✺ Newly Restored and Remastered Edition of the 1984 Japanese City Pop Classic.✺ Part of Piper’s classic City Pop Trilogy (sequel to Gentle Breeze and Summer Breeze).✺ Pressed on Blue Swirl Vinyl.Riding high on the success of Gentle Breeze, PIPER was eager to put out more new material. Keeping the same members and guest musicians, the band used its excitement and forward momentum – aided no doubt by its ever-growing experience and taste for experimentation – to produce its next album, Sunshine Kiz, within the tiny span of six months. And despite seeing no change in personnel for these latest efforts, PIPER’s musicality was constantly evolving.Perhaps most obviously, Sunshine Kiz showed the band beginning to break away from its signature style. Instrumentals were no longer the focus as more vocal-centric tracks made their way to the fore. Sunshine Kiz turned out to be a “song album,” and its lyric sheet saw a substantial increase in the number of words. A Drumulator replaced the LinnDrums, and the programmed percussion suddenly sounded more natural. Some songs actually featured live drumming, abandoning programmed beats altogether.It could be said that this all amounted to, at least partially, a return to PIPER’s roots. Or, maybe more accurately, it was something like PIPER circa 1981 filtered through the signature sound the band had forged with their two Breeze albums of 1983. The title track on Sunshine Kiz was released as their second-ever single – their first since “Far Away” from their debut album. And with this new single there even came a music video.Sunshine Kiz de Piper

✺ Pressed on Blue Vinyl✺ First ever vinyl reissue of the 1983 Japanese City Pop Classic✺ Newly Remastered for Vinyl✺ LP Includes Huge 24’’x 24’’ Fold Out Poster✺ First of three in the Piper reissue seriesLed by guitarist/vocalist Keisuke Yamamoto, Piper was formed in Hamamatsu in Shizuoka Prefecture. A move to Tokyo was followed by the release of their first single on Yupiteru Records, thanks to original guitarist Yuji Suzuki who had became an A&R man for the label. Citing British bands like Wishbone Ash and Camel as influences, Yamamoto and Piper nevertheless conjured up classic American sounds on Piper’s recordings, utilizing unusual recording techniques and new technologies like Linn drums to effortlessly blend styles of funk, soul and fusion and simultaneously evoking summer vibes, autumnal breezes, and wintery shimmer.Summer Breeze is Piper’s second album, originally released in 1984 on Yupiteru. Inspired by the sounds of Masayoshi Takanaka and Tatsuro Yamashita, as well as the concept of “BGM” (background music) championed by YMO, Summer Breeze was a conscious about face from their debut to create a new signature sound and become masters of summery resort vibes. Its smooth sounds belie the bevy of experimentation utilized on the recording, from vocoders and drum programming to recording guitars direct through the board. Even the iconic cover art, with the surfer wearing an impossibly short crop top, is deceiving in its simplicity – it was one of the most expensive jackets produced by the label at the time, due to its use of special spot colors and custom handlettering. The original album featured the marketing copy “Good Weather! Good Sounds!” which perfectly encapsulates the sounds contained on the album.Summer Breeze de Piper

● Pressed on 180gm red colored vinyl● Housed in a deluxe jacket with fully printed inserts● LP features 21 tracks Laced Records, in partnership with Bethesda Softworks and id Software, today announced that the DOOM (Original Game Soundtrack) by composer Mick Gordon will make its long-awaited debut on physical audio formats (Vinyl/CD) in Summer 2018.The X2LP was cut at the world famous Abbey Road Studios. The DOOM (Original Game Soundtrack) will be available in two formats at retail; a Deluxe Double CD in a triple gatefold sleeve including all 31 tracks from the game and a deluxe Double Vinyl with 20 favorite tracks selected by the developers pressed on 180g red vinyl and cased in a deluxe sleeve with full printed inner sleeves.A Game Awards 2016 Winner for Best Music / Sound Design and BAFTA Games Nominee for Best Music and Audio Achievement, the DOOM (Original Game Soundtrack) brings the trademark pulse-pounding and demon-stomping audio experience to fans for the first time on physical disc.Composed by long-time Bethesda collaborator Mick Gordon, his dark and intense vision channels industrial metal to mirror DOOM’s trademark brutal power fantasy gameplay across 31 synth and metal-filled tracks, spanning over two hours of run time.A true passion project, the recording process saw Gordon representing DOOM’s portrayal of Hell through the role of energy in sound production, imparting the physical properties of analogue equipment onto digital sources.To mimic the power of Hell and its coruptive Argent energy, Mick created the “DOOM Instrument”. Consisting of pure sine wave inputs directed into four separate sound processing chains and a variety of post-processing techniques, it allowed Gordon to dynamically ‘corrupt’ generated sounds.Further callbacks to the franchise’s legacy and imagery are found as the soundtrack’s signature screeching guitar lines are layered with the chainsaw audio from the original 1993 title.

Classic jazz-funk fusion from the late, great Japanese guitarist Ryo Kawasaki. « Juice » est devenu un album très apprécié des amateurs de crate diggers et de jazz-funk, ses morceaux étant fréquemment samplés et réinventés en hip-hop. Le jam funk fumé, beat-down et spirituel « Bamboo Child » a été retourné par Diamond D, Puff Daddy et Kool G Rap. L’album est sorti en 1976 sur RCA Records et présente le batteur des musiciens Jimmy Young, le guitariste rythmique Hugh McCracken et le bassiste Stu Woods parmi d’autres sommités. Un album solide tout au long qui incorpore une forte dose de synthés déclenchés aux côtés du son disco émergent de l’époque. Des morceaux tels que l’ouverture « Raisins », avec son intro au rythme de la batterie et sa ligne de basse bouillonnante, rivalisent avec The Headhunters à leur meilleure époque. Un superbe album d’une légende underground.

L'un des albums de jazz les plus vendus de tous les temps, sans parler du meilleur moment de la bossa nova, Getz/Gilberto a surpassé Jazz Samba en réunissant deux des plus grands innovateurs de la bossa nova - le guitariste/chanteur João Gilberto et le compositeur/pianiste Antonio Carlos Jobim -- à New York pour enregistrer avec Stan Getz. Les résultats étaient magiques. Depuis Jazz Samba, le marché du jazz était inondé d’albums de bossa nova, et la surexposition commençait à donner l’impression que la musique était une mode. Getz/Gilberto ont fait de la bossa nova un élément permanent du paysage du jazz.

Présentation de « COWBOY BEBOP : The Real Folk Blues Legends », un chef-d'œuvre en vinyle aux designs captivants de Toshiaki Uesugi, célèbre pour son travail pour la franchise Cowboy Bebop. Ce LP, soigneusement supervisé par le légendaire Yoko Kanno, compile des morceaux de toute la discographie de Cowboy Bebop, dont Blue, No Disc et Knocking on Heaven's Door, avec l'emblématique « The Real Folk Blues ». Cette sortie apporte sur vinyle les premiers classiques comme "Call Me Call Me" et "Blue", offrant aux fans une expérience sonore unique. Rejoignez l'héritage de l'une des séries animées les plus réussies de tous les temps. Cet ensemble de vinyles comprend 2 disques LP de luxe, pressés sur un vinyle rouge foncé de 140 g de 12 pouces. Il comprend un insert avec des listes de chansons, des crédits de chansons, des notes de doublure détaillées et des interviews avec Yoko Kanno, le tout logé dans une pochette gatefold.

Masterpiece of Japanese Jazz and Jazz Funk to be re-released on clear pink colored vinyl ! A masterpiece of jazz rock by master musician Jiro Inagaki ! Jazz Rock, and beyond. Soul Media, led by Jiro Inagaki, has arrived at the ultimate groove, tight and cool. As Inagaki himself says, "I did black funk." By combining the burst of jazz rock he had cultivated up to that point with the tenacity and elasticity of black music, his musicality took a leap to another dimension. The groove is polished, shiny, and bewitching, coupled with the masterful arrangements of virtuoso Hiromasa Suzuki. The lively and fast "Painted Paradise," the funkiness and mellowness of "Breeze," the low center of gravity and sharpness of "Kool & the Gang," and "Funky Stuff" are all part of this album. The entire album is worth listening to, including a cover of "Funky Stuff. This is a definitive masterpiece that continues to be a worldwide favorite.

Following the highly acclaimed first volume in the series, Japanese jazz expert Yusuke Ogawa continues the WaJazz exploration with another essential collection of music that contains something uniquely Japanese — focusing this time on the King Records catalog. Featuring timeless music by Isao Suzuki, Toshiaki Yokota, Akira Miyazawa, Takeru Muraoka, Yasuaki Shimizu, Masahiko Togashi, George Otsuka, and more!● Gatefold 180g heavy double vinyl LP, reverse board print. Comes with extensive track-by-track liner notes by Yusuke Ogawa.● All tracks licensed by King Record Co., Ltd., Tokyo, Japan.● Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.● Signature artwork by Nker

“Japanese jazz has been recognized and celebrated by music lovers worldwide for decades. The origins of this trend may be traced back to the rare groove movement that flourished in the 1990s, but its current deep and wide popularity seems to be connected to the fact that Japanese people have been reevaluating their own jazz since the mid-2000s, locally referred to as WaJazz ("Wa" meaning Japan but also the Shōwa emperor period, from 1926 to 1989). Since the beginning of the 2000s, there has been a growing trend to move away from the DJ-focused perspective and to appreciate jazz with a deeper understanding. Nowadays, there is more and more interest in the background and roots in which jazz has developed in Japan, with Japanese jazz as a whole now considered as its own distinctive genre.Of course, even if we speak about "WaJazz" as one genre, there is a truly wide variety of styles within it. However, when Japanese musicians play, there is something uniquely Japanese flowing through that creates a kind of synergy. It may be the melody, the rhythm, or even something deeper, like an inexpressible flicker. I would be happy if some of its charms and secrets emerge from the fourteen tracks included in this collection.” (Yusuke Ogawa)Yusuke Ogawa has been running the Universounds store in Tokyo since 2001, specializing in jazz and second-hand, rare, and collector records. He is also a reissue supervisor, label manager, DJ, and music writer. Known for his vast musical knowledge, eye for detail, and archival skills, Ogawa has worked on more than 250 reissues and compilations – including the highly praised Deep Jazz Reality and Project Re:Vinyl series. He is the co-author of the Wa-Jazz Disc Guide and the Independent Black Jazz of America books.

Following the success of the 'Tokyo Glow' compilation, Wewantsounds once again teams up with Japanese Tokyo-based DJ Notoya to dig the rich Electric Bird catalogue and come with a versatile selection of sunny Jazz-Funk gems recorded between 1978 and 1987 for the label. A tasty selection featuring Yasuaki Shimizu, Toshiyuki Honda and Mikio Masuda, together with a few American musicians such as Ronnie Foster and Bobby Lyle. Most tracks make their vinyl debut outside of Japan and the album has been designed by Optigram/Manuel Sepulveda and is annotated by DJ Notoya. Audio newly remastered in Tokyo by King Records. Japanese 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. ​Taking 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."Kawashima 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."​Electric 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. ​One 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.Funk Tide - Tokyo Jazz-Funk From Electric Bird 1978-87 de Various

✺ Classic Japanese Jazz LP widely available outside of Japan for the first time✺ Original artwork with OBI and 2-page insert✺ New Liner note by Paul Bowler✺ Newly remastered by Nippon Columbia using the ORT mastering TechnologyWewantsounds is delighted to reissue Fumio Itabashi's sought-after album "Watarase" hailed as one of the great Japanese jazz albums and featuring Itabashi on piano playing an inspired mix of standards and originals. Recorded in 1981 for Denon and released the following year, the album has since reached cult status among jazz connoisseurs, thanks to Itabashi's inventive piano playing and to its cult title track, a superb soulful and spiritual composition. Newly remastered by Nippon Columbia using their ORT mastering technology, the album reissue features original artwork including a 2 page insert with a new introduction by Paul bowler

A stylish selection of city pop, funk and modern soul from Japanese label Nippon Columbia, selected by DJ Notoya and featuring cult classics and rarities by Hiroshi Sato, Hatsumi Shibata, Hitomi 'Penny' Tohyama & many more.Annotated by Notoya with journalist Nick Luscombe and artwork by Optigram.Newly remastered audio.The selection on ‘Tokyo Glow’ starts with 'Kimugare' a relaxed mid-tempo track by Kumi Nakamura, actually a famous actress who only recorded one album in 1980 for Columbia.The set continues and flows effortlessly with the sunshine grooves of Miyuki Maki, Hatsumi Shibata and cult keyboard player Hiroshi Sato before the pace starts going faster and funkier with New Generation Company, Kengo Kurozumi - with his superb boogie, 'Juggler'- and one of the queens of the genre, Hitomi 'Penny' Tohyama with 'Tuxedo Connection'.Another fine example on the set is the mid-tempo groove of "I Wander All Alone Part III" by New Generation Company, an aggregate group of some of the best Japanese session musicians led by arranger Katz Hoshi and including Hiroyuki Namba (key), Kazuo Shiina (gtr) and Yutaka Uehara (ds) who all played with Tatsuro Yamashita among many others.There are many other excellent examples in 'Tokyo Glow', showcasing the diversity and specificity of Japanese City Pop during the late 70s and 80s.Nippon Columbia opened their much-guarded vaults to curator DJ Natoya. Tracks were remastered in Tokyo and the result, ‘Tokyo Glow’, is a unique insight into a most creative period in Japanese music.

Released in 1970, Curtis is the debut album by American soul/funk artist, and former lead singer of the Impressions, Curtis Mayfield. Released on his own label Curtom Records and also self-produced this debut was very much a solo project building on Mayfield's personal experiences. It moved away from the pop soul sounds of the Impressions and featured much more of a funk and psychedelic inspired sound.It was a powerful musical statement which covered many social and political concerns of the time, most famously in the single 'Move on Up' which would later be covered and sampled by many future artists including the Jam and Kanye West.

Released in the summer of 1984, Purple Rain is Prince’s most iconic album. It was the most commercially and culturally impactful release of his career, and coupled with the film of the same name, it influenced the fashion and sound of the rest of the 1980s.By the end of 1985, Purple Rain had received two Grammys, three American Music Awards, two Brit Awards, and an Academy Award for Best Original Song Score, and the album remained at No. 1 on the Billboard 200 for 24 weeks and in the top 10 for 32 weeks, selling over 25 million copies worldwide. It has since been inducted into the Grammy Hall of Fame and has been added to the National Recording Registry by the Library of Congress.

Following the success of the 'Tokyo Glow' compilation, Wewantsounds once again teams up with Japanese Tokyo-based DJ Notoya to dig the rich Electric Bird catalogue and come with a versatile selection of sunny Jazz-Funk gems recorded between 1978 and 1987 for the label. A tasty selection featuring Yasuaki Shimizu, Toshiyuki Honda and Mikio Masuda, together with a few American musicians such as Ronnie Foster and Bobby Lyle. Most tracks make their vinyl debut outside of Japan and the album has been designed by Optigram/Manuel Sepulveda and is annotated by DJ Notoya. Audio newly remastered in Tokyo by King Records. Japanese 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. ​Taking 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."Kawashima 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."​Electric 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. ​One 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.Funk Tide - Tokyo Jazz-Funk From Electric Bird 1978-87 de Various

A stylish selection of city pop, funk and modern soul from Japanese label Nippon Columbia, selected by DJ Notoya and featuring cult classics and rarities by Hiroshi Sato, Hatsumi Shibata, Hitomi 'Penny' Tohyama & many more.Annotated by Notoya with journalist Nick Luscombe and artwork by Optigram.Newly remastered audio.The selection on ‘Tokyo Glow’ starts with 'Kimugare' a relaxed mid-tempo track by Kumi Nakamura, actually a famous actress who only recorded one album in 1980 for Columbia.The set continues and flows effortlessly with the sunshine grooves of Miyuki Maki, Hatsumi Shibata and cult keyboard player Hiroshi Sato before the pace starts going faster and funkier with New Generation Company, Kengo Kurozumi - with his superb boogie, 'Juggler'- and one of the queens of the genre, Hitomi 'Penny' Tohyama with 'Tuxedo Connection'.Another fine example on the set is the mid-tempo groove of "I Wander All Alone Part III" by New Generation Company, an aggregate group of some of the best Japanese session musicians led by arranger Katz Hoshi and including Hiroyuki Namba (key), Kazuo Shiina (gtr) and Yutaka Uehara (ds) who all played with Tatsuro Yamashita among many others.There are many other excellent examples in 'Tokyo Glow', showcasing the diversity and specificity of Japanese City Pop during the late 70s and 80s.Nippon Columbia opened their much-guarded vaults to curator DJ Natoya. Tracks were remastered in Tokyo and the result, ‘Tokyo Glow’, is a unique insight into a most creative period in Japanese music.

✺ Killer and cult shamisen electro funk from 1985 Japan!✺ Minoru "Hoodoo" Fushimi's impossible to find first album finally reissued for the first time ever.✺ Sound restoration, mastering and lacquer cut by Timmion Cutting Lab.✺ 180g heavy vinyl pressing, reverse board print.✺ Comes with a 4 pages insert including the original hand-written insert/comic by Minoru Fushimi, with English translations.Minoru “Hoodoo” Fushimi’s most wanted and impossible to find first album Thanatos Of Funk is finally reissued for the first time ever, in collaboration with Fushimi himself.Thanatos Of Funk is a milestone in Japan's underground music and electro funk/early hip hop history. Entirely self-produced, designed and distributed in 1985 by Fushimi, a high-school teacher by day and music experimenter by night, Thanatos Of Funk is a love-letter to counter-culture, DIY, drum machines and synthesizers blent with some killer shamisen and guitar playing. This is truly unique music.The LP, re-mastered and cut at the Timmion Cutting Lab, comes with the original hand-written comic by Fushimi, with English... afficher plus

In the mid-seventies, discotheques were booming in Tokyo and all over Japan. When the Fatback Band climbed the 1975 US and UK charts with their infectious “(Are You Ready) Do The Bus Stop” hit, Japanese label Victor put out the following year the first Japan made Disco tune with “Sexy Bus Stop”, released under the mysterious name Dr. Dragon & Oriental Express, a pseudonym for successful Japanese pop composer Kyohei Tsutsumi. “Sexy Bus Stop” became an instant hit in the country and, taking this opportunity, various Japanese record companies started releasing Disco music. From 1976 until the early 1980s the music was often recorded by skilled studio musicians, rather than by computer input, providing a really solid sound to the dancefloor. Disco music was also spreading into TV series, commercials and anime. From Godiego’s monster hit “The Birth Of The Odyssey - Monkey Magic” to Pink Parachute’s obscure (and excellent!) “Disco Great Tokyo” tune, this selection explores some of the finest Disco and Boogie music released on the legendary Nippon Columbia label in the late seventies and early eighties. Are you ready? Put your dance shoes on, and enjoy!Wamono Disco - Nippon Columbia Disco & Boogie Hits 1978-1982 de Wamono series

While the Souls of Mischief never sold the kind of numbers that would elevate them to a huge audience, for the hip-hop cognoscenti their 1993 album 93 ‘Til Infinity and the singles it spawned are nothing but classic.Showcasing a fluent, loose-limbed rhyme style as Tajai, Opio, A-Plus and Phesto combined and bounced off each other, the Souls were part of the wider eclectic hip-hop collective Hieroglyphics, where they were joined by Del tha Funkee Homosapien and Casual, among others. All of them proved to be compelling, unique MC’s with a light touch, and both this single and the same year’s ‘That’s When Ya Lost’ were fan favourites from the off.It’s built around a handful of different samples from Billy Cobham’s ‘Heather’, which are cleverly connected together and underpinned by a Graham Central Station drum break made indelible by everyone from the Geto Boys to Bizmarkie on ‘Pickin’ Boogers’. As a result, it stands in contrast to much of the grimy, headnod hip-hop of the time, providing a melodic, lightly jazzy counterpoint that draws you into the sinuous lyrics.There’s no great message in the music, just four MC’s elevating the art of bragging to show you how the west coast rocks it. This is the first time the original album version has been available on 7”, with the instrumental on the flip a must if you’re practicing this for hip-hop karaoke…

Debut studio album by American gangsta rap group N.W.A, which, led by Eazy-E, formed in Los Angeles County's City of Compton in early 1987. Released by his label, Ruthless Records, on August 8, 1988, the album was produced by N.W.A members Dr. Dre, DJ Yella, and Arabian Prince, with lyrics written by N.W.A members Ice Cube and MC Ren along with Ruthless rapper The D.O.C. Not merely depicting Compton's street violence, the lyrics repeatedly threaten to lead it by attacking peers and even police. The track "Fuck tha Police" drew an FBI agent's warning letter, which aided N.W.A's notoriety, with N.W.A calling itself "the world's most dangerous group."

Le premier album de Notorious B.I.G., "Ready to Die", est sorti en 1994 et est largement considéré comme un classique du genre.Certifié Platine au Royaume-Uni, l'album met en valeur le style de narration distinctif de Biggie et présente des succès comme « Juicy », « Big Poppa » et « One More Chance ». Avec ses paroles brutes et sa production réaliste, "Ready to Die" reste un album déterminant de la scène hip hop de la côte Est.

Forcément moins connu car pas sur le devant de la scène (au sens propre comme au figuré), Dj Kheops n'en reste pas moins un pilier d'IAM et son principal architecte sonore. Dans la lancée de L'école du micro d'argent qui fait un tabac, il a concocté des instrumentaux pour les proposer à des rappeurs, autant marseillais que parisiens, qu'il apprécie. Au casting on compte notamment Oxmo Puccino, IAM bien sûr (en groupe et en solo), Def Bond, les X-Men, 3ème Oeil, Passi, Faf La Rage, Hifi, Stomy Bugsy, Freeman... Le titre est tiré du nom du cimetière où est enterré le magot dans le film de Sergio Leone, Le bon, le brute et le truand. Cela donne l'occasion à IAM de produire un morceau concept en forme d'étendard pour la compilation Sad Hill où chacun des rappeurs reprend un personnage du film. L'alchimie opère : 100000 ventes dès la première semaine et une place de choix dans le cœur des amateurs de rap à jamais.

Réédition du 3ème album de Gorillaz en double vinyles Picture / édition limitée !'Plastic Beach' sorti en 2010 : album produit par Damon Albarn, avec les participations de Snoop Dogg, Gruff Rhys, De La Soul, Bobby Womack, Mos Def, Lou Reed, Mick Jones, Paul Simonon, Mark E. Smith...Inclus les singles « On Melancholy Hill », « Stylo », « Rhinestone Eyes» et « Superfast Jellyfish ».

La série d'animation Bleach adapte le manga éponyme de Tite Kubo. L'histoire suit les aventures d'Ichigo Kurosaki, jeune lycéen de 15 ans qui a acquis les pouvoirs d'un Shinigami - ou Dieu de la Mort. Ces pouvoirs inattendus le poussent à assumer un nouveau rôle : défendre les humains contre les mauvais esprits et guider les âmes décédées vers l'au-delà.Milan Records propose la bande originale de cet animé culte composée par Shiro Sagisu (Evangelion) dans une version inédite !

If you saw CLIMAX you know how incredible this soundtrack is, if you didn’t seek it out now! CLIMAX centers around 20 young dancers who gather in a dank rehearsal space for a series of enthralling dance sequences set to throbbing '90s electronic dance music and photographed in a single hypnotic head-on shot. But an inferno is near when somebody spikes the sangria the dancers are drinking with LSD. Never leaving the rehearsal space, the minds of the performers begin to unspool thanks to the hallucinogens. The dancer’s music is at the center of CLIMAX; it pulses and pounds relentlessly, never stopping or pulling up. This unique soundtrack features an exciting line up with classic tunes by Ceronne, Neon, Gary Numan, Giorgio Moroder, Aphex Twin and many more! The soundtrack also includes the original tracks “Sangria” and “What To Do” by Thomas Bangalter. Pressed on double black vinyl.

Présentation de « COWBOY BEBOP : The Real Folk Blues Legends », un chef-d'œuvre en vinyle aux designs captivants de Toshiaki Uesugi, célèbre pour son travail pour la franchise Cowboy Bebop. Ce LP, soigneusement supervisé par le légendaire Yoko Kanno, compile des morceaux de toute la discographie de Cowboy Bebop, dont Blue, No Disc et Knocking on Heaven's Door, avec l'emblématique « The Real Folk Blues ». Cette sortie apporte sur vinyle les premiers classiques comme "Call Me Call Me" et "Blue", offrant aux fans une expérience sonore unique. Rejoignez l'héritage de l'une des séries animées les plus réussies de tous les temps. Cet ensemble de vinyles comprend 2 disques LP de luxe, pressés sur un vinyle rouge foncé de 140 g de 12 pouces. Il comprend un insert avec des listes de chansons, des crédits de chansons, des notes de doublure détaillées et des interviews avec Yoko Kanno, le tout logé dans une pochette gatefold.

Réédition en vinyl de la B.O. de l’un des films culte des années 2000 signé par Sofia Coppola. Les musiques du film de Sofia Coppola, choisies et supervisées par Brian Reitzell et Kevin Shields (de My Bloody Valentine), ont autant marqué que les performances de Bill Murray et Scarlett Johansson.

Électrochoc de Quentin Tarantino dans les années 90, Pulp Fiction a marqué une génération de cinéphiles. Mythique, la bande-son est à la hauteur du film, avec un assemblage de perles combinant rock’n’roll, surf music, pop et même soul. L’album est composé de seize titres, pour quarante et une minutes de bonheur musical qui vous replongeront dans les années 60 et 70. Il contient aussi quelques extraits de dialogues, dont la réplique culte, tirée d’un verset de la Bible, et psalmodiée par la voix tonitruante de Samuel L. Jackson.

Regular Offcial Authorised Vinyl Version, Original Soundtrack, 350g Sleeve, Black Inner, Sticker, 12 140g Vinyl – The first ever OFFICIAL vinyl release of the soundtrack for Mamoru Oshii’s legendary science fiction anime film GHOST IN THE SHELL (1995). – LP cut from the original master reels at Emil Berliner Studios, official Ghost in the Shell artworkWe Release Whatever The Fuck We Want Records is thrilled and honored to announce the first ever official vinyl pressing of the soundtrack for Mamoru Oshii’s critically acclaimed and all around legendary science fiction anime film GHOST IN THE SHELL (1995), adapted from Masamune Shirow’s groundbreaking manga series of the same name. Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon), the album comes as a LP accompanied by a bonus one-sided 7 housed in official Ghost in the Shell artwork sleeve with silver gilt printing and a Japanese obi, and contains extensive 24-page liner notes. The haunting score is composed by Kenji Kawai, one of Japan’s most celebrated soundtrack composers, alongside Joe Hisaishi and Ryichi Sakamoto, whose work includes Hideo Nakata’s Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai’s compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme ‘Making of Cyborg”, Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a time.

If you were a fan of the 1996 film adaptation of Irvine Welsh’s novel Trainspotting, you’re not the only one. It’s a funny, frantic, and occasionally horrifying tale of friendship and drug addiction that helped cement the reputation of Danny Boyle as a great director and helped turn Ewan McGregor into a proper movie star.If the reputation of the film itself has frightened you too much for you to see it, worry not: you’ll still be able to appreciate the soundtrack, which is filled with some truly classic tracks, most of them used to perfection within the film. On that front, Iggy Pop’s “Lust for Life” and Lou Reed’s “Perfect Day” are certainly near the top of the best-of list, but with contributions from Blur, Elastica, Brian Eno, Leftfield, New Order, Primal Scream, Pulp, Sleeper, Underworld, and others, you’re guaranteed to find yourself up and dancing at some point while you’re playing it. Just don’t dance on the ceiling, because Trainspotting fans won’t think of Lionel Richie when you say the word “ceiling,” they’ll think of a dead baby turning its head all the way ‘round.

✺ Pressed on black vinyl✺ Limited edition double vinyl✺ Created by Japanese hip-hop producer Tsutchie, American hip-hop producer & emcee Fat Jon, Japanese hip-hop producer Nujabes, and Japanese DJ & production duo FORCE OF NATURESamurai Champloo Music Record: Playlist is a soundtrack album created by Tsutchie, originally released on September 22, 2004, for the anime series Samurai Champloo. It is the third of four soundtrack albums released for the show.The music of the Samurai Champloo anime series was created by a group of producers: Japanese hip-hop producer Tsutchie of the rap group Shakkazombie, American hip-hop producer & emcee Fat Jon of the rap group Five Deez, Japanese hip-hop producer Nujabes, and Japanese DJ & production duo FORCE OF NATURE. The music genre is primarily instrumental hip-hop.

"The Head on the Door" est le sixième album studio du groupe The Cure, sorti le 13 août 19851. Un album résolument pop, qui permettra au groupe de se faire véritablement connaître dans le monde entier, et varié (guitare hispanique de The Blood, plus électrique de Push...), même si The Cure ne se départit pas de ses chansons spleen et mélancoliques (Sinking). Robert Smith écrit et compose seul l'intégralité des chansons parmi lesquelles "In Between Days" et "Close to Me" qui sortiront en singles et deviendront des tubes internationaux, bénéficiant de clips réalisés par Tim Pope qui seront très remarqués. L'album marque aussi le grand retour de Simon Gallup à la basse, tandis que Boris Williams s'installe à la batterie.

A stylish selection of city pop, funk and modern soul from Japanese label Nippon Columbia, selected by DJ Notoya and featuring cult classics and rarities by Hiroshi Sato, Hatsumi Shibata, Hitomi 'Penny' Tohyama & many more.Annotated by Notoya with journalist Nick Luscombe and artwork by Optigram.Newly remastered audio.The selection on ‘Tokyo Glow’ starts with 'Kimugare' a relaxed mid-tempo track by Kumi Nakamura, actually a famous actress who only recorded one album in 1980 for Columbia.The set continues and flows effortlessly with the sunshine grooves of Miyuki Maki, Hatsumi Shibata and cult keyboard player Hiroshi Sato before the pace starts going faster and funkier with New Generation Company, Kengo Kurozumi - with his superb boogie, 'Juggler'- and one of the queens of the genre, Hitomi 'Penny' Tohyama with 'Tuxedo Connection'.Another fine example on the set is the mid-tempo groove of "I Wander All Alone Part III" by New Generation Company, an aggregate group of some of the best Japanese session musicians led by arranger Katz Hoshi and including Hiroyuki Namba (key), Kazuo Shiina (gtr) and Yutaka Uehara (ds) who all played with Tatsuro Yamashita among many others.There are many other excellent examples in 'Tokyo Glow', showcasing the diversity and specificity of Japanese City Pop during the late 70s and 80s.Nippon Columbia opened their much-guarded vaults to curator DJ Natoya. Tracks were remastered in Tokyo and the result, ‘Tokyo Glow’, is a unique insight into a most creative period in Japanese music.

What would happen if Florian Schneider from Kraftwerk fell in love with Anne Dudley from Art Of Noise? That’s exactly how “A Spanner In The Werk” sounds : a mix of soulful melodies and robotic rhythms, which proves, at last, that Techno and love songs can meet… and have a fruitful relationship!Composed in 1996, this unreleased track by French New Beat veteran Guillaume U. Chifflot received massive positive feedbacks as a bonus track on the recent 2xLP compilation by n9.So here’s a brand new “Longform Mix”, taking android sensuality even further, lovingly pressed by Swewax onto a collector item, with a beautiful floral etching on the flip side by artist Yül-Rik.Mastered by techno and acid superstar Thomas P. Heckmann (Trope, Drax, etc.), the EP also features the participation of cult Rephlex duo D’arcangelo, who offer an exclusive remix, filled with a firework display of the delicate electronic drifts they excel at.n9 is a French label founded in the early 90’s to release new beat and techno-rave tracks. After focusing on graphic design for a decade, groups of Discogs fans brought n9 back into the field, and the label began to pioneer a 21st century blend of New Beat and TBM, while making room for a growing number of like-minded French techno artists.

✺ Neuromantic is Takahashi’s first solo release for ALFA and his third solo album overall.✺ Features Phil Manzanera, Andy Mackay (Roxy Music), and Tony Mansfield.Neuromantic is Takahashi’s first solo release for ALFA and his third solo album overall. In addition to Japanese musicians Haruomi Hosono, Ryuichi Sakamoto, and Kenji Omura, the album also features Phil Manzanera, Andy Mackay (Roxy Music), and Tony Mansfield whom he recorded with during a long stay in London. This record builds on the techno sound of YMO’s BGM (released the same year), infusing Takahashi’s unique romantic aesthetic and is considered one of his masterpieces. The sixth track, “Drip Dry Eyes" is a self-cover of a song that he wrote for ALFA artist artist Sandii.Yukihiro Takahashi explains, “The early 80’s was one of the busiest periods of my music life…When I think back now, I think that my recording style and production process that I continue to this day may have been solidified then, during the early 80’s.”The new reissue of Neuromatic is part of ALFA’s ongoing reissue series featuring many of Yukihiro’s early 80s solo albums from his first hit record Murdered by Music (1980) to his last record from his ALFA era Poisson D’Avril (1985 soundtrack to the film of the same name).