{"title":"Wewantsounds","description":"","products":[{"product_id":"hadley-caliman-iapetus","title":"Hadley Caliman 'IAPETUS'","description":"\u003cp\u003eWewantsounds 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. \u003cbr\u003e\u003cbr\u003eA 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.\u003c\/p\u003e\n\u003cp\u003eTenor 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.\u003c\/p\u003e\n\u003cp\u003eFollowing 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 (aka Bayeté). \u003cbr\u003e\u003cbr\u003eA visionary in his own right, Cochran was concurrently establishing his own legacy on Prestige Records with two acclaimed albums, including Worlds Around the Sun (1972), (featuring both Caliman and Leary), later sampled by De La Soul and Kendrick Lamar. \u003cbr\u003e\u003cbr\u003eCochran went on to collaborate with Julian Priester on his landmark Love Love album on ECM, as well as working with Mtume, Peter Gabriel, Herbie Hancock, and Aretha Franklin. \u003cbr\u003eThe Iapetus sessions are Fender Rhodes-heavy, with Cochran’s electric keys providing a shimmering, cosmic foundation for Caliman's inspired explorations. \u003cbr\u003e\u003cbr\u003eFrom the driving modal intensity of the title track to the spiritual \"Quadrivium,\" featuring Caliman’s superb flute work, via the funky \"Watercress,\" the album's profile has steadily grown over the decades, attracting an ever-increasing following among '70s jazz lovers and deep-catalog diggers. Reflecting on the group's creative telepathy in the new liner notes, Cochran writes: \"We were a circle of friends, and the music was our shared language—a way to translate the high-velocity energy of San Francisco into something timeless.\"\u003c\/p\u003e\n\u003cp\u003eThis first-ever vinyl reissue of Iapetus in over fifty years has been newly remastered for the occasion. Having become increasingly rare and pricey on the collector's market over the years, this long-overlooked spiritual jazz gem is set to ravish fans of deep '70s jazz around the world.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. Watercress [3:45] \u003cbr\u003e2. Ambivalence [7:38] \u003cbr\u003e3. Dee's Glee [7:39]\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSide B\u003c\/strong\u003e\u003cbr\u003e4. Iapetus [9:59] \u003cbr\u003e5. Quadrivium [3:48] \u003cbr\u003e6. Green Eyes [5:17]\u003c\/p\u003e","brand":"Wewantsounds","offers":[{"title":"Vinyl LP - Gatefold with Two-Page Insert","offer_id":57274151600505,"sku":"WWSLP123","price":32.49,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/8053\/files\/HadleyCalimanIapetusWWSLP123.jpg?v=1781691114"},{"product_id":"the-milky-way-summer-time-love-song","title":"The Milky Way 'Summer-Time Love Song'","description":"\u003cp\u003eWewantsounds is delighted to present the first official reissue of the highly sought-after 1979 classic, Summer-Time Love Song by The Milky Way. Originally released on the Seven Seas label in Japan and produced by the legendary Makoto Matsushita—the visionary behind the cult album First Light —the album is a premier example of the sophisticated sound that defined the era. \u003cbr\u003e\u003cbr\u003eFeaturing the cream of Japanese musicians, including Yasuaki Shimizu, the record offers a superb mix of AOR, jazz fusion, funk, and bossa nova. Remastered for vinyl by Colorsound Studio, this deluxe reissue features the original artwork, an OBI strip, and a 4p booklet with a new introduction by Paul Bowler.\u003c\/p\u003e\n\u003cp\u003eWewantsounds continues its Japanese reissue program with the first official international release of one of the most sought-after City Pop albums out of Japan, the 1979 classic Summer-Time Love Song by The Milky Way. Originally released on the Seven Seas label, the album was produced by Makoto Matsushita with Kazuo Nobuta, representing a peak of the sophisticated studio craft that defined the late-70s Japanese transition into high-fidelity AOR and Jazz-Fusion.\u003cbr\u003e\u003cbr\u003eThe album serves as a vital precursor to Matsushita’s own 1981 cult masterpiece First Light. Here, he and Nobuta lead the cream of Japanese session musicians—including the renowned Yasuaki Shimizu—through a superb mix of AOR, funk, and Brazilian music. From the sun-drenched bossa nova rhythms of the Jobim classic \"Wave\" to a sophisticated rendition of Boz Scaggs’ classic \"Harbor Lights,\" finishing with the dreamy rhythms of \"Endless Summer,\" the record is a masterclass in elegant funky arrangements and relaxed harmonies.\u003cbr\u003e\u003cbr\u003eAs music journalist Paul Bowler writes in the liner notes for this release: \"Summer-Time Love Song represents a fascinating bridge in Japanese pop history; a moment where the breezy aspirations of the 70s met the meticulous studio perfectionism that would soon take over the world.\"\u003cbr\u003e\u003cbr\u003eThis deluxe edition features the original artwork, showcasing classic photography by the cult photographer Shinpei Asai—famed for his iconic work on the Pacific album by Haruomi Hosono, Shigeru Suzuki, and Tatsuro Yamashita. Newly remastered and including its OBI strip, this reissue finally makes one of the most coveted albums of the 70s Japanese scene accessible to Japanese music fans worldwide.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. Theme From \"A Summer Place\" [02:55] \u003cbr\u003e2. Wave [03:05] \u003cbr\u003e3. Surfin' Summer \"La Costa\" [04:23] \u003cbr\u003e4. Harbor Lights [05:19]\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSide B\u003c\/strong\u003e\u003cbr\u003e5. White Wave [03:02] \u003cbr\u003e6. Under The Jamaica Moon [ 04:39] \u003cbr\u003e7. Memories In The Sand [03:02] \u003cbr\u003e8. Summer-Time Love Song [04:31] \u003cbr\u003e9. Endless Summer [02:35]\u003c\/p\u003e","brand":"Wewantsounds","offers":[{"title":"Vinyl LP - with OBI strip, and 4pg Booklet","offer_id":57274154910073,"sku":"WWSLP115","price":32.49,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":57274154942841,"sku":"WWSCD115","price":16.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/8053\/files\/TheMikyWay-Summer-TimeLoveSongWWSLP115.jpg?v=1783940123"},{"product_id":"ziad-rahbani-ana-moush-kafer-1985","title":"Ziad Rahbani 'Ana Moush Kafer (1985)' PRE-ORDER","description":"\u003cp\u003e\u003cspan style=\"color: rgb(43, 0, 255);\"\u003e\u003cstrong\u003eRelease Date: 09\/10\/2026\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eWewantsounds is delighted to continue its Ziad Rahbani reissue program with Ana Moush Kafer, a classic album by the Lebanese legend Ziad Rahbani, recorded at his By-Pass Studio in Beirut during the height of the Lebanese Civil War in 1985. Showcasing Rahbani’s signature blend of Arabic music infused with touches of jazz-funk and bossa nova, the album has attained cult status over the years. Originally released on cassette, it has never before been available on vinyl. Newly remastered, this edition features the original Relax-In cassette artwork from 1985 and includes new liner notes by Mario Choueiry of the Institut du Monde Arabe in Paris.\u003c\/p\u003e\n\u003cp\u003eZiad Rahbani, who passed away in 2025, remains one of the most influential figures in modern Arabic music and a cultural icon in Lebanon. A musician, composer, pianist, producer and playwright, he helped modernize Arabic music over five decades. The son of composer Assi Rahbani and singer Fairuz, he shaped her late 70s–80s recordings producing Wahdon and Maarifti Feek, while building a major solo career with classics such as Abu Ali and Houdou Nisbi, which have become cult favourites for a new generation of DJs and music lovers.\u003cbr\u003e\u003cbr\u003eReleased in 1985 in Lebanon, Ana Moush Kafer stands as one of Rahbani’s key achievements. Recorded at his By-Pass Studio during the Lebanese Civil War, it blends Arabic melodic traditions with jazz-funk, bossa nova and Western arrangements. Originally cassette-only, it became one of his most revered releases. Throughout the album, Rahbani’s writing reflects the turbulence of wartime Beirut with a blend of sharp social observation, political satire and melancholy. It captures a moment in Lebanese cultural history where experimentation, satire and popular song intersected, giving the album its enduring influence among music lovers.\u003cbr\u003e\u003cbr\u003eSung by Rahbani and Sami Hawat, alongside Beirut-based musicians, the album features both Western and traditional Arabic instruments. It balances refined arrangements with lyrical irony, social commentary and political reflection, which remain deeply resonant in today’s context in Lebanon.\u003cbr\u003e\u003cbr\u003eOne of the highlights of the album is the song “Shou A’ada Ma Bada,” with lyrics by Joseph Harb, which reveals a clear bossa nova influence, while the closing track, “Al Mokawama Al Watania Al Lobnani,” offers a deeply human view of war, avoiding patriotic cliché in favour of a nuanced perspective rooted in lived experience.\u003cbr\u003e\u003cbr\u003eAs Mario Choueiry observes in his liner notes, “Ana Moush Kafer stands as one of the high points of modern Arab political songwriting, yet transcends its historical and geographical context through the universal relevance of its themes and the timeless quality of its music.” \u003cbr\u003eForty years on, Ana Moush Kafer remains a landmark of Arab music. Wewantsounds presents it on vinyl for the first time, newly remastered and featuring original artwork. This long-awaited reissue restores one of Ziad Rahbani’s most important works to circulation, reaffirming its place as a defining statement in modern Arabic music.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. Ana Moush Kafer [5:03] \u003cbr\u003e2. Shou Hal Ayyam [5:46] \u003cbr\u003e3. A'anitham [4:37] \u003cbr\u003e4. Shou A'ada Ma Bada [3:45] \u003cbr\u003e5. Yessa'ed we Yea'en [5:05] \u003cbr\u003e6. Bi Halyawmayn [3:46] \u003cbr\u003e7. Bharf Esheen [1:12] \u003cbr\u003e8. Bhaneek [5:34] \u003cbr\u003e9. Al Mokawama Al Watania Al Lobnani [3:06]\u003c\/p\u003e","brand":"Wewantsounds","offers":[{"title":"Vinyl LP","offer_id":63914092986745,"sku":"WWSLP126","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/8053\/files\/WWSLP126frontOBI2000-rs.jpg?v=1787670892"},{"product_id":"akiko-yano-gohan-ga-dekitayo","title":"Akiko Yano 'Gohan Ga Dekitayo'","description":"\u003cp\u003eWewantsounds is delighted to continue its Akiko Yano reissue program with the reissue of her superb double album recorded with YMO at a time when she was part of the group’s touring line up between 1979 and 1980. The album is pure Akiko Yano featuring her superb singing and piano playing, enhanced by touches of YMO’s synth-pop sound (check her cult version of YMO’s classic, “Tong-Poo”). It is the first time the album is released outside of Japan and the deluxe 2-LP set features the original artwork with gatefold sleeve and 4-page insert.\u003c\/p\u003e\n\u003cp\u003eWhen \"Gohan Ga Dekitayo\" came out in 1980, Akiko Yano had been touring with Yellow Magic Orchestra for more than a year. She'd play keyboards alongside the three founding members, Haruomi Hosono, Ryuichi Sakamoto and Yukihiro Takahashi, plus guitarist Kenji Omura and Synth wizard programmer Hideki Matsutake (as part of the 1980 North American tour, she'd also feature in the group's cult TV appearance on Soul Train for a memorable rendition of \"Tighten Up\") and they are all present on \"Gohan Ga Dekitayo.\" \u003cbr\u003e\u003cbr\u003eThe double LP, whose title could be translated by \"Dinner is ready,\" was co-produced with Ryuichi Sakamoto and recorded at two legendary studios: Tokyo's Alfa Studio \"A\" and Los Angeles' Sound City. It was Akiko's first shift towards a fuller synth sound following four studio albums mixing Pop and Jazz Funk, including her landmark debut from 1976, \"Japanese Girl\". A shift that would continue with the release of \"Tadaima\" in 1981, also featuring the YMO musicians.\u003cbr\u003e\u003cbr\u003eThe fourteen tracks featured on \"Gohan Ga Dekitayo\" find Akiko in top form mixing her singer-songwriter's sensitivity with the electro-pop sound of YMO. It's interesting to note though that it is very much an Akiko Yano album even if the group is present on the album (interestingly they do also play analog instruments on the album). Akiko is clearly the one in charge with a string of beautiful compositions and the rendition of one of the group's classics, \"Tong Poo\" which she reinvents as a slower, less metronomic-paced song adding her own lyrics.\u003cbr\u003e\u003cbr\u003eOther highlights on the album include \"Dogs Awaiting...\" an hypnotic composition featuring fascinating electro arrangements or \"Coloured Water\" sung in English by Akiko accompanying herself on Fender Rhodes with subtle percussion by Tatsuo Hayashi and electronics by Ryuichi Sakamoto.\u003cbr\u003e\u003cbr\u003eThere are many more great moments on this superb album which announces the further experiments of \"Tadaima\". \"Gohan Ga Dekitayo\" is an album that urgently needs to be (re)discovered by her growing international fanbase and Wewantsounds is happy to reissue it worldwide for its 40th anniversary.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eLP1\u003c\/strong\u003e \u003cbr\u003e1. Hitotsudake [5.12] \u003cbr\u003e2. Les Petit Bon Bon [6.17] \u003cbr\u003e3. Coloured Water [4.42] \u003cbr\u003e4. Zaikungtong Shonen [6.26] \u003cbr\u003e5. High Time [5.16] \u003cbr\u003e6. Dogs Awaiting… [7.35]\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLP2\u003c\/strong\u003e \u003cbr\u003e7. Tong Poo [4.23] \u003cbr\u003e8. Aoi Sanmyaku [4.05] \u003cbr\u003e9. Genkotsuyama No Oniguirisama [8.35] \u003cbr\u003e10. Gokigen Wanisan [3.01] \u003cbr\u003e11. Mata Aone [4.10] \u003cbr\u003e12. Te Wa Tsutaeru - Tetsudaeru [4.19] \u003cbr\u003e13. Gohan Ga Dekitayo [5.30] \u003cbr\u003e14. You're The One [4.26]\u003c\/p\u003e","brand":"Wewantsounds","offers":[{"title":"Vinyl 2xLP - Gatefold with four-page insert.","offer_id":64114901614969,"sku":"WWSLP32","price":40.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/8053\/files\/WWSLP32frontnosticker2000.jpg?v=1788356553"},{"product_id":"akiko-yano-ai-ga-nakucha-ne","title":"Akiko Yano 'Ai Ga Nakucha Ne'","description":"\u003cp\u003eAi Ga Nakucha Ne' ('there must be love' in Japanese) is Akiko Yano’s 6th studio album and follows 'Tadaima' in 1981. It continues exploring the electro-pop sound of its predecessor, hot on the heels of her touring with Yellow Magic Orchestra between 1979 and 1980. For this album, Akiko decided to try something new; she enrolled English fellow musicians Mick Karn, Steve Jansen and David Sylvian from Japan and booked the Air Studios in London under the supervision of engineer Steve Nye.\u003c\/p\u003e\n\u003cp\u003eOver a couple of weeks, the musicians created a fascinating soundscape full of catchy pop tunes, sung in both Japanese and English. Reminiscing about the studio sessions, Steve Jansen notes \"Our music’s different but we maybe had a similar process of working. It was a great environment because the studio was a great place to work. It was very insular. There were four studios and there were always groups working in there 24\/7.\"\u003c\/p\u003e\n\u003cp\u003eThe eleven tracks featured on \"Ai Ga Nakucha Ne,\" mostly composed by Akiko - are a great collection of catchy tunes featuring her distinctive vocals and accompanied by the Japan musicians. As Akiko explains about the creative process, \"I didn’t think to imitate or to make another Tin Drum. But I had Steve Jansen and Mick Karn, these excellent musicians. They were eager to understand the songs, then they put in everything they had. I knew the material was different from what they usually played in Japan. But it was a great experience working with them.\u003c\/p\u003e\n\u003cp\u003eThere are many highlights on the album, from the pop edge of \"Aisuru Hito Yo\" to the avant groove of \"Another Wedding Song\", each song is memorable and the album ends with the superb “Good Night” sung by Akiko and David Sylvian.\u003c\/p\u003e\n\u003cp\u003eThe original 1982 LP release included a 24 page booklet featuring many photos by Pennie Smith and Japanese photographer Bishin Jumonji. The booklet is reproduced in its entirety here and the album on top of contributions by Mac DeMarco, a longtime fan of the album, Akiko and Steve Jansen making this release of 'Ai Ga Nakucha Ne' a unique testament to Akiko Yano's greatness.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. Ai Ga Nakucha Ne 4.53\u003cbr\u003e2. Kanashikute Yarikirenai 4.02\u003cbr\u003e3. What’s Got In Your Eyes 4.07\u003cbr\u003e4. Oishii Seikatsu 1.14\u003cbr\u003e5. Michi De Battari 2.15\u003cbr\u003e6. Onnatachiyo Otokotachiyo 4.05\u003cbr\u003e7. Aisuru Hito Yo 4.28\u003cbr\u003e8. Sleep On My Baby 3.59\u003cbr\u003e9. Another Wedding Song 2.42\u003cbr\u003e10. Donnatokimo Donnatokimo Donnatokimo 3.56\u003cbr\u003e11. Good Night 1.28\u003c\/p\u003e","brand":"Wewantsounds","offers":[{"title":"CD","offer_id":64397634339193,"sku":"WWSCD47","price":18.99,"currency_code":"GBP","in_stock":true},{"title":"Vinyl LP","offer_id":64397634371961,"sku":"WWSLP47","price":34.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/8053\/files\/WWSLP47front2000.jpg?v=1787928997"},{"product_id":"akiko-yano-iroha-ni-konpeitou","title":"Akiko Yano 'Iroha Ni Konpeitou'","description":"\u003cp\u003e\"Iroha Ni Konpeitou\" is perhaps Akiko Yano's best known album in the Western world not just because of its striking front cover - a shot by famed photographer Bishin Jumonji featuring Akiko holding an inflatable dolphin (legend has it all the props and clothes were borrowed from the set of an Issey Miyake ad), but because the album is one of Akiko's funkiest ones. A slick mix of Japanese Pop and New York funk, the album was recorded in Tokyo except for the \"Iroha Ni Konpeitou\" title track which was recorded in NYC with an all-star line-up consisting of Rick Marotta, David Spinozza, Will Lee and Nicky Marrero.\u003c\/p\u003e\n\u003cp\u003eFor the rest of the album, Akiko is accompanied by some of the best musicians from the Tokyo music scene gravitating around the groups Happy End and Tin Pan Alley: the ubiquitous Haruomi Hosono on bass, Tatsuo Hayashi on drums, Shigeru Suzuki on guitar to name just a few. Interestingly two Hosono compositions are featured on the album, \"Ai Ai Gasa\" which he recorded on his 1973 landmark debut \"Hosono House\" and \"Hourou\" originally recorded in 75 by singer and musician Chu Kosaka (on the superb eponymous album “Horo” on which Akiko plays).\u003cbr\u003e\u003cbr\u003eLast but not least Hideki Matsutake is handling the keyboard programming duties on the album as Yano is playing a wide array of keyboards: Moog IIIc, Mini Moog, String Ensemble, on top of the Fender Rhodes, Clavinet, Yamaha CP7C. Matsutake would soon become programmer in chief for YMO, touring and playing with them around the world (like Yano herself). Although the album feels very accessible and funky, there are complex keyboard layers underneath as on the first short introduction 'KAWAJI', a short electro fantasy, or on such tracks as \"Ai Ai Gasa\" and “Kino Wa Mou\" on which Akiko is playing bass with her Moog, making the album a richly textured and inventive one once you scratch its surface. The tracks on the album flow effortlessly also highlighting Akiko Yano's superb songwriting and knack for creating fascinating pop song.\u003cbr\u003e\u003cbr\u003e\"Iroha Ni Konpeitou\" sounds as fresh and beautiful as when it first came out more than forty years ago and will please the growing circle of Akiko Yano fans around the world as a welcome addition to her brilliant discography.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. KAWAJI\u003cbr\u003e2. Iroha Ni Konpeitou\u003cbr\u003e3. A Long Wait\u003cbr\u003e4. Hourou\u003cbr\u003e5. Ike Yanagida \u003cbr\u003e6. Ai Ai Gasa\u003cbr\u003e7. Potsun\u003cbr\u003e8. Kinou Wa Mou\u003cbr\u003e9. On The Way Home\u003cbr\u003e10. East Wind\u003c\/p\u003e","brand":"Wewantsounds","offers":[{"title":"CD","offer_id":64397634994553,"sku":"WWSCD18","price":14.49,"currency_code":"GBP","in_stock":true},{"title":"Vinyl LP","offer_id":64397635027321,"sku":"WWSLP18","price":32.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/8053\/files\/WWSLP18FRONT2000.jpg?v=1787929376"},{"product_id":"akiko-yano-japanese-girl-deluxe-edition","title":"Akiko Yano 'Japanese Girl - Deluxe Edition'","description":"\u003cp\u003eWhen Akiko Suzuki left her home town of Aomori for Tokyo in the early 70s aged just 15 to become a professional musician, she quickly started making waves on the local music scene performing at the jazz club Rob Roy. In 1973 she released a 7\" with the group Zariba and caught the attention of A\u0026amp;R man Koki Miura. She then recorded one song, \"Oinaru Shiino-ki\" with Haruomi Hosono on bass and drummer Tatsuo Hayashi (who features on many Hosono albums and also Hiroshi Sato's 1979 album Orient) with a full album in mind.\u003c\/p\u003e\n\u003cp\u003eAfter a marriage with musician\/producer Makoto Yano and the birth of her son (named Fuuta), Yano and her team resumed the recording of the album and decided to pitch Little Feat for a collaboration as she loved the group. Against all odds they said yes and Yano left Tokyo for Los Angeles in March 1976 to record a full side with them. The legend has it they found it so difficult to keep up with Yano's compositions they returned some of their fee. The Session was nevertheless stunning and Lowell George even compared Yano to Stevie Wonder. The Little Feat blend of New Orleans groove matched Yano's melodies perfectly, as witnessed on \"Funamachi-Uta Part 2.\" \u003cbr\u003e\u003cbr\u003eOriginally a traditional song from The Nebuta Festival in her hometown of Aomori (part I on side 2 gives a good idea of what the original form sounds like), the Little Feat version is a formidable slow-funk workout not dissimilar to their classic, \"Spanish Moon\", serving Yano's beautiful vocals and sense of groove to perfection. The whole side is a match made in heaven, showcasing the classic Little Feat line up at their funkiest with Yano's unique Japanese twist.\u003c\/p\u003e\n\u003cp\u003eThe Japanese side on the album gives a great snapshot of the Tokyo music scene of the 70s with many musicians gravitating around Haruomi Hosono (and present on his 1973 classic album 'Hosono House' including sound engineer Kinji Yoshino) and also several musicians from Japanese band, The Moonriders.\u003cbr\u003e\u003cbr\u003eRecorded at the legendary Onkio Haus studio in Tokyo, the sessions mix singer-songwriter sensitivity and pop with traditional Japanese sounds and instruments like the shinobue transverse flute, the koto string instrument or the Tsuzumi hand drum as played on \"Hekoriputaa\" by the legendary percussionist Kisaku Katada who was appointed Living National Treasure by the Japanese state in 1999; together they create a beautiful east-meets-west mix masterfully driven by Yano's creativity and unique talent.\u003c\/p\u003e\n\u003cp\u003eA breathtaking debut album that made Akiko Yano one of the most important artists to emerge from the 70s, Japanese Girl has since become a milestone in Japanese music with a recent documentary on NHK TV telling the whole story behind this classic. Wewantsounds is now proud to present this essential album to the rest of the world.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. Sayonara\u003cbr\u003e2. Kuma\u003cbr\u003e3. Telephone Line\u003cbr\u003e4. Tsugary Tour\u003cbr\u003e5. Funamachi-Uta pt. 2 6. Oinaru Shiino-ki\u003cbr\u003e7. Hekoriputaa\u003cbr\u003e8. Fuuta\u003cbr\u003e9. Oka wo Koete\u003cbr\u003e10. 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It is now being acknowledged as one of the best soul albums of all-times.\u003c\/p\u003e\n\u003cp\u003eRecorded live over two days at the Record Plant studios in New York City, the album was produced by Bob Shad and arranged by Jazz veteran Ernie Wilkins with a big band setting. The music is a superb mix of jazz and soul blessed by Clark's superb singing and including two all-time favourites, \"Don't You Care\" and \"Never Did I Stop Loving You\" plus a selection of heart-wrenching songs beautifully sung by Clark.\u003c\/p\u003e\n\u003cp\u003eVery little is known about Alice Clark and the legendary two-day session. All is known is she only ever recorded one album and passed away in the early 2000s. Wewantsounds together with Mia Apatow, Shad’s granddaughter delved into the Mainstream Records archives to try and solve the mystery of Alice Clark. They managed to find a treasure trove of original photos taken by famed jazz photographer Raymond Ross and patiently put the piece together tracking down Clark’s grandson Ace Clark and sound engineer in the process. The result lies in the beautiful 20p booklet featuring an introduction by Mia and her brother Judd Apatow together with the homage by Rubino and Ace Clark, notes by Marcus J Moore and last but not least a selection of superb photos that will tell the Alice Clark story for the first time and give a unique insight into the birth of this cult album paying tribute to one of the great unsung queen of Soul.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. I Keep It Hid\u003cbr\u003e2. Looking At Life\u003cbr\u003e3. Don’t Wonder Why\u003cbr\u003e4. Maybe This Time\u003cbr\u003e5. 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Over the past two years, the band has played major festivals such as Pukkelpop, Lowlands, Reeperbahn and WOMAD.\u003c\/p\u003e\n\u003cp\u003eOne says there’s nothing like the original. But when the psychedelic collective tackles such a Depeche Mode classic as “Personal Jesus,” you know you’re in for a brain-melting, transcontinental journey. The lyrics are in Turkish, and the song’s iconic riffs are played on electric saz. The cast is mouth-watering, with studio wizard Thomas Attar producing, playing guitar and saz and Turkish artist Sibel on vocals.\u003c\/p\u003e\n\u003cp\u003e“Promises,” the second single, is an Afro-futuristic heavy-psych track sung in Bambara which features Malian singer Mamani Keita (who played with Salif Keita) on vocals and the revered \"Black Buddah,\" Cheick Tidiane Seck (Gorillaz, Black Eyed Peas, Santana) on keyboards and backing vocals. On drums you’ve got Souleymane Ibrahim (from the Tuareg group Mdou Moctar) who unleashes a powerful beat.\u003c\/p\u003e\n\u003cp\u003eThe rest of the album is sizzling and features Swiss-Morrocan Rai rising star Sami Galbi, Sudanese singer Alsarah, Tunisian virtuoso oud player Nada Mahmoud and Sufi singer Mariam Hamrouni. Produced by Thomas Attar who also plays guitars and synths, “Uncovered” has been recorded between Tunis, Lisbon, Bamako and Paris and is enhanced by Matt Hyde's warm and massive mix which will enthrall all the group’s fans.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. Personal Jesus ft. Sibel 4.19\u003cbr\u003e2. Desse Barama ft. Alsarah 4.51\u003cbr\u003e3. Blue Tataouine ft. Nada Mahmoud 4.12\u003cbr\u003e4. Get Busy ft. Sami Galbi 4.01 \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eSide B\u003c\/strong\u003e\u003cbr\u003e1. Promises ft. 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She first studied in Japan, then at Julliard in New York and, upon her return in Japan in the early 1970s, she launched her yearly \"Harp No Koten\" recital (the first or which took place in 1972) with the idea of pushing the boundaries of the instrument and delves into the more experimental side of the spectrum following the recent steps that had been made by Dorothy Ashby and Alice Coltrane to get the instrument out of the classical music ghetto.\u003c\/p\u003e\n\u003cp\u003eThe album 'Music Now for Harp' is the fruit of this first recital and is composed of three pieces that were played there. The first piece, \"Stanza II\" was composed by Toru Takemitsu, one of the most famous contemporary Japanese composers of the 20th century. \"Stanza II\" was written in 1971 for Swiss harpist Ursula Holliger and is a subtle piece featuring Shinozaki's harp intertwined with tapes of drones, birdcall and street sounds. It's typical of the music composed by Takemitsu at the time and in the Japanese notes, he refers to the music as “a midday scene, a stone shatters the silence, words are exchanged, a bird crosses the sky, casting no shadow.”\u003c\/p\u003e\n\u003cp\u003eThe second piece of the album, “Poem of Lin” was written by the young Japanese composer Katsuhiro Tsubono (who was 25 years old at the time). The piece was composed for harp, bells and voice and is a eery yet percussive soundscape emphasizing Shinozaki's interplay with percussion and voice.\u003c\/p\u003e\n\u003cp\u003eThe final piece \"Heterodyne\" makes up the whole of side 2 at 25 min composed by legendary Japanese musician Takehisa Kosugi. It is an extraordinary piece of music featuring Shinozaki's harp and Kosugi violin dialoguing over Kosugi's added electronic effects. As noted by Alan Cummings in the liner notes, Kosugi \"here combines low-frequency light and sound waves to create a slow oceanic swell.\" The piece is a deep, spiritual journey mixing the organic feel of the harp and violin with the futuristic touch brought by Kosugi's hypnotic, almost funky sound waves.\u003c\/p\u003e\n\u003cp\u003eThe interaction is serene and full of ambient Eastern meditations and let the two musicians freely improvising and complementing each other. It is certainly the climax of a unique album that was only available in Japan until now, becoming very scare and which Wewantsounds it delighted to release outside of Japan for the first time.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. Stanza II (6.20)\u003cbr\u003e2. Poem of Rin (10.07)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSide B\u003c\/strong\u003e\u003cbr\u003e3. 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A solid session musician who'd been around since the 50s, he played with the likes of Lionel Hampton, Cal Tjader and of course Ray Charles, who signed him to his sub label Crossover Records in the early 70s to release \"Windows of the Mind.\" Interestingly Brooks also appears on Bea Benjamin's 1976 cult classic African Songbird produced by Dollard Brand. \"Windows of the Mind\" released in 1974 remains Brooks' only solo album.\u003c\/p\u003e\n\u003cp\u003e\"Windows of the Mind\" was recorded in Los Angeles and co-produced by Ray Charles. It is a skilful brass-led mix of jazz and funk performed by such cult players as bassist Larry Gales (Thelonious Monk), drummer Clarence Johnston (Freddie Roach, James Moody), Saxophonist Herman Riley (Side Effect, Pleasure, Earth Wind \u0026amp; Fire, Letta Mbulu), guitarists Jef Lee (Roy Ayers, Sylvia Striplin) and cult player Calvin Keys of Black Jazz Records fame.\u003c\/p\u003e\n\u003cp\u003eFrom the groove of \"Rockin Julius\", \"Shetter Cheeze\" and \"Black Flag\" to the mid-tempo Jazz mood of \"Cooling It\" and \"C.P. 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Original LPs now change hands for a few hundred dollars.\u003c\/p\u003e\n\u003cp\u003eWewantsounds is now glad to make this landmark album available again in partnership with The Ray Charles Foundation, with newly remastered audio and striking original artwork.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. Rockin Julius\u003cbr\u003e2. Cooling It\u003cbr\u003e3. The Jagged Edge\u003cbr\u003e4. The Speech Maker\u003cbr\u003e5. Black Flag\u003cbr\u003e6. Good News Blues\u003cbr\u003e7. Shetter Cheeze\u003cbr\u003e8. C.P. Time\u003cbr\u003e9. 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Wow, that was 50 plus years ago.\" \u003cstrong\u003eOliver Lake\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"This was my true musical education learning to understand colors and freedom of sound.\" \u003cstrong\u003eJoseph Bowie\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"The concert was the impetus for a kaleidoscope of global wonderment and artistic explorations.\" \u003cstrong\u003eBaikida Carroll\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Black Artist Group (BAG) was founded in St Louis, USA, in 1968 to promote local artists from the burgeoning Black Arts movement, including musicians, playwrights, dancers and poets. The BAG quintet heard here pulled together key musicians from the larger organisation, including Oliver Lake on sax, Baikida Carroll and Floyd LeFlore on trumpet, Joseph Bowie on trombone and Charles 'Bobo' Shaw on drums. The musicians emerged from the organisation to become a vital force within the late ‘60s free jazz revolution. Modelled on the AACM and the Art Ensemble of Chicago with whom they had close ties, this subset of BAG musicians followed in the footsteps of their Chicago colleagues, relocating to Paris in the early ‘70s on the recommendation of Lester Bowie, Joseph's older brother.\u003c\/p\u003e\n\u003cp\u003eArriving in the French capital in Oct. 1972 the group made an instant impact on its underground music scene. In December of that year, Andre Francis, ORTF's jazz supremo invited them onto his \"Jazz sur Scene\" radio show, which showcased four groups live over two hours. Arriving onto the stage of the prestigious Studio 104 auditorium of the Maison de la Radio, the group delivered a jaw-dropping 35-minute set that left the audience mesmerised. The performance kicks off with the Senegalese Welcome Rhythm and a percussion intro and then turns into a heavy funk rhythm set by Bobo Shaw before the group moves onto more spiritual and serene soundscapes. They then launch into more euphoric free improvisation which turns into a joyful march and then finish with another ecstatic funk rhythm before the audience explodes in rapturous applause.\u003c\/p\u003e\n\u003cp\u003eThis BAG performance is miraculous both in terms of sound quality - having been taped with Radio France's state-of-the-art audio equipment – and of pure musical quality. Radically different from their \"Aries 1973\" LP, it shows the group's versatility. As BAG expert Benjamin Looker, author of the book \"Point from Which Creation Begins - The Black Artist Group of St. Louis\" highlights in his liner notes: \"Distinguishing this album from “In Paris” is the central, unifying role played by Shaw, who toggles between free-form percussive colorations and a series of deep, mesmerizing funk-oriented grooves.\"\u003c\/p\u003e\n\u003cp\u003eThe release of \"For Peace and Liberty\" is all the more extraordinary given that the group's legacy consists of just one single privately pressed album, “Aries 1973”, a recording which has since gained cult status (Thurston Moore included the album in his Grand Royal Top Ten From the Free Jazz Underground list in 1995). As a matter of fact, the tapes were gathering dust at INA and were previously thought lost, mislabelled on the INA database. Only thanks to a chance listening of another concert - where the BAG live set was buried within - was the recording unearthed making this historic release possible fifty years on.\u003cbr\u003e\u003cbr\u003eThe album, issued in collaboration with the group, is presented here as a limited edition boasting a twenty-page booklet featuring texts by all the musicians who reminisce on this unique concert, a 2600-word essay by Benjamin Looker plus previously unseen photos by French photographer Philippe Gras. The release counts as an invaluable document, shedding fresh light on one of the most fascinating groups in modern jazz history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. For Peace and Liberty Part 1 3.35\u003cbr\u003e2. For Peace and Liberty Part 2 7.05\u003cbr\u003e3. For Peace and Liberty Part 3 7.06\u003cbr\u003e4. For Peace and Liberty Part 4 4.57\u003cbr\u003e5. For Peace and Liberty Part 5 4.46\u003cbr\u003e6. 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Fusing Fontaine’s lyrical brilliance - tackling themes like death, social revolt, and female desire - with Vannier’s lush, funky arrangements, the pair created a work that was ahead of its time. The album has been newly remastered from the original tapes, recently rediscovered in the Saravah vaults by Benjamin Barouh, and is now reissued in a deluxe 2-LP edition featuring a wealth of bonus material.\u003c\/p\u003e\n\u003cp\u003eThe first LP presents the original album in stunning clarity, restoring every nuance of Fontaine’s cutting-edge songs alongside Vannier’s lush orchestrations. The second LP offers a selection of rare and previously unreleased recordings, including demos - recently unearthed by the album’s composer, Olivier Bloch-Lainé – instrumentals showcasing Vannier’s skills, and a groundbreaking 1969 live rendition of “Il Pleut” recorded for France Inter\/ORTF. This version features Malachi Favors on bass, forming a direct link to her next LP, Comme à la Radio, recorded with the Art Ensemble of Chicago (to be reissued in 2026.)\u003c\/p\u003e\n\u003cp\u003eAlso included is a 20-page bilingual booklet packed with rare archival photographs and documents. Featuring introductions by Stereolab’s Laetitia Sadier and journalist Jeremy Allen, as well as essays by Fontaine’s biographer Benoît Mouchart and Benjamin Barouh, the booklet offers rich context and fresh perspectives on the album’s legacy.\u003c\/p\u003e\n\u003cp\u003eRebellious, witty and timeless, Brigitte Fontaine Est Folle is a landmark work by an artist who not only redefined French pop but also expanded its boundaries on the international scene. 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A pioneering artist whose work spanned literature, sound, performance, and visual art, Gysin remains inseparable from the Beat movement and his long-time friend William Burroughs.\u003c\/p\u003e\n\u003cp\u003eBorn in England and raised in Edmonton, Canada, he lived in Paris in the ‘30s, New York in the ‘40s, Tangier in the ‘50s—where Paul Bowles introduced him to the Master Musicians of Jajouka—and returned to Paris by the end of that decade, becoming a central figure among writers and artists experimenting with new forms of expression. His cut-up technique, permutation poetry, and cross-disciplinary approach influenced generations of creators including David Bowie, Laurie Anderson, Genesis P. Orridge, and Burroughs himself.\u003c\/p\u003e\n\u003cp\u003eProduced by Ramuntcho Matta in the 1980s and early 1990s, 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.\u003c\/p\u003e\n\u003cp\u003eSlowly 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. As Jason Weiss notes, “the strands of Gysin’s narrative phase in and out of focus, suggesting that experience and memory can always be revisited through new connecting threads.” 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.\u003c\/p\u003e\n\u003cp\u003eThis 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 Weiss situating the recordings in historical and artistic context. Issued alongside a major exhibition dedicated to Gysin at the Museum of Modern Art in Paris, opening Spring 2026, this release is both a vital archival document and a timely reappraisal of an artist whose influence continues to resonate across contemporary music and art.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. Dreamachine Pt. 1 6.10\u003cbr\u003e2. Dreamachine Pt. 2 6.14\u003cbr\u003e3. 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WEWANTSOUNDS has gone back to the original negative to reconstruct the original artworks and will add many jaw dropping never-seen photo sessions and CD Bonus material with new liner notes. LPs will be released in glorious gatefold sleeves.\u003c\/p\u003e\n\u003cp\u003eAwareness is Buddy Terry’s first album for Mainstream Records out of the three he recorded for Bob Shad’s label. This is pure undiluted spiritual jazz both deep and funky. Prior to that Terry had recorded a couple of soul jazz albums for Prestige Record, “Electric Soul” in 1967 and “Natural Soul” in 1968. He then went under the radar until the recording of this album, an undisputed buried treasure Wewantsounds is delighted to reissue.\u003c\/p\u003e\n\u003cp\u003e1971 saw him picked up by the ever active Bob Shad who had just decided to produce a new crop of young jazzmen in tune with the sonic revolution of the time with John coltrane’s Eastern influences and Miles Davis’ experiments drawned from the music Jimi Hendrix and Sly Stone.\u003c\/p\u003e\n\u003cp\u003eAwareness is a pure result of this incredible blend which saw labels like Black Jazz or Strata East transform jazz into a hip and cool genre adorned by the Woodstock generation. Featuring a glittering line up composed of Strata East co-founder Stanley Cowell on piano and Rhodes, Cecil Bridgewater on Trumpet, Buster Williams and Victor Gaskin on bass, Roland Prince on guitar, Mickey Roker on drums and a young Mtume on percussion.\u003c\/p\u003e\n\u003cp\u003eTogether they play a superb mix of deep and funky jazz in the best tradition of the genre. Both hypnotic (Kamili) and funky (check Cowell signature tune Abscretions), the album is a pure delight graced by Shad’s tight production values. It will ravish all lovers of early 70s spiritual jazz.\u003c\/p\u003e\n\u003cp\u003eBuddy Terry recorded another two great albums for Mainstream and played on Art Blakey superb Child’s Dance from 1972 gracing the record with his wonderful soprano sax playing. A great player worth (re)discovering. This release will be augmented by never-seen session photos by Raymond Ross as two CD bonuses in the form of two single versions of “Babylon” and “Stealin’ Gold” well as new liner notes by French journalist Jacques Denis (Liberation\/Superfly)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. Awareness (Suite): Omnipotence\/Babylon\/Unity\/Umility (Trio for Two Bassists and Tenor)\u003cbr\u003e2. Kamili\u003cbr\u003e3. Stealin' Gold\u003cbr\u003e4. Sodom \u0026amp; Gomorrah\u003cbr\u003e5. Abscretions\u003c\/p\u003e\n\u003cp\u003eCD BONUS TRACKS\u003cbr\u003e6. Babylon (single edit)\u003cbr\u003e7. Stealin' Gold (single edit)\u003c\/p\u003e","brand":"Wewantsounds","offers":[{"title":"CD","offer_id":64397640597881,"sku":"WWSCD9","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/8053\/files\/WWSLP9BuddyTerryfrontcover.jpg?v=1788265831"},{"product_id":"donna-mcghee-make-it-last-forever","title":"Donna Mcghee 'Make It Last Forever'","description":"\u003cp\u003eDonna McGhee est l'une des chanteuses clés de la scène disco new-yorkaise des années 70. Originaire de Brooklyn, elle commence sa carrière en chantant dès son plus jeune âge dans la chorale de Gospel de sa grand-mère, perfectionnant ses talents de chanteuse et se faisant connaître localement. Sa première chance dans l'industrie survient quand elle est repérée par le bassiste Johnny Flippin, qui l'invite à rejoindre son groupe de funk, ni plus ni moins que le Fatback Band emmené par le batteur Bill Curtis. Nous sommes en 1975 et l'album est \"Raising Hell\" sur lequel on peut entendre la voix de McGhee tout du long, notamment sur le classique \"Do The Bus Stop.\" Après ce premier coup de maitre, elle enregistre « Night Fever » avec le groupe et reste avec eux pendant quelques années, tournant à travers les Etats Unis.\u003c\/p\u003e\n\u003cp\u003eSuite à une rencontre décisive avec le producteur Greg Carmichael, Donna McGhee quitte le navire Fatback et commence à travailler avec le prolifique producteur et son partenaire Patrick Adams. Une série de collaborations s’ensuit donnant naissance à une poignée de singles et des albums devenus légendaires au fil des décennies: On peut entendre Donna sur les albums de Bumblebee Unlimited, The Universal Robot Band et sur le classique album éponyme de Phreek de 1978, chantant sur le titre « May My Love Be With You ».\u003c\/p\u003e\n\u003cp\u003eEn 1978, après avoir créé son propre label, Red Greg Records, Carmichael aidé de Patrick Adams décide de produire un album pour McGhee. Les deux producteurs jouent la plupart des instruments sur l’album et produisent cinq titres. Le résultat, \"Make it Last Forever\" est un classique: des arrangements disco fluides avec une touche de synthés sur un groove implacable magnifié par la voix superbement sexy de Donna McGhee.\u003c\/p\u003e\n\u003cp\u003eCes cinq morceaux sont des classiques à part entière. \"I'm A Love Bug\" est un remake du titre de Bumblebee Unlimited de 1976, \"Love Bug\" (également sorti sur le label Red Greg), tandis que \"Make It Last Forever\" a été repris par Inner Life (avec Jocelyn). Brown) quelques années plus tard. \"Do As I Do\" et \"Mr. Blindman\" sont du même calibre et \"It Ain’t No Big Thing\" est la reprise d'un single du groupe Personal Touch de 1976, produit par Adams sur son label PAP et arrangé par Leroy Burgess. Le titre est l'un des points forts de l'album et est devenue un véritable standard Disco.\u003c\/p\u003e\n\u003cp\u003e« Make It Last Forever » n'a pas eu un énorme impact à sa sortie en 1978, d'où sa rareté. Devenu depuis un des disques de Disco les plus recherchés, L’album prouve, si besoin est, que l’association Donna McGhee - Greg Carmichael - Patrick Adams était une combinaison de génie. L’album est depuis entré dans le panthéon des albums à possder, que Wewantsounds.est a présent heureux de rééditer sous sa forme originale.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. Make It Last Forever\u003cbr\u003e2. Do As I Do \u003cbr\u003e3. It Ain’t No Big Thing\u003cbr\u003e4. Mr. Blindman\u003cbr\u003e5. 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Fairuz's marriage with Assi produced a son, Ziad, who would start a brillant career as a cutting-edge playwright, musician and producer in the early 70s.\u003c\/p\u003e\n\u003cp\u003eWhen Assi Rahbani became ill in the mid 70s and the couple separated, Ziad, tuned in to the coolest global sounds of the day, took over as Fairuz's musical director and started to add elements of Jazz, Funk and Bossa Nova to her music. The collaboration started in 1979 with the Album 'Wahdon' which included the funky cult classic 'Al Bosta.' They worked together again in 1983-84 on the album 'Maarifti Feek' which was released in 1987 and continued their collaboration with 'Kifak Inta' a few years later.\u003c\/p\u003e\n\u003cp\u003eThe album was released on the Lebanese label Relax-in in 1991 on cassette and CD only, but, although there are no recording dates listed, the track 'Ouverture 87' seem to indicate it was recorded around that year. The album follows the same pattern as previous Ziad Rahbani productions for his mother and mixes traditional Arabic music ('Farewell Song', 'It's Not a Problem'), Jazz-Funk ('Ya Leili Leili Leili') and Bossa Nova ('Dia'Anou'), all featuring Ziad's superb orchestrations and slick arrangements.\u003c\/p\u003e\n\u003cp\u003eThe jewel in the crown is the album's title track, 'Kifak Inta' ('And You, How Are You?'), a ballad written and composed by Ziad Rahbani. The song is sung by a woman opening her heart to her childhood sweetheart, now married to another woman, and confessing she still loves him. The subject was controversial and created quite a stir when the song came out in the still conservative Lebanese society of the time. The track 'Prova' which closes side 1 is actually a fascinating studio rehearsal of 'Kifak Inta' featuring both Ziad and Fairuz. The track and the album have since become endearing Fairuz classics and Wewantsounds is glad to release 'Kifak Inta' on vinyl for the first time for the pleasure of all Fairuz and Arabic music lovers.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. Farewell Song 4.05\u003cbr\u003e2. You Can Forget 3.04\u003cbr\u003e3. Ouverture 87 1.42\u003cbr\u003e4. \"Ya Leili Leili Leili\" 7.07\u003cbr\u003e5. Reprise 1.16\u003cbr\u003e6. Prova 3.34 7. \"Kifak Inta\" (How Are You?) 3.32\u003cbr\u003e8. \"Dia' Anou\" 3.16\u003cbr\u003e9. Something Is Happening 2.47\u003cbr\u003e10. Indi Thika Fik 4.25\u003cbr\u003e11. 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Alongside his musical education, he experienced the difficult reality of immigrant life in France.\u003c\/p\u003e\n\u003cp\u003eIn Paris, Khodja became a member of Les Flammes, a group composed largely of musicians from the African diaspora, particularly Cape Verde. With Les Flammes providing the musical backing and the vocal group El Salem handling background vocals, Khodja recorded Ken Andi Habib in 1975, in a Parisian studio. The album blends North African melodies with jazz, funk, and Caribbean influences, reflecting the diverse musical environment of the city at the time.\u003c\/p\u003e\n\u003cp\u003eReleased by the Algerian label La Voix Du Globe, Ken Andi Habib was distributed mainly within North African immigrant communities in France and Algeria. While it received limited attention at the time of its release, it later became highly regarded among collectors and DJs interested in rare Arabic grooves and North African recordings. The album stands out for its synthesis of Arabic music with contemporary styles without losing its distinct identity.\u003c\/p\u003e\n\u003cp\u003eThis first official reissue has been remastered in Paris by Colorsound Studio. It restores the original artwork and includes newly commissioned liner notes by North African music specialist Rabah Mezouane, who places Khodja’s work within the wider context of musical innovation by North African artists in France during the 1970s.\u003c\/p\u003e\n\u003cp\u003eWewantsounds is pleased to reintroduce Ken Andi Habib to all fans of Arabic music and Global grooves, highlighting an important chapter in the history of Algerian music created in exile.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. Habitek 4.32\u003cbr\u003e2. Ken Andi Habib 4.56\u003cbr\u003e3. Ghariti Bya 3.45\u003cbr\u003e4. 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Born Keiji Otsuka in 1937 in Tokyo, Otsuka joined Sadao Watanabe's Cosy Quartet in the late fifties before switching to Hidehiko Matsumoto's quartet where he gained exposure as one of Japan's premier drummers. In the mid 60s, he formed his own trio with Hideo Ichikawa (p) and Masaoki Terakawa (b) recording several highly-acclaimed albums and also playing with international stars such as Hampton Hawes and Roy Haynes.\u003c\/p\u003e\n\u003cp\u003eThe 70s were a productive decade and Otsuka embraced the latest development in jazz including fusion and modal jazz enthusiastically. Having recorded for Trio, Three Blind Mice and Nippon Columbia, the musician signed with Koki Miura's groundbreaking Bellwood Records (responsible for producing the emergent wave of folk rock artists led by Happy End and Haruomi Hosono) and recorded a live album at Nemu Jazz Inn in the Nemu resort, south of Nagoya. The evening was a special one. On top of The George Otsuka quintet (featuring Mitsuaki Furuno (b), Norio Ohno (perc), Shozo Sasaki (sax) and Fumio Karashima (p)), were the supergroup of Norman Connors, Eddie Henderson and Gary Bartz who were also recording a live album, “Dance Of Magic” that has since become legendary.\u003c\/p\u003e\n\u003cp\u003eOn the night, Otsuka and his sidemen recorded four tracks including \"Little Island\" a Karashima original and \"Something Everywhere\" a faithful rendition of Steve Kuhn brazilian-flavoured original which had just appeared on his ECM album \"Trance\". Showcased on this version are Karashima's superb Fender Rhodes playing and Sasaki's inspired soprano sax. Side 2 begins with a breathtaking version of the Coltrane standard \"Miles Mode\" finishing with a great drum solo by Otsuka followed by a superb version of the Minnie Riperton classic, \"Loving You\" played in a mid-tempo funky mode with a great Rhodes solo.\u003c\/p\u003e\n\u003cp\u003eA unique time capsule, the album finds the quintet on fire and \"Loving You George\" is a vivid testimony that Otsuka and his musicians were at the top of their game and one of the best groups in Japan, playing a mix of modal and groovy tunes full of exciting and inspired solos. An album known to the Japanese music lovers that Wewantsounds is happy to reissue for the first time in decades with original artwork, OBI strip and audio remastered from the original tapes by King Records in Japan.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e \u003cbr\u003e1. Little Island 12.12\u003cbr\u003e2. Something Everywhere 10.42\u003cbr\u003e3. Miles Mode 9.21\u003cbr\u003e4. 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Her albums for Nippon Columbia recorded in the 80s capture this vibrant moment, combining sophisticated studio craft with the pulse of Tokyo’s nightlife.\u003c\/p\u003e\n\u003cp\u003eThe 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.\u003c\/p\u003e\n\u003cp\u003eTokyo 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.”\u003c\/p\u003e\n\u003cp\u003eWith 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.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. Love is The Competition 1983 3.50\u003cbr\u003e2. Brand-New Day 1986 4.57\u003cbr\u003e3. SFO-Oakland 1981 3.35\u003cbr\u003e4. 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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.\u003c\/p\u003e\n\u003cp\u003eAcross its eleven tracks, the album moves seamlessly between funky grooves, jazzy arrangements, and cinematic moods. “Shady Blues” in particular has become a cult favourite 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.\u003c\/p\u003e\n\u003cp\u003eA 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.\u003c\/p\u003e\n\u003cp\u003eThis 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. As Le Gendre notes, “Music By Lee Mason is a real digger’s dream. Eleven short pieces full of killer sounds, from a gleaming piano to a rumbling bass via stabbing brass.”\u003c\/p\u003e\n\u003cp\u003eWith 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.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. 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The musicians had been active as session musicians for the label since the late 60s, mainly backing such label acts as The Whatnauts.\u003c\/p\u003e\n\u003cp\u003eAs a matter of fact, the Whatnauts’ manager, Bunch Herndon, makes guest appearance on the album as percussionist. Beside the core group of Watson, McTeer and McCoy, the album's line-up features several other cult musicians and also the orchestrator Sammy Lowe, a seasoned professional who had been arranging for Sam Cooke, James Brown and Nina Simone to name just a few.\u003c\/p\u003e\n\u003cp\u003eThis solid group of session musicians worked their magic in the studio offering the perfect setting to Watson's compositions. On most of the album, Watson decided to add a social and political edge, a direction that was popular at the time with Marvin Gaye's 'What's Going On' and Curtis Mayfield's 'Superfly' having just been released to huge success. Kicking off the album is the Funk killer “Time is Running Out” featuring a huge Hammond organ-led groove, enhanced by a powerful brass section and funky guitar licks. The song is mostly instrumental except for the refrain sung ad-lib over the formidable groove.\u003c\/p\u003e\n\u003cp\u003eThe song is followed by \"Only People Can Save the World\" a soulful ballad based on a similar structure with the title sung over a catchy instrumental. The song is in fact the instrumental version of the Whatnauts' song of the same name which was also released in 1972. The album continues on the Funk vein with the instrumental \"Headhunter\" featuring another explosive groove, followed by \"World,\" a protest song dealing with the impact of the Vietnam war among the African American community. The pace slows down with \"Trails” before going back to its deep funk foundations with the instrumental \"Lock Your Door\" and ending on a sixties soul note with the track \"Boots in the Snow.\"\u003c\/p\u003e\n\u003cp\u003eNobody seems to have an explanation as to why this elusive album is so rare fueling rumours it actually never came out. We will probably never know the full story of Machine, but Wewantsounds is glad to make up for this injustice and put this funky gems back into circulation for the pleasure of all the Soul and Funk heads.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. Time Is Running Out 4.47\u003cbr\u003e2. Only People Can Save The World 4.42\u003cbr\u003e3. Why Can't People (Be Colors Too?) 4.38\u003cbr\u003e4. Headhunter 3.08 \u003cbr\u003e5. World 5.31\u003cbr\u003e6. Trails 5.12\u003cbr\u003e7. Lock Your Door 3.12\u003cbr\u003e8. 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A companion album to Hosono's own 'Tropical Dandy' and 'Bon Voyage Co.' albums(on which Kubota plays), the album was at the forefront of a tropical musical movement started in Japan in the mid-70s.\u003c\/p\u003e\n\u003cp\u003eThe core Sunset Gang consists of Kubota on Guitar, Takashi Onzo on bass, Yosuke Fujita on guitars and mandolin, Keni Inoue on lead guitar and Hiroki Komazawa on pedal steel guitar. They are joined on the album by Hosono on drums and Teriyuki Kokubu on piano.\u003c\/p\u003e\n\u003cp\u003eHaving travelled to the United States in the early 70s, Makoto Kubota had fallen in love with American music and had brought back many influences from his sojourn on the East and West coast. these are evident from the tracks covered by the band on 'Hawaii Champroo', including Jesse Fuller's 'San Francisco Blues', The Rooftop Singers' 'Walk Right In' (an old Gus Cannon ragtime) or The Texas Playboys' classic 'Steel Guitar Rag.'\u003c\/p\u003e\n\u003cp\u003e'Hawaii Champroo' also features originals such as the funky 'Shanghai Gaeri' and a nod to the Hula Hawaiian dance 'Moonlight Hula'. One of the highlights of the album is the classic 'Haisai Ozisan', the Okinawan 1972 cult classic by Shoukichi Kina which has become a standard in Japan.\u003c\/p\u003e\n\u003cp\u003eAll in all, 'Hawaii Champroo' is a timeless classic and one of the key Japanese albums from the 70s which Wewantsounds is happy to introduce outside of Japan for the first time.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. Steel Guitar Rag 3.28\u003cbr\u003e2. Moonlight Hula 3.19\u003cbr\u003e3. Walk Right In 2.58\u003cbr\u003e4. Shoka No Kaori 3.52\u003cbr\u003e5. Hi Sai Ozisan 5.16\u003cbr\u003e6. Itsu No Hi Omae Wa (I Love You So) 6.33\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSide B\u003c\/strong\u003e \u003cbr\u003e1. San Francisco Bay Blues 3.00\u003cbr\u003e2. Shanghai Gaeri 8.12\u003cbr\u003e3. Kokkyo No Minami (South Of The Border) 5.06\u003cbr\u003e4. 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This live album, recorded during a French tour in 1982 came at a critical time when France, after the election of Francois Mitterrand, was embracing its multi-ethnic sensitivity.\u003c\/p\u003e\n\u003cp\u003eThrough the rise of FM radios such as Radio Nova, an offshoot of cult magazine Actuel, the French music scene suddenly got much more opened. The “Sono Mondiale” as Nova would call World music, was born.\u003cbr\u003e\u003cbr\u003eOrganised by French producer Martin Meissonnier, the sold-out tour created a stir in France bringing together two legends, Manu Dibango and his group plus iconic jazz traveller Don Cherry, which Meissonnier had closely worked with in the late 70s (Cherry doesn’t appear on this set but will soon in a 2nd volume)\u003cbr\u003e\u003cbr\u003eCaptured on December 22, 1982, at the Théâtre La Criée in Marseille, Dibango 82 delivers an electrifying concert of African rhythms, jazz, and funk mastery, with a pinch of Latin music, led by Dibango accompanied by a stellar ensemble of musicians: Congolese guitarist Jerry “Bokilo” Malekani, drummer Brice Wassy, percussionist Valery Lobe, three of his most trusted partners, together with Jean-Pierre Coco on percussion, Hary Gofin on bass, pianist Del Rabenja from Madagascar and two superb background singers, Florence ‘Titty’ Dimbeng and Sissy Dipoko.\u003c\/p\u003e\n\u003cp\u003eThe set opens with a traditional Cameroonian song “Migilbawe” sung by the two female singers a-capella before moving on to three Dibango classics stretched out here for maximum pleasure: “African Boogie” featuring a superb solo by Bokilo Malekani and Hary Gofin, “Ashiko Oumba” and the vibrant “Waka Juju” featuring a jaw-dropping percussion solo. As Graeme Ewens noted in his liner notes, “Manu's African Sound is a strong rhythmic and melodic unit. Super-polyrhythms, jazz-funky bass and keyboards, Congolese guitar provide a physically moving accompaniment to his own horn playing.”\u003c\/p\u003e\n\u003cp\u003eThe audio from the French INA archives has been remastered from master tapes and the album’s liner notes by Graeme Ewens are augmented by an introduction from French photographer Christian Ducasse who organised the concert. Last but not least the front cover features a superb shot by cult Paris-based Bill Akwa Bétotè who documented the Paris 80s African music scene making Dibango 82 an event for all Manu Dibango and African music fans.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. Migilbawe 1.15\u003cbr\u003e2. Africa Boogie 11.04\u003cbr\u003e3. 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It was just a few month after the Codona album release but unlike the landmark ECM album featuring Cherry, ‘Song of Soil‘ was only released in Japan at the time. Thanks to Japanese pianist Takashi Kako, who was living in Paris at the time, a session had been set up with Don Cherry and Charlie Haden thanks to Martin Meissonnier, a young journalist and radio producer, who was starting to make an impression on the Paris music scene.\u003c\/p\u003e\n\u003cp\u003eMore importantly, Meissonnier was also Don Cherry's right arm in Europe at the time. \"I had met him at a concert at the Paris venue La Mutualité for an Art Ensemble concert or maybe it was Sun Ra and I offered to help.” he remembers. Paris at the time was a buzzing city and one of the most active epicentres of Jazz creativity thanks to the exodus of American free jazz musicians in Paris a few years earlier.\u003c\/p\u003e\n\u003cp\u003eMasahiko Togashi was, at the time, one of Japan's most celebrated Jazz musicians. Born into a musical family he had quickly become a sought-after drummer on the Tokyo scene and a key exponent of the Japanese Free Jazz movement at the turn of the 60s, alongside guitarist Masayuki Takayanagi, pianist Masahiko Sato and saxophonist Mototeru Takagi. Despite an accident that had left him paralysed from waist down, Togashi became more active than ever thanks to a special drumkit that enabled him to play like before. He came to Paris to record 'Song of Soil' with the two American musicians who were touring Europe with their Old and New Dreams quartet (they'd played a concert promoted by Meissonnier at the Palais des Glaces on the 31st July).\u003c\/p\u003e\n\u003cp\u003eIt was a period of intense creativity for jazz musicians and Don Cherry in particular. \"Don would make films - in Sweden or elsewhere - would participate in lots of projects, a thousand things that I was not aware of. And then he kept asking me to set up different bands for him.\" adds Meissonnier. Always on the lookout for new inspiring adventures, he agreed to do the session with Togashi and the musicians headed to the Ramses studio to record the album with Haden as the bassist.\u003c\/p\u003e\n\u003cp\u003eRecorded over two days and comprised of six Togashi originals, 'Song of Soil' is a superb blend of global improvisational interaction featuring Togashi's deep abstract drumming, Don Cherry's imaginary trumpet playing and Charlie Haden's expansive basslines. Alternating between explorative sequences such as 'June' or 'Oasis' and meditative soundscape full of Eastern influences such as the title track, 'Rain' or 'Words of Wind Pt2' - the later highlighting Cherry's beautiful flute playing - 'Song of Soil' is a mind-expanding voyage into the Fourth World.\u003c\/p\u003e\n\u003cp\u003eAlso present during the session was Don Cherry's friend, photographer Philippe Gras who'd shot the cult legendary short film \"Don Cherry\" in 1968. Gras shot the session for the album release and artwork. For Meissonnier it was the beginning of a meteoric rise that would see him shape the global sound of the 80s with Fela Kuti, King Sunny Ade and Rai musicians. For the musicians, it was a solar experience. A key album in Don Cherry's discography as well as an essential Japanese Jazz album, 'Song of Soil' is a unique meeting of the minds and it is reissued here in its original format augmented with an 8-page illustrated booklet giving a fascinating insight into this magical session that happened over two hot Paris summer days.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. June (6.15)\u003cbr\u003e2. Words of Wind Pt 1 (2.57)\u003cbr\u003e3. Oasis (10.27)\u003cbr\u003e4. Song of Soil (4.51)\u003cbr\u003e5. Words of Wind Pt 2 (5.35)\u003cbr\u003e6. 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Famous for her 70s exploitation movies ('Lady Snowblood', the 'Female Prisoner Scorpion' and 'Stray Cat Rock' series) and revered by Tarantino, Meiko Kaji also released a string of great albums on Teichiku mixing Japanese Pop and cinematic grooves. \u003c\/p\u003e\n\u003cp\u003eThis reissue comes with deluxe Gatefold sleeve LP, OBI strip and a 2-p insert featuring new liner notes by by Hashim Kotaro Bharoocha.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. Ginchou Wataridori* 3.10\u003cbr\u003e2. Jingi Komoriuta** 3.19\u003cbr\u003e3. Koini Inochio** 3.17\u003cbr\u003e4. Ginchou Buruusu* 2.50\u003cbr\u003e5. Hakodate Monogatari 3.40\u003cbr\u003e6. Inochino Namida 3.30\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSide B\u003c\/strong\u003e\u003cbr\u003e7. Hamabeno Meruhen 3.06\u003cbr\u003e8. Yogirino Sukina Anata 3.32\u003cbr\u003e9. Kanashii Egao 3.42\u003cbr\u003e10. 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By the time she appeared in it, she had already made almost fifty feature films (she began her career in 1965) among which the cult 'Stray Cat Rock' and 'Female Prisoner Scorpion' film series and she was one of the most famous exploitation actresses in Japan doubling as a sex symbol. This gave the studios the idea of getting her to start a singing career and release music closely associated with the films she starred in often singing the theme songs. Thus she began releasing records at the dawn of the 70s, recording several 7\" singles and five albums for Teichiku which have become sought-after and almost as cult as her films.\u003c\/p\u003e\n\u003cp\u003eDrawing on her film roles, the music on these albums were an uber-cool mix of kayokyoku (Japanese Pop), traditional Enka Music, Acid Folk and Funky beats arranged by the best producers of the time in a cinematic way that could sound like Ennio Morricone or Jean-Claude Vannier. that explosive cocktail is featured in full blow on the first album from the Meiko Kaji reissue program, 'Hajiki Uta' released by Teichiku in 1973. \u003cbr\u003eThe album featured two film songs, namely 'Urami Bushi' used for the film series \"Female Prisoner Scorpion\" and 'Onna No Jumon' featured in the film 'Female Prisoner Scorpion - Jailhouse 41,' which have been composed by Shunsuke Kikuchi who also composed the score for these films.\u003c\/p\u003e\n\u003cp\u003eAt first Kaji was unsure of her singing talents as told to Hashim Bharoocha in an interview but she quickly rose to the challenge: \"I told Shunsuke Kikuchi that I couldn’t imagine myself singing the songs. He said I could ignore the melody that he wrote, and just sing it the way I wanted to. That really lifted the pressure off my shoulders, and I decided to sing the song as the character in the film. The director was also happy with that idea.”\u003cbr\u003eThe rest of the album follows the same pattern with atmospheric songs such as \"Onna Hagure Uta\" or \"Onna Somuki Uta\" displaying Meiko's sombre singing over a superb slow-burning groove, which precedes the funkier \"Hitori Kaze\" featuring a wah wah guitar, a breakbeat-like rhythm section and slick string arrangement, shaping the unique Meiko Kaji signature sound.\u003c\/p\u003e\n\u003cp\u003eWewantsounds is delighted to reissue \"Hajiki Uta\" and the rest of Meiko Kaji superb early 70s albums for the first time in fifty years in their glorious original Japanese artwork, with remastered audio, cementing further the actress' reputation as a true international pop culture icon.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. Meikono Futebushi 3.13\u003cbr\u003e2. Wara No Ue 3.47\u003cbr\u003e3. Onna Somuki Uta 3.35\u003cbr\u003e4. Hizumi Moe 2.55\u003cbr\u003e5. 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Renowned for her roles in the Stray Cat Rock and Female Prisoner Scorpion series, Kaji was the definitive face of Japanese exploitation cinema while simultaneously developing a revered musical career. Between 1972 and 1974, she recorded five sought-after albums for Teichiku Records—starting with Ginchou Wataridori (1972), followed by Hajiki Uta and Yadokari (both 1973). Wewantsounds is now delighted to continue its reissue program with her 1974 release, Otoko Onna Kokoro No Aika (“Lament of Man, Woman, and Heart”).\u003c\/p\u003e\n\u003cp\u003eWhile her previous albums often featured a few key theme songs from her films, Otoko Onna Kokoro No Aika is a classy offering of Showa kay?kyoku (pop) and enka, the \"Japanese blues.\" Kaji approached the record with an actress’s sensibility, treating each cover as a dramatic role. \"I see enka not just as music, but as drama,\" Kaji explains to Hashim Kotaro Bharoocha in an interview for this release. \"When I sing enka music, I approach it as if I’m acting. It’s the type of music that I can perform using my sensibilities as an actor.\"\u003c\/p\u003e\n\u003cp\u003eThe 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.\u003c\/p\u003e\n\u003cp\u003eReissued 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.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. Akashia No Ame Ga Yamu Toki 4.09\u003cbr\u003e2. Meiko No Yume Wa Yoru Hiraku 3.55\u003cbr\u003e3. Onna Kokoro No Uta 3.19\u003cbr\u003e4. Ginza No Cho 3.38\u003cbr\u003e5. Shinjuku Blues 2.37\u003cbr\u003e6. Kasbah No Onna 4.10\u003cbr\u003e7. 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Renowned for her performances in the acclaimed Stray Cat Rock and Female Prisoner Scorpion film series, Kaji was one of Japan’s most iconic exploitation film actresses of the early 1970s.\u003c\/p\u003e\n\u003cp\u003eBeyond acting, she was invited by film studios to perform theme songs for many of her films leading to revered music career. Between 1972 and 1974, she recorded five albums for Teichiku, which have since become highly sought after.\u003c\/p\u003e\n\u003cp\u003eYadokari (“hermit crab”), released in 1973, was Kaji’s third album for the lable. Like its predecessors Gincho Wataridori and Hajiki Uta, it offers a rich mix of kay?kyoku (Japanese pop), traditional enka, psychedelic rock, and cinematic ’70s funk. The album includes two tracks, “Hagure Bushi” and “Kiba no Ballad,” from the cult 1973 TV series Sengoku Rock Hagure Kiba, in which Kaji starred.\u003c\/p\u003e\n\u003cp\u003e“Hagure Bushi” stands out as one of the album’s funkiest tracks. Like “Kiba no Ballad,” it was composed and arranged by the legendary producer Yuji Ohno (best known for his work on Lupin the III). The album as a whole is a superb blend of atmospheric songs, from the haunting, slow-burning title track “Yadokari” to “Ah...,” which features groovy guitar licks, harmonica, and sleek string arrangements, evoking a subtle Morricone influence.\u003c\/p\u003e\n\u003cp\u003eTo complete this reissue, Wewantsounds has included the rare 1973 7” EP Shura No Hana \/ H? Yare Ho as a bonus. Only released as a single, “Shura No Hana” (Flower of Carnage”) is a cult classic, famously featured on Quentin Tarantino’s Kill Bill Vol. 2 soundtrack. Reflecting on its use in the film, Kaji told Hashim Kotaro Bharoocha in an interview for this release: “I couldn’t fathom how an enka song like ‘Shura No Hana’ would work in a Hollywood film. But when I saw the screening, it felt very natural, which I couldn’t believe.”\u003c\/p\u003e\n\u003cp\u003eA key release in Meiko Kaji’s 1972–1974 Teichiku Records catalog, Yadokari is a testament to her singular talent as a singer. Wewantsounds is delighted to reissue the album in its full glory, remastered from the original master tapes and presented in its Japanese-style gatefold sleeve.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. Yadokari 3.26\u003cbr\u003e2. Sunset 3.08\u003cbr\u003e3. Watashi Umarete Fushiawase 3.11\u003cbr\u003e4. Yamaneko 2.58 \u003cbr\u003e5. Arijigoku 2.\u003cbr\u003e6. Kakioki 3.33 \u003cbr\u003e7. Hagure Bushi 4.22\u003cbr\u003e8. Ayatori 3.37\u003cbr\u003e9. Ah... 3.\u003cbr\u003e10. Aru Deai 3.30\u003cbr\u003e11. Onna Negai Uta 3.36\u003cbr\u003e12. Kiba No Ballad 3.16\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBonus 7“ EP\u003c\/strong\u003e\u003cbr\u003e1. Shura No Hana (Flower Of Carnage) 3.46\u003cbr\u003e2. H? Yare Ho 3.06\u003c\/p\u003e","brand":"Wewantsounds","offers":[{"title":"CD","offer_id":64397649772921,"sku":"WWSCD94","price":16.99,"currency_code":"GBP","in_stock":true},{"title":"Vinyl LP","offer_id":64397649805689,"sku":"WWSLP94","price":38.49,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/8053\/files\/WWSLP94front2000.jpg?v=1788346622"},{"product_id":"michel-jonasz-clara-et-les-chics-types","title":"Michel Jonasz 'Clara Et Les Chics Types'","description":"\u003cp\u003e1980 was a turning point for both music and movies in France. The country had woken up to the 70s libertarian utopias and alongside Jean-Jacques Beineix's Diva which was redefining movie aesthetics, a new generation or actors was rising with the likes of Daniel Auteuil, Isabelle Adjani and the Splendid Troupe. Musically, the same was happening and Michel Jonasz was one of the finest exponents of French music's new scene led by Veronique Sanson, Michel Berger and Alain Souchon. A gifted singer songwriter, Jonasz had had a few hits in the 70s and had also teamed up with Gabriel Yared to write a couple of albums for Francoise Hardy, \"Musique Saoule\"(1978) and \"Gin Tonic\" (1979).\u003c\/p\u003e\n\u003cp\u003eThis was the background that saw the film \"Clara Et Les Chics Types\" come together. The brainchild of famed screenwriter Jean-Loup Dabadie who had risen to fame screenwriting smash hits for directors Claude Sautet and Yves Robert in the 70s, the bittersweet comedy followed a group of friends who have an amateur group (they perform the track “You Kill Me I Kill You” in the opening scene – the song is sung by Guy Khalifa) dealing with the vicissitudes of everyday life at the dawn of the 80s. It gathered this new generation of actors including Josiane Balasko, Thierry Lhermitte and Christian Clavier (from the Splendid troupe) together with Isabelle Adjani, Daniel Auteuil and Christophe Bourseiller.\u003c\/p\u003e\n\u003cp\u003eFor the soundtrack Michel Jonasz was hired and gathered some of the best session musicians including drummer Manu Katché (in one of his first sessions) and bassist Sylvin Marc (who had recorded a couple of albums for Jef Gilson's Palm label in the early 70s). Together they weaved a mainly instrumental blend of Jazz funk, reggae and pop which matched the narrative perfectly. Although all the ingredients were there for a success, the film unfortunately stalled and so did the soundtrack. Jonasz went on to become a huge star in France shortly after, but strangely, the Clara soundtrack was never reissued, not even on CD.\u003c\/p\u003e\n\u003cp\u003eTeaming up with the artist and Warner Music France, Wewantsounds has dug out the original master tapes to reissue the album including two bonus tracks. The audio has been remastered by Colorsound in Paris and the album includes a 4-page colour insert with liner notes by French music and movie expert Guido Minisky (having produced the Pierre Vassiliu and Henri Salvador comps for Born Bad) who interviewed both Michel Jonasz and Christophe Bourseiller for the occasion, giving this cult film and soundtrack its first, highly anticipated release in 40 years.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. “You Kill Me, I Kill You” 4’11\u003cbr\u003e2. Chanson de Clara (Retour Chez Soi) 3’08\u003cbr\u003e3. 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The composer was just out of jail in Greece for political activism and was busy preparing a North American tour but he duly accepted the task. However he said he could only compose the music and not perform it.\u003c\/p\u003e\n\u003cp\u003eLumet agreed and turned to Quincy Jones for advice, the musician having scored Lumet's film \"The Deadly Affair\" in 1966. Jones recommended a young pianist and arranger named Bob James he had worked with, who could help put Theodorakis' composition into recorded music. James was hired on the spot to arrange the score and oversee the recording sessions adding a few cues in the process.\u003c\/p\u003e\n\u003cp\u003eThe result is a stunning masterworks taking Theodorakis' great themes and reworking them in a skilful mix of traditional arrangements and cool jazz-funk tracks like “Honest Cop” and the stunningly funky “On The Streets”. James doesn't remember much of the session players he says in the interview he gave for Wewantsounds' release, but they would have included the usual jazz funk suspects who were playing on his CTI sessions.\u003c\/p\u003e\n\u003cp\u003eWewantsounds is delighted to present this classic soundtrack for Record Store Day newly remastered from the original tapes by Colorsound Studio in Paris. The release features a stunning gatefold designed by American illustrator Eric Adrian Lee including authoritative notes by British film and music critic Jason Wood with an insightful Bob James interview reminiscing about the prodution of this superb soundtrack.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. Theme From Serpico\u003cbr\u003e2. Honest Cop\u003cbr\u003e3. Alone In The Apartment\u003cbr\u003e4. Meeting In The Park\u003cbr\u003e5. Shoe Shop\u003cbr\u003e6. On The Streets\u003cbr\u003e7. Flashback\u003cbr\u003e8. Laurie's Fable\u003cbr\u003e9. Desillusion\u003cbr\u003e10. End Title\u003c\/p\u003e","brand":"Wewantsounds","offers":[{"title":"Vinyl LP","offer_id":64397650690425,"sku":"WWSLP30","price":29.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/8053\/files\/WWSLP30_frontcover2000.jpg?v=1788346493"},{"product_id":"nagat-eyoun-el-alb","title":"Nagat 'Eyoun El Alb'","description":"\u003cp\u003eWhen it comes to Arabic Divas, Oum Kalthoum, Fairuz and Warda usually take the lead in the poll list. But in her native Egypt, singer Nagat Al Saghira comes very close to this triumvirate. Born in Cairo in 1938, Nagat began singing when she was still a child gaining her stage name \"El-Saghira\" (\"the young one\") at this occasion as she started giving concerts at the age of seven, pushed by her father, the famed calligrapher Muhamad Hosny (Nagat's half-sister is the renowned actress Soad Hosny).\u003c\/p\u003e\n\u003cp\u003eNagat quickly rose to fame in the late forties and became an essential part of classic period of Arabic music, interpreting songs by such titans as Mohamed Abdel Wahab, Baligh Hamdy and Kamal Al Taweel. She also sang the works of Syrian poet Nizar Qabbani whom she introduced to a mainstream audience. Nagat started singing shorter songs but then upgraded to longer ones, often performing\/recording them live as it was the trend in the 60s and 70s.\u003c\/p\u003e\n\u003cp\u003eOne such song is \"Eyoun El Alb\" (\"Eyes of the Heart\") which makes up the whole of Side 1 of the original cassette. Written by Mohamed El Mougy and Abd al-Rahman al-Abdouni, Eyoun El Alb is a love song made up of several distinct sections enhancing Nagat's hypnotic singing, accompanied by a percussion-heavy, traditional Egyptian orchestra.\u003c\/p\u003e\n\u003cp\u003eSide 2 is the \"diggers\" groovier side featuring two floaters, \"Bahlam Ma’ak\" (\"I Dream with You\") and \"Ana Basha El Bahr\" (\"I Adore The Sea\") produced by cult Egyptian musician and producer Hany Shenouda, whose albums with his group Al Massrieen are highly sought after on the Arabic funk and Disco scene. One Al Massrieen track features on the \"Sharayet el Disco\" set compiled by Disco Arabesquo who notes that \"Hany Shenouda had made waves with his new musical style that weaved in western funk and disco sounds into Egyptian music.\"\u003c\/p\u003e\n\u003cp\u003eBoth tracks feature an infectious slow-burning groove and incorporate funk influences with fat bass and lines of synth and clavinet that adds a funky tone to Nagat's soft singing. The third track \"Fakra\" (\"Do You Remember\") brings the best of both world with a syncopated rhythm and arrangements that are slightly more traditional than the Shenouda-produced tracks. Originally released in Egypt on Cassette in 1980 on the venerable Soutlephan label, the album is now making its vinyl debut on Wewantsounds annotated by Disco Arabesquo and remastered for vinyl by Colorsound Studio in Paris for the joy of Arabic funk and Global beats worldwide.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. Eyoun El Alb 19.47\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSide B\u003c\/strong\u003e\u003cbr\u003e1. Bahlam Meeak 3.52\u003cbr\u003e2. Fakra 10.05\u003cbr\u003e3. 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During the 60s his career took off as an in-demand arranger, composer and pianist and he worked for numerous labels including King, Toshiba and Teichiku and also for Japanese TV.\u003cbr\u003e\u003cbr\u003eMaeda arranged many pop and jazz albums by the likes of Nobuo Hara, Terumasa Hino, Jazz singer Mieko Irota and, in 1969, he released the album \"This is Jazz Rock\" with saxophonist Jiro Inagaki, reinterpreting international pop, jazz and soul hits with groove arrangements which would paved the way for \"Rock Communication Yagibushi\" a year later. The latter was indeed following the same formula except it swapped international hits with traditional Japanese folk music used for Matsuri, the traditional Japanese festivals celebrating deities through dances, music and parades.\u003c\/p\u003e\n\u003cp\u003eFor the album, Maeda used two line ups - a reduced one comprising Takeshi Inomata on drums, Shigeo Suzuki on sax and flute, Kiyoshi Sugimoto on guitar and Tetsuo Fushimi on trumpet - and an extended one adding three trumpets, four trombones and a different drummer, Takahiro Suzuki.\u003c\/p\u003e\n\u003cp\u003eFrom the opener \"Yagibushi\" to the closing track \"Kuroda Bushi\" the album is an explosive succession of instrumental funk and breakbeat nuggets that are reminiscent of David Axelrod with shades of Italian cinematic groove adding a Japanese twist to the mix. Highlights include the slow burner \"Soran Bushi\" played by the extended line up with bumping bass, funky guitar licks and superb wind arrangements and \"Mt. Bandai Aizu\" played by the first line up and propelled by an enormous groove.\u003c\/p\u003e\n\u003cp\u003eIt's hard to pick a favourite as Norio Maeda hits the mark every time and manages to display many fascinating shades of funk throughout the album. One of the most coveted Japanese classics on the international diggers scene, \"Rock Communication Yagibushi\" is finally available internationally and will please Japanese Jazz Funk's many fans.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrackliting:\u003c\/strong\u003e\u003cbr\u003e1. Yagibushi 2.38\u003cbr\u003e2. Tsugaru Jongara Bushi 2.53\u003cbr\u003e3. Hanagasa Ondo 3.11\u003cbr\u003e4. Otemoyan 2.35\u003cbr\u003e5. Sado Okesa 3.20\u003cbr\u003e6. Soran Bushi 3.35\u003cbr\u003e7. Kinbira Ships 2.40 \u003cbr\u003e8. Asadoya Yunta 3.18\u003cbr\u003e9. Hokkai Bonuta 3.06\u003cbr\u003e10. Mt. Bandai Aizu 3.10\u003cbr\u003e11. Edo Nihonbashi 2.43\u003cbr\u003e12. Tairyo Utaikomi 3.20\u003cbr\u003e13. Donpan Bushi 3.35\u003cbr\u003e14. Kuroda Bushi 2.34\u003c\/p\u003e","brand":"Wewantsounds","offers":[{"title":"CD","offer_id":64397651280249,"sku":"WWSCD89","price":17.99,"currency_code":"GBP","in_stock":true},{"title":"Vinyl LP","offer_id":64397651313017,"sku":"WWSLP89","price":32.49,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/8053\/files\/WWSLP89cover2000.jpg?v=1788346213"},{"product_id":"omar-khorshid-giant-guitar","title":"Omar Khorshid 'Giant + Guitar'","description":"\u003cp\u003eOmar Khorshid's life, if short (he died age 36 in a road accident), was extraordinary. Blessed with a great talent for music, the Egyptian musician and actor became one of the best guitarists of the Arab World accompanying the greatest stars of the 60s and 70s, including Oum Kalthoum, Abdel Halim Hafez and Farid El Atrache. To avoid the political troubles of the time in Egypt, and to fulfil his artistic ambitions, Khorshid moved to Beirut in Lebanon in 1973 and started recording a string of superb albums experimenting with Oriental music.\u003c\/p\u003e\n\u003cp\u003eHe recorded for several labels including Voice of Lebanon, one of the key Lebanese labels of the time. He released his first album 'Giant + Guitar' for the label in 1974 and it was an instantly popular in the Arab world. The album, which has a great ample sound, was recorded at the Polysound studios overseen by engineer Nabil Moumtaz.\u003c\/p\u003e\n\u003cp\u003eThe front cover sees Khorshid on his motorcycle in the busy street of Hamra, one of the most vibrant Beirut neighbourhoods where he was playing most nights in residence. (The album was also released internationally as 'Rhythms from the Orient' with a different artwork focusing on belly dance) \u003cbr\u003eThe sound of the album is both bold and accessible displaying Khorshid's unique guitar sound, accompanied by a small band mixing traditional and modern fuzzed up arrangements. The mesmerizing opening track, 'Rakset El Fadaa', composed by Lebanese musician Nour Al Mallah, is a perfect example of Khorshid's artistry. Starting with a long, hypnotic guitar intro, it then speeds up with the backing of a groovy organ, Oriental percussion and the psych sound of an early synthesizer to great effect.\u003c\/p\u003e\n\u003cp\u003eThe album continues on the same mode blending traditional Oriental music with inventive arrangements as showcased by the Mohamed Abdel Wahab standard 'Leilet Hob' popularised by Oum Kalthoum, which sees Khorshid and his musicians shifting pace several times over eight minutes. One of the peaks of the album in terms of sonic experiments is undoubtedly Korshid's own composition, 'Taqassim Sanat Alfein', with Khorshid's superb guitar in full bloom accompanied by a few touches of synth.\u003c\/p\u003e\n\u003cp\u003eA truly innovative album which pushed the boundaries of Oriental music at the time, 'Giant + Guitar' has gained in stature over the years and has become highly sought after by many DJs and collectors. A hugely important album which Wewantsounds is happy to reintroduce to the international audience for the first time since the 70s.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e \u003cbr\u003e1. Raqset El Fadaa\u003cbr\u003e2. Guitar El Chark\u003cbr\u003e3. Takassim Sanat Alfeyn\u003cbr\u003e4. Laylet Hob\u003cbr\u003e5. Lama Bada Yatasana\u003cbr\u003e6. Teletya Mahla Nourha\u003cbr\u003e7. 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Many of these 60s nuggets blending 60s pop and psychedelia are doing their vinyl debut.\u003c\/p\u003e\n\u003cp\u003eThis release includes the never-heard before full instrumental version of the \"Requiem Pour Un Con\" with its famous breakbeat and two bonus tracks from William Klein's 1968 film \"Mister Freedom\".\u003c\/p\u003e\n\u003cp\u003eIt is pure undiluted Gainsbourg with his classic psyche-pop sound of the late 60s.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. REQUIEM POUR UN CON 2.48\u003cbr\u003e2. PSYCHASTENIE 4.18\u003cbr\u003e3. JOSS A LA CALVADOS 1.42\u003cbr\u003e4. BATUCADA MEURTRIERE 2.59\u003cbr\u003e5. UN NOEL 67 2.17\u003cbr\u003e6. CADAVRE EN SERIE 2.07\u003cbr\u003e7. PSYCHASTENIE (VERSION 2) 4.27\u003cbr\u003e8. BATUCADA MEURTRIERE (VERSION 2) 2.13\u003cbr\u003e9. REQUIEM POUR UN CON (PREVIOUSLY UNRELEASED INSTRUMENTAL MIX)* 3.19\u003cbr\u003e10. NO NO YES YES** 2.44\u003cbr\u003e11. 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He went on to play with the likes of Charlie Parker, Miles Davis and Lester Young, becoming an institution over the decades.\u003c\/p\u003e\n\u003cp\u003eIn the late 60s, after a stint with the John Coltrane's quartet, he put together the Hip Ensemble, a small group featuring the young turks George Adams on sax, Hannibal Marvin Peterson on trumpet, Japanese bass player Teruo Nakamura, Lawrence Killian on percussion together with German pianist Carl Schroeder on Fender Rhodes.\u003c\/p\u003e\n\u003cp\u003eBob Shad, who had worked with Haynes in the 50s when he was running EmArcy, saw the group live in New York one night and decided to sign them on his label Mainstream Records as he was starting to produce jazz again after a few years releasing psychedelic rock. His idea was to plug into the new modal and jazz-funk scenes that was flourishing at the time and Haynes was also experimenting with.\u003c\/p\u003e\n\u003cp\u003eThe album \"Hip Ensemble\" reflects this new direction with a superb mix of spiritual jazz, as heard on the rendition of Stanley Cowell's theme \"Equipoise\" (which had originally appeared on Max Roach's 1968 album \"Members Don't Get Weary\") or the more uptempo \"Nothing Ever Changes For You My Love\" both drenched in Schroeder's Fender Rhodes and showcasing gorgeous solos by Schroeder, George Adams and Marvin Peterson.\u003cbr\u003e\u003cbr\u003eComplementing the group for this session were Mervin Bronson, adding a touch of Fender bass and a second percussionist, Elwood Johnson.\u003c\/p\u003e\n\u003cp\u003eSide two is even groovier with the relentless \"Satan's Mysterious Feeling\" followed by \"You Name It,\" two compositions by George Adams fuelled by the Funky Drumming of Haynes in full flight, the ideal backbone for the players to lay out their inspired solos (including Haynes' explosive one).\u003cbr\u003e\u003cbr\u003eWe've added \"Roy's Tune\" as a bonus track which was recorded at the same session but not included on the original album - it briefly came out on a low-key Mainstream compilation two years after. The track is another fascinating breakbeat that has strangely never been sampled even if Roy Haynes' drums have appeared on many hip hop classics by De La Soul, Dilla, Pete Rock or Q Tip over the years. \"Hip Ensemble\" has been remastered for vinyl by Colorsound Studio in Paris and is a timely reminder that Haynes is one of the greatest jazz drummers of all times.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. Equipoise 4.27\u003cbr\u003e2. I’m So High 4.16\u003cbr\u003e3. Tangiers 6.05\u003cbr\u003e4. Nothing Ever Changes For You My Love 4.18\u003cbr\u003e5. Satan’s Mysterious Feeling 6.35\u003cbr\u003e6. You Name It\/Lift Ev’ry Voice And Sing 9.29\u003cbr\u003e7. Roy’s Tune* 5.09\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e* Bonus track\u003c\/strong\u003e\u003c\/p\u003e","brand":"Wewantsounds","offers":[{"title":"Vinyl LP","offer_id":64397654032761,"sku":"WWSLP100","price":31.49,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/8053\/files\/WWSLP100front2000.jpg?v=1788345661"},{"product_id":"ryuichi-sakamoto-coda","title":"Ryuichi Sakamoto 'Coda'","description":"\u003cp\u003eWhen the film \"Merry Christmas Mr. Lawrence\" hit the cinema in Summer 1983, it was a worldwide instant success, due in no small parts to its renowned director, Nagisa Oshima and to its superb cast including David Bowie, Takeshi Kitano and Ryuichi Sakamoto. The latter, fresh from his success with Yellow Magic Orchestra and a thriving nascent solo career, was also enrolled to compose the score of the film.\u003c\/p\u003e\n\u003cp\u003eThe soundtrack was released at the same time as the film in Summer 1983. It became equally successful and made the Japanese composer a global icon as the instrumental theme became an instant classic all around the world and also Sakamoto's signature track from then on.\u003c\/p\u003e\n\u003cp\u003eThat same year, his Japanese label decided to release an exclusive cassette book as the format was getting popular in Japan. The project, called “Avec Piano,” featured an audio cassette together with a beautiful 80 page book including illustrations and texts by various designers and writers. As for the music, Sakamoto re-recorded the Merry Christmas soundtrack on solo piano at the Onkyo Haus studio in Tokyo. This version of the theme which Sakamoto would re-record many times, is therefore the first ever recorded solo piano version of the composition. As Andy Beta notes in the liner notes, \"Now we can hear Sakamoto –seated in front of Steinway full concert piano housed in the first studio at Onkyo House in Ginza– his lifelong debt to the music of Debussy (and “Claire de Lune” specifically) laid bare.\u003c\/p\u003e\n\u003cp\u003eThe cassette book's success led to an LP release a few months later under a new title, \"Coda\" and with a different artwork by Japanese designer Tsuguya Inoue. The original orchestrated theme \"Merry Christmas Mr. Lawrence (which had been included on the cassette as a bonus on top of the piano version) was dropped, replaced by two new tracks, \"Japan\" and \"Coda,\" recorded a couple of years earlier in 1981 and featuring Ryuichi Sakamoto's blend of ethereal ambient soundscapes and modern electronics.\u003c\/p\u003e\n\u003cp\u003eThe album, which has never been available outside of Japan, has become cult over the years for the fascinating interpretation of the main theme, but also for \"Germination,\" which was used by Luca Guadagnino in the soundtrack of his arthouse hit \"Call Me By Your Name\" in 2017. \"Coda\" is quintessential Ryuichi Sakamoto and an essential album in the Japanese composer’s discography, which Wewantsounds is delighted to bring to his many international fans for the first time.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. Merry Christmas Mr. Lawrence 4:49\u003cbr\u003e2. Batavia 0:50\u003cbr\u003e3. Germination 2:09\u003cbr\u003e4. A Hearty Breakfast 1:18\u003cbr\u003e5. Before The War 1:44\u003cbr\u003e6. The Seed And The Sower 3:55\u003cbr\u003e7. A Brief Encounter 2:27\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSide B\u003c\/strong\u003e\u003cbr\u003e8. Ride Ride Ride 1:02\u003cbr\u003e9. The Fight 1:20\u003cbr\u003e10. Dismissed! \/ Assembly 1:50\u003cbr\u003e11. Beyond Reason 1:26\u003cbr\u003e12. Sowing The Seed 1:31\u003cbr\u003e13. Last Regrets 2:05\u003cbr\u003e14. The Seed 1:06\u003cbr\u003e15. Japan 2:58\u003cbr\u003e16. Coda 5:32\u003c\/p\u003e","brand":"Wewantsounds","offers":[{"title":"CD","offer_id":64397654458745,"sku":"WWSCD92","price":17.99,"currency_code":"GBP","in_stock":true},{"title":"Vinyl LP","offer_id":64397654491513,"sku":"WWSLP92","price":32.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/8053\/files\/WWSLP92front2000.jpg?v=1788275678"},{"product_id":"ryuichi-sakamoto-hidari-ude-no-yume","title":"Ryuichi Sakamoto 'Hidari Ude No Yume'","description":"\u003cp\u003eRyuichi Sakamoto's third album, \"Hidari Ude No Yume\" was recorded at the legendary Alfa Studio 'A' in Tokyo during the Summer of 1981. it came after \"B-2 Unit\" in 1980 and his debut album \"Thousand Knives Of\" in 1978, the very year Sakamoto was invited by Haruomi Hosono to join Yellow Magic Orchestra alongside Yukihiro Takahashi. \u003cbr\u003e\u003cbr\u003eIn the process, they became global stars as the group rewrote the rules of electronic pop and toured around the world, yet Sakamoto was keen to remain active as a solo artist.\u003cbr\u003e\u003cbr\u003eIn 1981, the musician decided to record an album rooted in Pop, following \"B-2 Unit\" which had a more of an experimental edge and his landmark electro debut from 1978. For this new album entitled \"Hidari Ude No Yume,\" Sakamoto invited British producer Robin Scott, who had had huge hit with 'Pop Muzik,' to co-produce. They entered the Alfa studio in July 1981, accompanied by a handful of musicians. \u003cbr\u003e\u003cbr\u003eThese included his fellow YMO musicians Haruomi Hosono and Yukihiro Takahashi, keyboard programmer extraordinaire Hideki Matsutake who'd been on Sakamoto's first two albums and became YMO's unofficial fourth member, violinist Kaoru Sato, saxophonist Satoshi Nakamura and American guitarist Adrian Belew who'd played with David Bowie, The Talking Heads' \"Remain In Light\" and more recently, Tom Tom Club’s debut (co-writing 'Genius Of Love').\u003c\/p\u003e\n\u003cp\u003eTogether, they created a fascinating mix of pop, ambient and electronic music with elements of avant garde and traditional Japanese music, the whole firmly rooted in a solid groove. Sakamoto wanted to give the album a spontaneous feel and decided to let ideas flow and evolve organically during the sessions as musicians would develop them together. \u003cbr\u003e\u003cbr\u003eFrom the funk of 'Relâché' to the new wave feel of 'Venezia' and the ambient minimalism of 'Slat Dance,' the album is remarkably consistent while displaying a wealth of global influences as shown by the diversity of instruments featured on the credits: Marimba, didgeridu, traditional Japanese instruments such as the Sho and Hichiriki flutes.\u003c\/p\u003e\n\u003cp\u003eThe album was released in Japan in 1981 and Epic Records picked it up for Europe a year later but decided to release it in a significantly altered version. The sequencing was completely reshuffled and two tracks, 'Saru No Ie' and 'Living In The Dark' were completely dropped while three others, ‘Relâché’, ‘Tell 'em To Me’, ‘Venezia’ were heavily remodelled with english lyrics and became 'Just About Enough', 'Once In A Lifetime' and 'The Left Bank'. Last but not least, a new English-sung track, 'The Arrangement,' was added, making the album nine tracks instead of ten for the Japanese edition.\u003c\/p\u003e\n\u003cp\u003eAltogether this International version called \"Left-Handed Dream\" was a very different album from the Japanese one and although both were successful at the time and further established Ryuichi Sakamoto as a global solo artist, the Japanese edition of \"Hidari Ude No Yume\" remains largely unknown to international ears.\u003c\/p\u003e\n\u003cp\u003eWewantsounds is now delighted to release this original Japanese edition for the first time in decades \"Hidari Ude No Yume\" is an essential album in Ryuichi Sakamoto's rich discography. It is now available in its purest original Japanese form.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting: Japanese Edition\u003c\/strong\u003e\u003cbr\u003e1. Boku No Kakera\u003cbr\u003e2. Saru To Yuki To Gomi No Kodomo\u003cbr\u003e3. Kacha Kucha Nee\u003cbr\u003e4. The Garden Of Poppies\u003cbr\u003e5. Relâché \u003cbr\u003e6. Tell ‘Em To Me\u003cbr\u003e7. Living In The Dark\u003cbr\u003e8. Slat Dance\u003cbr\u003e9. Venezia\u003cbr\u003e10. Saru No Ie\u003c\/p\u003e","brand":"Wewantsounds","offers":[{"title":"2CD","offer_id":64397656031609,"sku":"WWSCD33","price":19.49,"currency_code":"GBP","in_stock":true},{"title":"Vinyl LP","offer_id":64397656064377,"sku":"WWSLP34","price":33.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/8053\/files\/WWSLP33HidarifrontCD2000.jpg?v=1788344683"},{"product_id":"ryuichi-sakamoto-ongaku-zukan","title":"Ryuichi Sakamoto 'Ongaku Zukan'","description":"\u003cp\u003eThe early ‘80s were a turning point for Japanese musician Ryuichi Sakamoto. As a solo artist, the smash hit soundtrack he had composed for 1983’s \"Merry Christmas Mr. Lawrence” (a film in which he had also acted), had put him on the verge of becoming a global superstar. Meanwhile he had called a halt to his work with Yellow Magic Orchestra; the influential, globally successful pop trio calling it quits after the release of their 1983 album \"Naughty Boys”.\u003c\/p\u003e\n\u003cp\u003eAgainst this backdrop, Sakamoto descended on Tokyo’s Onkyo Haus Studio to record his fourth solo album, \"Ongaku Zukan\" (\"Musical Encyclopedia”) accompanied by a handful of musicians including his ex-YMO partners Haruomi Hosono and Yukihiro Takahashi, and the prolifically talented Yasuaki Shimizu, Tatsuro Yamashita and Toshinori Kondo. Sakamoto began with no particular plan in mind, recording 30 basic tracks over the best part of 1983. \u003cbr\u003e\u003cbr\u003eIt was on his return to the studio the following year that the album truly began to take shape. Accompanied by a newly acquired Fairlight CMI sampler, the musician made extensive use of the revolutionary equipment to create a wide palette of sound textures which he added to the tracks, a creatively fertile process that was captured on film for the French documentary \"Tokyo Melody, A Film about Ryuichi Sakamoto”.)\u003c\/p\u003e\n\u003cp\u003eReleased in August 1984 the album ”Ongaku Zukan\" proved a huge success, providing Sakamoto with his first top 5 hit in Japan. Filled with inspired melodies that showcase his unique gift as a composer, it offers up a fascinating mix of styles. Asiatic electro pop nuggets (\"Tibetan Dance\") share space with futuristic ambient pieces (\"Hane no Hayashi de\"), and brilliantly creative fusions of jazz, funk, techno and reggae (“Etude\" and \"Tabi no Kyokuhoki.”)\u003c\/p\u003e\n\u003cp\u003eTwo simultaneous editions of the album were released in Japan: the regular one featuring a bonus 7\" EP with two extra tracks: \"Replica\" and \"Ma Mère l’Oye” while a limited edition added a 12\" EP (in lieu of the 7\") which included a third track, \"Tibetan Dance (Version).\" An international version was released two years later in 1986 by 10 Records\/Virgin under the title \"Illustrated Musical Encyclopedia,\" but with a very different track list. Five tracks from \"Ongaku Zukan\" were dropped, namely \"Self Portrait,\" \"Tabi no kyokuhoku,\" \"Mori no Hito,\" \"A Tribute to N.J.P\" and \"Tibetan Dance (Version)\", to be replaced by two non-album singles from 1985, \"Stepping Into Asia\" and \"Field Work.\"\u003c\/p\u003e\n\u003cp\u003eThis is the very first time that the two 1984 Japanese editions of Ryuichi Sakamoto's classic album have been released internationally in collaboration with the artist's management and Midi Inc., with remastered audio and the original artwork faithfully reproduced, paying tribute to one of contemporary music's undisputed geniuses. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e \u003cbr\u003e1. Tibetan Dance 5.02\u003cbr\u003e2. Etude 5.15\u003cbr\u003e3. Paradise Lost 5.26\u003cbr\u003e4. Self Portrait 4.43\u003cbr\u003e5. 旅の極北 (Tabi No Kyokuhoku) 5.11\u003cbr\u003e6. M.A.Y. 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Haruomi Hosono, one of the country's most innovative musicians had just formed Yellow Magic Orchestra pursuing the sonic experimentation he had started with his solo album \"Paraiso.\" \u003cbr\u003e\u003cbr\u003eThe album, credited to \"Harry Hosono and The Yellow Magic Band,\" had been recorded between December 77 and January 78 and featured both Ryuichi Sakamoto and Yukihiro Takahashi. Hosono quickly invited both musicians to form YMO but before the group could release their first album, Sakamoto entered the Nippon Columbia studios in April 1978 with a plan.\u003c\/p\u003e\n\u003cp\u003eSakamoto had become an in-demand session musician after studying composition at the Tokyo University of Art and had played in many key albums of the time: Taeko Ohnuki's \"Sunshower\" and Tatsuro Yamashita \"Spacy\" to name just two famous albums. This led to an invitation by Hosono to feature on \"Paraiso\". \u003cbr\u003e\u003cbr\u003eA penchant for avant-garde and improvisation had gotten Sakamoto interested in Electronic Music early on and with “Thousand Knives”, he decided to get Hideki Matsutake on board as he had mastered the art of synth programming following a stint with Electronic Music pioneer Isao Tomita. \u003cbr\u003e\u003cbr\u003e“Thousand Knives” took several months to record as Sakamoto would be busy during the day with his session work and would only record at night. Named after Belgian-born poet Henri Michaux’s description of a mescaline experience, the album is a reflection on how synthesizer technology might come to change the face of music.\u003c\/p\u003e\n\u003cp\u003eThe first side conceived as a long suite opens with the title track and a recitation of the Mao Zedong poem \"Jinggang Mountain\" filtered through a vocoder, before morphing into a mid-tempo synthpop instrumental. It is followed by \"Island Of Woods\", a ten minute track buzzing with insect-like synth sounds reminiscent of the tropical exotica of \"Femme Fatale\" on “Paraiso” (also featuring Sakamoto). Side one ends with \"Grasshoppers,\" a beautiful acoustic piano melody underlined by a subtle synthesizer soundscape.\u003c\/p\u003e\n\u003cp\u003eSide two opens with \"Das Neue Japanische Elektronische Volkslied,\" acknowledging the influence of the German sound spearheaded by Kraftwerk. The track features a mid-tempo metronomic beat skilfully intertwined with a Japanese folk sounding melody. The album ends with two catchy uptempo synthpop tunes in the form of \"Plastic Bamboo\" and \"The End Of Asia,\" which both became staples of YMO’s and Sakamoto's live shows.\u003c\/p\u003e\n\u003cp\u003eAlthough \"Thousand Knives\" sold modestly upon release, it was hugely influential in setting the agenda for what was to follow. YMO's sound included various influences from its three members but there is no denying “Thousand Knives” paved the way for the group's Computer Music sound. Thousand Knives remains a fascinating insight into the making of a music revolution.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. Thousand Knives\u003cbr\u003e2. Island Of Woods\u003cbr\u003e3. Grasshoppers \u003cbr\u003e4. Das Neue Japanische Elektronische Volkslied\u003cbr\u003e5. Plastic Bamboo\u003cbr\u003e6. 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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.\u003c\/p\u003e\n\u003cp\u003eon 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. As Andy Beta notes in the liner notes, Sakamoto was “trying to break the traditional form of music, to break open the narrow genres of contemporary music,” and this recording captures one of the rare moments when his exploratory piano work met Tsuchitori’s distinct rhythmic language in a studio setting.\u003c\/p\u003e\n\u003cp\u003eThe album, originally released in 1976 on producer Yukio Kojima’s highly influential ALM Records imprint, is structured across four tracks, with the first, \"? (Aya),\" filling the entirety of Side 1, 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.\u003c\/p\u003e\n\u003cp\u003eRemastered 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. 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From Paris to Melbourne, Berlin or Athens, a new blend of 70s inspired disco sound is currently taking the dancefloors by storm with artists like Monika, L’Impératrice or LeonxLeon, creating a stir on the international scene. Paying their dues to the pure form of Disco, these new artists, far from mimicking the clichés, are adding an unmistakable millennium twist to the genre. This is Disco 2.0\u003c\/p\u003e\n\u003cp\u003eIt’s all down to a few men in New York with a love for Philly Soul and hypnotic grooves. In the early 70s they defined the club culture from scratch: DJs David Mancuso, Nicky Siano, Larry Levan and Frankie Knuckles, Label bosses Mel Sheren and Neil Bogart, remixer extraordinaire Tom Moulton were instrumental in shaping a new sound that changed music forever and paved the way for house music and its many sub-genres decades later.\u003c\/p\u003e\n\u003cp\u003eToday, a new scene is shaping up, updating the classic sound of Disco. Young artists like Marvin \u0026amp; Guy in Italy, L’Imperatrice and LeonxLeon in France, or Monika in Athens and the US are producing a fresh blend of Disco-inspired music which is neither a copy of the past glory, nor totally in line of the popular Nu-Disco genre that has flourished primarily in Northern Europe.\u003c\/p\u003e\n\u003cp\u003eThe WEWANTSOUNDS crew has carefully selected here the cream of this new Disco wave with the coolest tracks around and added a little nod to the heydays in the form of a rare 1976 instrumental by Sounds of Inner City from the cult West End Records label and mixed by the legendary Tom Moulton.\u003c\/p\u003e\n\u003cp\u003eThis tasteful selection will give you a fresh insight into the Disco rebirth, pouring into the mix a huge dose of sensuality, rhythms and an irresistible craving for love… That’s Disco 2.0!\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. L'Impératrice La Lune 3:13\u003cbr\u003e2. Bon Voyage Organisation Shenzhen V 5:57\u003cbr\u003e3. Marvin \u0026amp; Guy Makin' Love 9:12\u003cbr\u003e4. Monika Secret In The Dark (Juan MacLean Edit) 6:28\u003cbr\u003e5. Joakim Nothing Gold (Todd Terje Remix) 9:03\u003cbr\u003e6. No Zu Ui Yia Uia 6:38\u003cbr\u003e7. Sounds of Inner City Mary Hartman, Mary Hartman (Inst.) 6:19\u003cbr\u003e8. LeonxLeon Acid Disco 7:29\u003cbr\u003e9. Tensnake Need Your Lovin (Tiger \u0026amp; Woods remix) 7:37\u003cbr\u003e10. Bufiman Running (The Chase) 4:22\u003cbr\u003e11. S3A Theuz Hamtaak 5:52\u003c\/p\u003e","brand":"Wewantsounds","offers":[{"title":"CD","offer_id":64397663011193,"sku":"WWSCD3","price":12.99,"currency_code":"GBP","in_stock":true},{"title":"Vinyl 2xLP","offer_id":64397663043961,"sku":"WWSLP3","price":21.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/8053\/files\/WWSLP3discofrontcover.jpg?v=1788344053"},{"product_id":"various-artists-feeling-good","title":"Various Artists 'Feeling Good'","description":"\u003cp\u003e“It’s really spiritual, fun and funky and sometimes a little crazy, which perfectly captures Bobby Shad. Enjoy.” \u003cstrong\u003eJudd Apatow\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCOMPILATION OF THE WEEK BBC Radio 6\u003cbr\u003e“I love this compilation” \u003cstrong\u003eLauren Lavern\u003c\/strong\u003e Radio 6\u003cbr\u003e“Rare jazz and funk groove by a legendary producer Mojo\u003cbr\u003e“Essential 9\/10” \u003cstrong\u003eBlues \u0026amp; Soul\u003c\/strong\u003e\u003cbr\u003e“An Heartily grooved out Muthamix” \u003cstrong\u003eEchoes Magazine\u003c\/strong\u003e\u003cbr\u003e“A Zelig-like character” \u003cstrong\u003eMonocle Magazine\u003c\/strong\u003e\u003cbr\u003e“A great unsung hero. Outstanding” \u003cstrong\u003eRecord Collector\u003c\/strong\u003e\u003cbr\u003e“Far out, funky and fine” \u003cstrong\u003eShindig\u003c\/strong\u003e\u003cbr\u003e“One of the best” \u003cstrong\u003eUK Vibe\u003c\/strong\u003e\u003cbr\u003e“The title says is all – these really are gems” the \u003cstrong\u003eCrack Mag\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJazz FM – Jez Nelson’s Somethin’ Else – Airplay\u003cbr\u003eGilles Peterson Worldwide FM – airplay\u003c\/p\u003e\n\u003cp\u003e“Bob Shad’s Master Sound” OK Player (USA)\u003cbr\u003e“Stellar art direction by Bob Shad” Wax Poetics (USA)\u003cbr\u003e“A Remarquable set” Jazz Mag (Fr)\u003cbr\u003e“A groove extravaganza” Jazz News (Fr)\u003cbr\u003e“A Visionary producer” Liberation (Fr)\u003cbr\u003e“The cornerstone of jazz, funk and Soul” Radio Nova (Fr)\u003cbr\u003e“Deep Jazz and Rare Groove nuggets” France Musique (Fr)\u003cbr\u003e“A label worth re-decovering” Soul Bag (Fr)\u003cbr\u003e“Mouth-watering” Superfly Paris (Fr)\u003cbr\u003e“Warm Dance-Floor grooves” Intro Mag (Ger)\u003cbr\u003e“Wonderful warm grooves” HHV Mag (Ger)\u003cbr\u003e“tunes for gourmets” Blow Up (It)\u003cbr\u003e“An essential 70s label” Rockerilla (It)\u003cbr\u003e“The title is not exaggerated” Rumore (It)\u003c\/p\u003e","brand":"Wewantsounds","offers":[{"title":"CD","offer_id":64397663535481,"sku":"WWSCD5","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/8053\/files\/WWSLP5FeelingGood1600jpg.jpg?v=1788343889"},{"product_id":"various-artists-funk-tide-tokyo-jazz-funk-selected-by-dj-not","title":"Various Artists 'Funk Tide - Tokyo Jazz-Funk Selected By Dj Not'","description":"\u003cp\u003eJapanese Funk expert DJ Notoya is back with a superb selection of Nippon Jazz-Funk picked from the cult label Electric Bird. A sub-label from the venerable Japanese label King Records, Electric Bird was set up in 1977 to cater for the booming Nippon Jazz Funk audience that King - as the Japanese licensee for such US jazz labels at Blue Note or CTI - had grown for years.\u003c\/p\u003e\n\u003cp\u003eTaking advantage of their experience and the many contacts King had garnered through their American partners, Electric Bird, headed by in-house producer Shigeyuki Kawashima, decided to apply the same formula to their new label. As Notoya writes in the liner notes \"The US labels' blend of “crossover jazz” - led by such big selling artists like Bob James and Earl Klugh - began to gain a huge following domestically and internationally, King felt the need to get into the arena themselves and start producing fusion jazz recorded by Japanese artists.\"\u003c\/p\u003e\n\u003cp\u003eKawashima began signing a new wave of jazz musicians from Japan, putting them in state-of-the-art Tokyo or New York studios and backing them with the best American and Japanese players in order to shape the slick, sun-drenched jazz funk sound that would be Electric Bird's signature sound. With \"Funk Tide,\" DJ Notoya aimed at showcasing the diversity of the label's output, from the funky opener \"In The Sky\" by Trumpeter Shunzo Ohno (who plays keyboards here) to the sunshine mid-tempo groove of sax player Toshiyuki Honda's \"Living in a City\" featuring Paulinho Da Costa on perc via Mikio Masuda's Fender Rhodes-infected \"Let's Get Together.\"\u003c\/p\u003e\n\u003cp\u003eElectric Bird also signed a young sax player, Yasuaki Shimizu found here with the soulful \"Summer Time\" from his album \"Far East Express\" recorded at Electric Lady Studio in New York in July 1979. For good measure, the label also signed a few well-known American musicians including Ronnie Foster whose \"Night Life\" has a distinctive 80s funk feel and David Matthews with the Crusaders-esque \"Special Delivery\" featuring David Sanborn.\u003c\/p\u003e\n\u003cp\u003eOne of \"Funk Tide's\" highlights is certainly Katsutoshi Morizono's \"Space Traveller\" from 1978, a remake of James Vincent's eponymous cult classic recorded two years before with some of Earth Wind And Fire's musicians and which has since become a favourite on the groove scene. Faithful to Vincent's beautiful laid-back, breezy original, Morizono's rendition add its own spice to it, and ending Notoya's skilled selection of the cutting-edge Electric Bird label on a perfect note.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. Shunzo Ohno - In The Sky 1979\u003cbr\u003e2. Mikio Masuda - Let's Get Together 1979\u003cbr\u003e3. Yasuaki Shimizu - Summer Time 1979\u003cbr\u003e4. David Matthews - Special Delivery 1980 \u003cbr\u003e5. Toshiyuki Honda - Living In A City 1980\u003cbr\u003e6. Ronnie Foster - Night Life 1986\u003cbr\u003e7. Bobby Lyle Trio - Night Breeze 1987\u003cbr\u003e8. Katsutoshi Morizono - Space Traveller 1978\u003c\/p\u003e","brand":"Wewantsounds","offers":[{"title":"CD","offer_id":64397664125305,"sku":"WWSCD81","price":16.99,"currency_code":"GBP","in_stock":true},{"title":"Vinyl LP","offer_id":64397664158073,"sku":"WWSLP81","price":32.49,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/8053\/files\/WWSLP81front2000.jpg?v=1788274639"},{"product_id":"various-artists-mainstream-funk","title":"Various Artists 'Mainstream Funk'","description":"\u003cp\u003eMainstream Records is one of the key independent jazz labels of the early 70s, together with Flying Dutchman, Strata East, CTI and Black Jazz. Founded by legendary label man Bob Shad (who had been head of A\u0026amp;R at Mercury Records and set EmArcy in the 50s), the label concentrated on Psychedelia in the 60s before switching back to Shad's jazz roots in the early 70s, signing a new crop of jazzmen fed on John Coltrane and Miles' electric experiments. Thus was born the cult Mainstream \"300 series\" with its distinctive artwork and outstanding music from which this selection is largely drawn.\u003c\/p\u003e\n\u003cp\u003eGiving their chance to many young jazz players and a few old friends, Shad recorded some of the most exciting jazz of the early 70s, mixing spiritual influences with funk and soul. It is interesting to note the Mainstream sessions included many of the hottest session players of that time such as Ron Carter, Eddie Henderson, Airto, Mtume, Earl Palmer, Mickey Roker, Merl Saunders, Cedar Walton to name but a few.\u003c\/p\u003e\n\u003cp\u003eShad also had a long-standing association with jazz Divas showcased here with the opening track by Sarah Vaughan, a funkyfied version of Marvin Gaye's 'Inner City Blues' recorded the same year as the original in 1971.\u003c\/p\u003e\n\u003cp\u003eMainstream Funk also includes a selection of superb tracks by young turks who'd cut their teeth as sidemen for Blue Note and Prestige in the late 60s and were given a chance to record their own music on Mainstream. Buddy Terry's 'Quiet Afternoon', Dave Hubbard's 'Family Affair' and LaMont Johnson's 'M'Bassa' are prime examples showcasing the label's desire to give these talented newcomers a chance to shine.\u003cbr\u003eSeasoned musicians from the Be Bop scene were also welcome, such as trumpetists Blue Mitchell - who'd released a string of great albums for Riverside and Blue Note in the late 50s and 60s - and Johnny Coles who'd played with Gil Evans (he's on a few Evans-produced Miles albums including 'Sketches of Spain'), Charles Mingus and Herbie Hancock.\u003c\/p\u003e\n\u003cp\u003eShad also released pure soul music on the label such as Sugar Billy's \"Super Duper Love\" which was released on his Fast Track sub-label in 1974, arranged by Jimmy Roach and featuring Marcus Belgrave in the line-up.\u003c\/p\u003e\n\u003cp\u003eMainstream Records has a lot more exciting music in the vaults and Mainstream Funk is just the tip of the iceberg serving as a timely reminder that Bob Shad's taste as a producer and A\u0026amp;R man was one of the finest on the scene.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eLP1\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. Sarah Vaughan - Inner City Blues 4.14\u003cbr\u003e2. Buddy Terry – Quiet Afternoon 10.13\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSide B\u003c\/strong\u003e\u003cbr\u003e1. Blue Mitchell – Last Tango In Paris 2.50 \u003cbr\u003e2. LaMont Johnson – M’Bassa 7.15 \u003cbr\u003e3. Prophecy – Betcha Can’t Guess My Sign 2.57 \u003cbr\u003e4. Dave Hubbard – Family Affair 2.35\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLP2\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSide C\u003c\/strong\u003e\u003cbr\u003e1. Sugar Billy – Super Duper Love Pt. 1 3.16\u003cbr\u003e2. John White – Right Off 6.45 \u003cbr\u003e3. Mike Longo – Matrix 5.18\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSide D\u003c\/strong\u003e\u003cbr\u003e1. Barry Miles – Little Heart of Pieces 4.43\u003cbr\u003e2. Johnny Coles – Betty’s Bossa 4.38\u003cbr\u003e3. Pete Yellin – It’s The Right Thing 9.26\u003c\/p\u003e","brand":"Wewantsounds","offers":[{"title":"CD","offer_id":64397664715129,"sku":"WWSCD37","price":15.49,"currency_code":"GBP","in_stock":true},{"title":"Vinyl LP","offer_id":64397664747897,"sku":"WWSLP37","price":35.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/8053\/files\/WWSLP37frontcover2000.jpg?v=1788343708"},{"product_id":"various-artists-pierre-barouh-the-saravah-sound","title":"Various Artists 'Pierre Barouh \u0026 The Saravah Sound'","description":"\u003cp\u003ePierre Barouh is a legend in France. A gifted singer in the 60s, he became an icon with the Claude Lelouch film \"Un Homme et Une Femme\" in 1966 that made him a star. Indeed, in 1965 while in Brazil, on the insistence of Vinicius de Moraes, he recorded French version of 'Samba de Bênção' with Baden Powell on a revox, retitled 'Samba Saravah' and played it to his friend Lelouch who fell in love with the song and decided to use it in the film.\u003c\/p\u003e\n\u003cp\u003eBarouh plays his own character in it and also wrote the score with composer Francis Lai. The rest is history: The film and the score became huge hits. But instead of cashing in on this success, Barouh decided to develop Saravah Publishing into an label and a recording studio with his old friend and associate Fernand Boruso to develop projects in a truly independent and original way.\u003c\/p\u003e\n\u003cp\u003eThrough their film connections, came Brigitte Fontaine and Jacques Higelin who were already making their marks in the French underground and had recorded ‘Cet Enfant Que Je T'avais Fait’ for the 1968 film \"Les Encerclés\". Saravah signed them on the spot and the song, arranged by Jean Claude Vannier, which would become a cult classic, appeared on Fontaine's breakthrough debut LP \"Brigitte Fontaine Est... Folle.\" Fontaine would go on to record several albums for Saravah - often with her partner Areski Belkacem - including \"Comme A La Radio\" in 1969 with Art Ensemble of Chicago. The latter are also featured on 'Mystifying Mama' by Marva Broome and 'Je Suis Un Sauvage' by Alfred Panou, an African actor and singer who'd worked with Jean-Luc Godard.\u003c\/p\u003e\n\u003cp\u003ePierre Barouh pioneered Music from Africa and Latin America as he'd spent time in Brazil (in 1969 he directed 'Saravah' a fascinating documentary about the Rio music scene with Baden Powell, Maria Bethania, Paulinho da Viola and Pixinguinha). He released two albums by Gabonese artist Pierre Akendenge, whose 'Orema Ka-ka-ka' from the 1976 album 'Africa Obota' is featured here.\u003c\/p\u003e\n\u003cp\u003eThrough Boruso, Saravah also released a handful of jazz albums including the \"Pianos Puzzle\" series from which come Rene Urtreger's 'Tchac Poum Poum', Georges Arvanitas' 'Trane's Call' and Maurice Vander's 'Sicilienne'. The label also ventured in fascinating recordings mixing Jazz, experimental music and pop by Baroque Jazz Trio, Michel Roques or Cohelmec Ensemble.\u003c\/p\u003e\n\u003cp\u003eThe set also features rare singles by Beartrice Arnac (then Boruso's girlfriend) with the jazzy 'Le Bruit et le Bruit' and Jacques Higelin's 'Je Jouais le Piano', one of the first songs recorded for the label and which has never been reissued since. The set ends with a haunting duet between Pierre Barouh and Baden Powell, recorded in 1965 during the same Rio session as 'Samba Saravah'.\u003c\/p\u003e\n\u003cp\u003eFernand Boruso, called “Fern” left in 72. After a few successful years, the label went into decline and would never capture the energy of the beginnings. Saravah would nonetheless leave a rich and fascinating body of work whose influence keeps growing over the decades. Pierre's Son, Benjamin, has been preserving the label’s archives for 30 years and is working on a new documentary “L’État de Vacance” on Saravah in the 70s, out soon.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. Marva Broome Mystifying Mama\u003cbr\u003e2. Baroque Jazz Trio Delhi Daily \u003cbr\u003e3. Brigitte Fontaine Comme À La Radio\u003cbr\u003e4. 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Mainly performed by female singers such as Cheikha Rimitti and Cheikha Djenia, Raï songs would talk about love and social hardship in direct and often crude ways. The style evolved after the war and it was revolutionized in the 1980s by a new wave of singers who infused their sound with synthesizers and drum machines to instil tough messages of youth rebellion, political criticism, and heartbreak.\u003c\/p\u003e\n\u003cp\u003eMainly released on cassette by street vendors in Algeria during the 80s, Rai rapidly spread among the youth. It became a phenomenon which soon spread beyond North Africa, led by the crossover success of Cheb Khaled. \"Sweet Rebels\" gives an insight into the genre's ecstatic electro sound, showcasing a unique cultural moment, where creativity and resistance connected to form a vibrant trend.\u003c\/p\u003e\n\u003cp\u003eCompiled by DJ Cheb Gero, \"Sweet Rebels\" includes cult, sought-after tracks released on cassette by the label Oriental Music Production and features the best exponents of the genre, such as Cheikha Djenia El K'bira, Cheb Zahouani, and Chaba Zohra. These artists were instrumental in pushing the boundaries of Raï music during the era. They gave birth to a sound that is now sought after by DJs around the world, as heard on Cheb Zahouani's hypnotic \"Zinek Bekani\", Chaba Amina's pulsating \"Kindi Ebatal\" or Abderrahmane Djalti's reggae-tinged \"Ala Bladi Nebki\"\u003c\/p\u003e\n\u003cp\u003eAs Rabah Mezouane mentions in his liner notes, \"Sweet Rebels sums up the spirit of the era when Raï was expressed in a raw way, with a naturalness that mocked prejudices and commercial criteria.\" Most of the tracks here make their vinyl debut and Wewantsounds - following its releases from Lebanon and Egypt, is delighted to continues its exploration of Arabic music by digging into the fascinating Algerian Raï heritage.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. Cheikha Djenia El K'bira - Chabe Rassi 04:38\u003cbr\u003e2. Cheb Zahouani - Zinek Bekani 06:12\u003cbr\u003e3. 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After working with such geniuses as Charlie Parker, The Platters, Billie Holiday and Janis Joplin over three decades, Shad decided to go back to producing Great Black Music in the early 70s though his label Mainstream Records and started releasing a formidable series of jazz albums known as the 300 series. Released between 1971 and 1974, these albums are the main source of this set.\u003c\/p\u003e\n\u003cp\u003eCoincidentally, it opens with one of the two tracks on the tracklist not produced by Shad himself. Saundra Phillips' \"Miss Fatback\" is nonetheless fascinating as it's one of cult disco producer Greg Carmichael's earliest productions from 1975 (before he went on to produce some of the greatest Disco records with fellow producer Patrick Adams). The other track not issued by the Shad sound factory is Almeta Lattimore's 7\" single \"These Memories,\" a truly great soulful track from 1975 and now a sought-after classic on the international Soul scene.\u003c\/p\u003e\n\u003cp\u003eShad's forte was Jazz, and the sessions usually used the best musicians you could think of, including Bernard Purdie, Billy Hart, Stanley Clarke, Dom Um Romao, Joe Sample, Freddie Robinson, Gordon Edwards, Larry Willis, Wilbur Bascomb to name just a few. Filled with gorgeous Fender Rhodes chords and heavy basslines, they define the unmistakable Mainstream sound which had one foot in the great jazz and bop tradition and the other in the sonic jazz explorations of the early 70s.\u003c\/p\u003e\n\u003cp\u003eOscillating between jazzed-up covers of soul hits like Jay Berliner’s \"Papa Was A Rolling Stone\" or Afrique’s \"Kissing My Love\" and more introspective originals such as Hal Galper's \"This Moment\" or Dave Hubbard's \"T.B.'s Delight\", They all have this perfect balance between groove and depth. One perfect example is Pete Yellin's \"Bird and The Ouija Board,\" a superb 12 min opus starting off with a deep abstract improvisation before switching to an up-tempo funk beat fueled by drummer Billy Hart and bass player Stanley Clarke.\u003c\/p\u003e\n\u003cp\u003eShad had a long-standing association with such jazz Divas and this side is represented here by Maxine Weldon's beautifully breezy version of David Gates' standard \"Make It With You\" and by Sarah Vaughan's superb \"Just a Little Lovin'\" which perfectly closes the tracklist with a jazzy note as a tribute to the producer's multi-faceted talents.\u003c\/p\u003e\n\u003cp\u003eThis selection serves as a timely reminder that Jazz history was written by unsung heroes such as Bob Shad, who gave a voice to talented artists and allowed them the liberty to express themselves freely without the constraint imposed by bigger labels. \"This Is Mainstream!\"\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eLP1\u003c\/strong\u003e\u003cbr\u003e1. Saundra Phillips - Miss Fatback 3.09\u003cbr\u003e2. Afrique - Kissing My Love 3.08\u003cbr\u003e3. Hal Galper - This Moment 11.50\u003cbr\u003e4. December's Children - Livin' (Way Too Fast) 3.38\u003cbr\u003e5. Blue Mitchell - Blue's Blues 7.08\u003cbr\u003e6. Maxine Weldon - Make It With You 2.56\u003cbr\u003e7. Reggie Moore - Mother McCree 2.57\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLP2\u003c\/strong\u003e\u003cbr\u003e8. Jay Berliner - Papa Was A Rolling Stone 5.30\u003cbr\u003e9. Dave Hubbard - T.B.'s Delight 3.54\u003cbr\u003e10. Almeta Lattimore - These Memories 3.31\u003cbr\u003e11. Buddy Terry - Lean On Me (Lean On Him) 5.55\u003cbr\u003e12. Pete Yellin - Bird And The Ouija Board 12.35\u003cbr\u003e13. Sarah Vaughan - Just A Little Lovin' 3.10\u003c\/p\u003e","brand":"Wewantsounds","offers":[{"title":"CD","offer_id":64397666812281,"sku":"WWSCD23","price":14.49,"currency_code":"GBP","in_stock":true},{"title":"Vinyl LP","offer_id":64397666845049,"sku":"WWSLP23","price":26.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/8053\/files\/WWSLP23cover2000.jpg?v=1788343385"},{"product_id":"various-artists-tokyo-bliss","title":"Various Artists 'Tokyo Bliss'","description":"\u003cp\u003eFor 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.\u003c\/p\u003e\n\u003cp\u003eThe 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 who's playing drums here seconded by Ray Ohara's formidable bass line. At the time both were members of cult group Sadistic Mika Band.\u003c\/p\u003e\n\u003cp\u003eNext 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, present on the latter's cult album \"For You.\" \u003cbr\u003e\u003cbr\u003eKeiko 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. For the anecdote Toda is also a well known voice actress famous for being the voice of Anpanman, one of Japan's most famous anime cartoons.\u003c\/p\u003e\n\u003cp\u003eThe 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.\u003cbr\u003e\u003cbr\u003eThe 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. To quote DJ Notoya from his liner notes - Tokyo Bliss is \"a perfect snapshot of the cool Tokyo sound from the 1970s and ‘80s\" and which Wewantsounds it delighted to release.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. BUZZ - Garasumado 1974\u003cbr\u003e2. Mami Ayukawa - Sabita Gambler 1987\u003cbr\u003e3. Johnny Yoshinaga - The Rain 1978\u003cbr\u003e4. Keiko Toda – Fade In 1983\u003cbr\u003e5. Koji Kobayashi - Bokura no Date 1978\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eSide B\u003c\/strong\u003e\u003cbr\u003e6. Yuko Imai – Hotel Twilight 4.49 1988\u003cbr\u003e7. Kumiko Sawada – Your Love’s Away 1979\u003cbr\u003e8. Masatoshi Kanno - Day By Day 1976\u003cbr\u003e9. Yuji Mitsuya – After Five At Café-Bar 1984\u003cbr\u003e10. Fujimaru Band - Paper machine 1977\u003c\/p\u003e","brand":"Wewantsounds","offers":[{"title":"CD","offer_id":64397667107193,"sku":"WWSCD98","price":16.99,"currency_code":"GBP","in_stock":true},{"title":"Vinyl LP","offer_id":64397667139961,"sku":"WWSLP98","price":32.49,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/8053\/files\/WWSLP98front2000.jpg?v=1788342621"}],"url":"https:\/\/cargorecordsdirect.co.uk\/collections\/wewantsounds.oembed?page=2","provider":"Cargo Independent Distribution","version":"1.0","type":"link"}