1980s Vinyl LP 547 Items

We are proud to release a compilation from British post-punk/Futurist group Ghosts of Dance formed in North Devon in 1981. The members were Yvette Norris (vocals), Kevin Maynard (drums), Daryl Hunt (bass), Mark Butcher (keyboards), and Pete Heaton (guitar). Ghosts of Dance took their name from the song 'Ghosts' by David Sylvian which appeared on the first Japan album. After playing an early gig in Barnstaple, a gentleman in the audience named Richard Newman expressed his interest to start a record label and release their music. Richard scheduled a recording session for the band at Otter Studios in Georgeham with producer Harry Williamson, son of Henry Williamson, member of progressive rock band Gong. The debut single ‘Ghosts of Dance’ was released in 1982 on Plastic Canvas Records to mixed reviews as it was very different from anything being released at the time. Our compilation includes their debut single along with 9 bonus tracks recorded between 1981 and 1983 on vinyl for the first time. The band call themselves “Vocal Trance Music” on the 7” sleeve credits and it’s accurate. We call it melancholic pop with gloomy atmosphere and dream-like melodies. The final track shows the band moving in a New Romantic direction with Mark taking over the main vocals. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in a jacket featuring original artwork by John Hurford and includes an insert with photos, lyrics and liner notes by Pete Heaton.

It's testament to how fertile England's mid-80's musical landscape was that the splintering of short-lived post-punk pioneers The Southern Death Cult seeded so many memorable but divergent groups - from widescreen rock legends The Cult to romantic pop duo Into A Circle to "the Asian Public Enemy," Fun-Da-Mental. But the band's most potent subsequent cross-pollination was undoubtedly Getting The Fear, formed by The Southern Death Cult rhythm section of Barry Jepson, David 'Buzz' Burrows, and Aki Haq Nawaz Qureshi, joined by Temple Ov Psychic Youth associate Paul `Bee' Hampshire on vocals. Galvanized by Margaret Thatcher's "iron fist" austerity policies and the cultural liberation of punk, the group blazed to creative fruition, quickly landing a lucrative deal with RCA. But immediately after recording their 1984 debut single, Last Salute, a shake-up at the label left them stranded and without support. Rather than stall in music industry purgatory they chose to dissolve, escaping their restrictive contract. Bee's lyrics on "Last Salute" are fitting final words: "If this must end let it pass me by / I'll remain your friend, only flowers die." But this is of course only part of the story. Death Is Bigger: 1984-1985 rectifies history's error, collecting the group's entire vault of demos and unreleased songs alongside liner notes and a photo gallery capturing Getting The Fear in all their high libertine glory. The compilation's 10 tracks are alternately brooding, spiky, and sneering, fixated on dreams, sex, and Charles Manson (the sleeve of Last Salute famously features a detail from Manson's embroidered waistcoat, unbeknownst to label execs). Razor wire guitars slice across tense rhythms, veering between minimal and melodic, occasionally flowering into psychedelic poetry, revealing Bee's deep affinity with Psychic TV. Taken as a whole, the album showcases the breadth of forking paths facing UK post-punk in 1984: pop eating itself, new wave while still new, transgression as alternative not affectation. Getting The Fear's music feels eclectic and unfettered, following whim, lust, and impulse, glinting with darkness against the fires of youth: "The earth is still beneath my feet, I start to sink to lose myself / Friends and lovers stand around unconcerned, their eyes in flames."

It's testament to how fertile England's mid-80's musical landscape was that the splintering of short-lived post-punk pioneers The Southern Death Cult seeded so many memorable but divergent groups - from widescreen rock legends The Cult to romantic pop duo Into A Circle to "the Asian Public Enemy," Fun-Da-Mental. But the band's most potent subsequent cross-pollination was undoubtedly Getting The Fear, formed by The Southern Death Cult rhythm section of Barry Jepson, David 'Buzz' Burrows, and Aki Haq Nawaz Qureshi, joined by Temple Ov Psychic Youth associate Paul `Bee' Hampshire on vocals. Galvanized by Margaret Thatcher's "iron fist" austerity policies and the cultural liberation of punk, the group blazed to creative fruition, quickly landing a lucrative deal with RCA. But immediately after recording their 1984 debut single, Last Salute, a shake-up at the label left them stranded and without support. Rather than stall in music industry purgatory they chose to dissolve, escaping their restrictive contract. Bee's lyrics on "Last Salute" are fitting final words: "If this must end let it pass me by / I'll remain your friend, only flowers die." But this is of course only part of the story. Death Is Bigger: 1984-1985 rectifies history's error, collecting the group's entire vault of demos and unreleased songs alongside liner notes and a photo gallery capturing Getting The Fear in all their high libertine glory. The compilation's 10 tracks are alternately brooding, spiky, and sneering, fixated on dreams, sex, and Charles Manson (the sleeve of Last Salute famously features a detail from Manson's embroidered waistcoat, unbeknownst to label execs). Razor wire guitars slice across tense rhythms, veering between minimal and melodic, occasionally flowering into psychedelic poetry, revealing Bee's deep affinity with Psychic TV. Taken as a whole, the album showcases the breadth of forking paths facing UK post-punk in 1984: pop eating itself, new wave while still new, transgression as alternative not affectation. Getting The Fear's music feels eclectic and unfettered, following whim, lust, and impulse, glinting with darkness against the fires of youth: "The earth is still beneath my feet, I start to sink to lose myself / Friends and lovers stand around unconcerned, their eyes in flames."

Give Me The Night is the 1980 album by ten-time Grammy Award-winning American musician and singer-songwriter George Benson. Produced by Quincy Jones and originally released on Jones' start-up label Qwest Records, the album charted number one on both the Top Soul Albums and Jazz Albums Chart as well as number three on the Billboard Pop Albums charts.

180g audiophile vinyl.

“Run For Cover” is the sixth studio album by Irish guitarist Gary Moore, released in 1985. It is often considered his breakthrough album.

This reissue includes insert with complete biography and track-by-track notes by Gary Blanchard himself.

"Yoshino Fujimaru's first solo album, ""yoshino Fujimal"" released in 1982 and produced with the members of Ab's, will be released on pink colored vinyl! The musicians who performed on the album included Makoto Matsushita, Naoki Watanabe, and Atsuo Okamoto, who would later become members of Ab's, with Haruko Kuwana on backing vocals and EPO also participating as backing chorus."

"downt" is a three-piece band formed in Tokyo in 2021 by Yui Togashi (Gt/Vo), Takaaki Kawai (Ba) and Tener Ken Robert (Dr). Influenced by kind of post-hardcore and math rock brought to the world by 80-90s American labels such as Dischord Records and Ebullition Records, their delicate yet developed performances with a sense of urgency brought about by complex guitar phrases, and songs are written with an outstanding sense of melody and emotional words which is making the band can stand beyond categorize of music style. The songs are written with superb melodies and emotional language that sets them apart from other artists. Togashi's gently and sharply impassioned vocals also help to express their stance with genre-defying music and spirituality.

The 10" ep, released ahead of the new album, will include the epic '13th Moon', an over 8-minute track that was created to break new ground as a band. This is a song that gives you a sense of strength that gently pushes you back in the uncertain haze of everyday life that seems to go on forever. The song opens with drums and ends with layers and layers of water seeping through.The B-side of the record is etched with artwork showing the delicate sensibilities of the band. Their early work was compiled and released as an LP by Dog Knights Productions in the UK though it's no longer available, so this ep is only the vinyl format of downt's release you can get now!