city pop tracks recorded between 1974 and 1988 for King Records, one of the most venerable record labels in Japan. These tracks -- which are in demand on the Japanese groove scene -- are mostly new to international ears and showcase the breadth and quality of Nippon music recorded during the '70s and '80s. The selection kicks off with the group Buzz, a folk duet formed in the early '70s by Hiroshi Koide and Masakazu Togo who released a handful of albums for King during the '70s. The track "Garasumado" (Glass Window) is from the 1974 album Requiem The City which was produced by Nobuyuki Takahashi, the older brother of future YMO superstar Yukihiro Takahashi. At the time both were members of cult group Sadistic Mika Band. Next comes the synth boogie sound of singer Mami Ayukawa, who was active on the Japanese music scene in the mid-'80s, followed by drummer Johnny Yoshinaga's 1978 hard funk "The Rain" featuring great keyboards action from Hiroyuki Namba, one of Tatsuro Yamashita's key musicians. Keiko Toda's mid-tempo delight "Fade In" was released in 1983 and adds a touch of class to the ensemble with its languid rhythm and synth riffs. The rest of Tokyo Bliss alternate between the stylish funk-folk floater "Bokura no Date" by Koji Kobayashi from 1978 and the '80s funk bomb "Your Love's Away" by Kumiko Sawada, produced by prolific guitarist Kazuo Takeda with his group Creation, who is backing Sawada here. The selection closes with the superb Moog and Fender Rhodes-led space funk instrumental "Paper Machine" released in 1977 by Fujimaru Band and which ends the set on a perfect note.
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LP
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BTR 132LP
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Sababa 5 return to their roots on Ça Va Ça Va -- a melting pot of Middle Eastern and Mediterranean sounds, layered with psych-soaked guitars, cosmic synths and heavy, driving grooves. A pure dose of party energy and nostalgia from Batov Records' finest. With four albums already behind them, Sababa 5 have earned global support, from Songlines magazine and BBC Radio 6 Music tastemakers including Gilles Peterson, Jamz Supernova, and Iggy Pop to France's FIP Radio and Radio Nova, for their unique blend of traditional Middle Eastern celebration music with psychedelic grooves, funk, jazz, rock, and international vocal collaborations spanning Japan to India. The Paris-based group have taken this sound to stages across Europe, including Reeperbahn Festival and Dresden's Super Fest. Ça Va Ça Va is the band's hafla album -- a return to the wedding and event celebration music that first shaped Sababa 5. Recorded in Paris, it draws directly from the sounds of hafla -- the joyful, communal music heard at Middle Eastern weddings, parties and festive gatherings -- with a sprinkling of influences from the wider Mediterranean. The group utilize their classic combination of electric guitar, bass, drums, organ, and synths to transform these ideas into vibrant melodies, dance-ready rhythms, and a spirit of abundance and togetherness. Opening track "Bienvenue" sets the tone with a mysterious, longing guitar solo before bursting into an irresistible rhythm and jubilant guitar motif. It flows seamlessly into "Allô," straight into wedding-riot territory -- a fast-rising instrumental that showers the dancefloor with energy as it builds around a hypnotic, arpeggio-driven riff. The album is almost entirely original material, with two key exceptions: "Ypárcho" (I Exist), a beautiful instrumental journey inspired by a classic Greek song traditionally performed by Stelios Kazantzidis, and "Asunsan," an instrumental flip of the much-loved Sababa 5 collaboration "Nasnusa" with Yurika Hanashima. Another impressive step in the Sababa 5 story, Ça Va Ça Va captures both joy and longing -- the unmistakable warmth of Eastern Mediterranean celebration and the band's surf-rock edge -- sounding more confident, spirited and deeply rooted than ever.
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2LP
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CF 031LP
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The historical importance, influence, and stature of the Schlippenbach Trio was cemented long ago. Formed in 1970 by German pianist Alexander von Schlippenbach in the early days of European free jazz, the group also featured British saxophonist Evan Parker and German drummer Paul Lovens, and soon formed the core of the mighty Globe Unity Orchestra from that point on. As heard on its 1972 debut for FMP Pakistani Pomade -- reissued by Cien Fuegos back in 2015 -- its foundational music helped establish the group's feverish free improvisation as a dominant thread in the history of European free jazz. The intellectual and artistic curiosity of the group's members, to say nothing of their paradigm-shifting technique and collective sensibility, changed the course of free improv forever. Schlippenbach Trio soon snapped back into its working methodology on its follow up album, Physics, in 1993, which further elevates the singularity of Elf Bagatellen. The album captured a different side of the trio and helped inform the modern classical tilt in European improvised music. Cien Fuegos now reissues this undeniable classic, making it available on vinyl for the first time ever.
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LP
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ANS 8000LP
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Anthony Naples returns with his seventh full length album, In Studio Magic, comprised of ten new songs.
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