1980s Vinyl 164 Items

J’Voudrais Qu’Tu M’Dises marks another official 12″ French re-issue from the Forest Jams label. Like the previous ‘Nathalie Letertre’ record we have a name on the front of the jacket but with little information behind it. What we do know is that Kelly Lane’s vocals sit atop this obscure synth-pop meets house meets slight boogie with a smooth aggression, equally cute as it is equally strong, funky indeed. For those that just want the music there’s an instrumental version on the B-side. Two extra versions taken from the CD are re-mastered and included on this release with a surprisingly dancey ‘radio’ version and a pumping/housier ‘version dance remix’. Let Kelly Lane’s “J’Voudrais Qu’Tu M’Dises” find its way to your heart.

Jack Adkins, the creative force behind the moniker Jamin’ Jack, has a multifaceted musical journey that began in the mid-'60s in Cincinnati. Initially cutting his musical teeth in garage bands like the Coachmen, Adkins would later embark on a decade-long journey as Jamin’ Jack, the One Man Band, from 1983 to 1993. A pivotal moment unfolded in the early '80s when, at the age of 36, Adkins walked into London Music studio in Tampa to record his debut LP, 'American Sunset.' This album, distinguished by its evocative portrayal of the West's decline, emerged as a defining piece in Adkins's musical repertoire. Its sonic landscape, characterized by guitars and drum machines, resonates with a familiar and poignant atmosphere. The subsequent decade witnessed Adkins assuming the persona of Jamin’ Jack, the One Man Band, embarking on an extensive ten-year tour. Adapting to a corporate presentation style, he not only refined his musical craft but also mastered the art of bantering and entertaining, overcoming his initial shyness. During this nomadic period, Adkins carried the master tapes of 'American Sunset' with him on the road. In a poetic expression of his transient lifestyle, he pressed LPs and tapes in Houston, selling them directly at various venues. The album, at its zenith, serves as a sonic backdrop to the lonesome and transient life on the road, encapsulating the essence of a nation seemingly heading into the sunset. 'American Sunset' stands as a must-listen for enthusiasts of Trans-era Neil Young and the dystopian vibes reminiscent of Repo Man, offering a captivating musical narrative that echoes the spirit of its time. Neofolk electronica? we're not sure, but its just amazing! Only 500 units of this 'sunset' Colored Vinyl will ever exist. You waited 40 years for this anniversary meeting, so don't blow it, buy it!

Limited to 500 copies.

Remastered from the original analog tapes especially for this first ever re - issue, Aftapati” (Illusion) is the only studio album by Idyli Tsaliki.
Tsaliki’s poetic style and distinct voice along with moody jazz - funk rock arrangements are beyond comparison to any other 80s Greek album.
Immerse yourself in this musical journey and discover one of the rarest albums of the Greek jazz scene.
Released by Philips Greece in 1983 and never been released before not even on CD.
Reissue by Veego Records for the 40th anniversary of this holy grail of Greek Jazz Masterpiece.

Remastered from the original analog tapes especially for this first ever re - issue, Aftapati” (Illusion) is the only studio album by Idyli Tsaliki.
Tsaliki’s poetic style and distinct voice along with moody jazz - funk rock arrangements are beyond comparison to any other 80s Greek album.
Immerse yourself in this musical journey and discover one of the rarest albums of the Greek jazz scene.
Released by Philips Greece in 1983 and never been released before not even on CD.
Reissue by Veego Records for the 40th anniversary of this holy grail of Greek Jazz Masterpiece.

The 4th album "next DOOR," released in 1983 and heavily influenced by early 80s American pop, will be reissued as a limited edition on clear green vinyl. This city pop album exudes an urban atmosphere throughout.

Emotional Rescue returns to the music of British "pop" band Furniture, with an EP of the band's own extended versions, remixes and unreleased takes of their particular output. Taken from three 12"s that followed When The Boom Was On (ERC072), the songs included cast a light on their development from 3 to 5 piece, adding Sally Still (bass) and Maya Gilder (keyboards) and the new male/female frontline. The subsequent broadening of their line-up and sound meant they could start to address the kind of pop music they wanted to play. After the early releases garneered radio play and reviews, Furniture were launched into the melee of '80s pop. An anomaly, the band found they attracted a specific kind of "intense" follower, who were often beguiled by Furniture's freaky normality. This was addressed on the 1984 release, 'I Can't Crack'. A more urgent version of the sound Furniture had debuted with 'Why Are We In Love', the track, sung by Tim, was based around a sequencer-like rhythm played live by drummer Hamilton Lee, and a clarinet part played by Tim's brother, Larry Whelan. A mix of bleakness and euphoria, the song was and is a favourite of the band and considered one of their best self-productions, as well as becoming a latter day club play. This is followed by the studio experiment 'Throw Away The Script', where the band wrestled with sequencers and synth-pop, but then countered it with a free-jazz sax solo. Found on the flip of the double A -side of 'Love Your Shoes' 12", this instrumental version too became an underground club hit, including a cult play at Fran Lenaer's influential Valencia club, Spook Factory. Played loud, the studio mastery, trickery and oft-accidental discoveries come to the fore, with tissue-damaging frequencies giving extra sound system shaking bottom end. The B-side continues the band's love of making extended mixes with 'Dancing The Hard Bargain'. Co-produced with Tim Parry (formerly of Blue Zoo), they threw everything at these 12" versions. Able to relax and focus on the sounds they really liked, rather than the ones thought more commercial, this can be clearly heard on this compelling, percussive mix, a stop-start breakdown becoming a band hallmark. To close this collection is the mammoth 'Bullet'. Again sung by Whelan, an edited version of which debuted on the 1986 Survival compilation of Furniture tracks called 'The Lovemongers', here this previously unreleased original take is centred on a mesmeric tape loop, live drums and a guest appearance by violinist Helena Bjorelius.

"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."

The original single from Escape From New York finally gets an official reissue. Originally released in 1983 ‘Save Our Love’ was released a year before ‘Fire in My Heart’ and sets out their highly effective fusion of New Wave, Disco, Italo and Post Punk. Featuring Jaki Graham and D.C Lee on backing vocals, the 12” also includes an instrumental mix and cult classic ‘Slow Beat’ (Dance Mix). Escape From New York were short lived and disbanded in 1984 following the release of ‘Fire in My Heart’, ultimately buckling under the pressure of commercial expectations for their innovative brand of pop music. Fast forward to 2023 and history has been kind and these singles are now regarded as being pioneering classics.

Dark Entries celebrates its 15th anniversary by returning to where it all started, our initial darkest entry: Eleven Pond’s masterpiece Bas Relief, an ultra-obscure album from 1986 that would become a definitive dark pop holy grail. Eleven Pond was James Tabbi (vocals, acoustic guitar), Jeff Gallea (drum machine, synthesizer, vocals), Jack Schaeffer (guitar) and Dan Brumley (synthesizer, samples, vocoder, melodica). They met in Rochester, NY, while attending art school, brought together by their shared love of 4AD and Factory Records. Taking cues from acts like Joy Division, Fad Gadget, and For Against, Eleven Pond’s infectious basslines, churning guitar riffs, and atmospheric synths will charm all fans of moody music. But what really makes Bas Relief shine is the timeless songwriting on classics like “Tear and Cinnamon”, “Portugal”, and the anthemic “Watching Trees.” With only 500 copies in it’s initial release, Bas Relief resurfaces with a fresh remaster that corrects a pitch shift from previous reissues. Each copy is housed in a screen printed jacket, like the 1986 edition, and includes a lyric sheet, two postcards and a bookmark. Bas Relief is a true lost relic of the cold 80’s and an essential piece Dark Entries history.

This wonderful collection of mostly overlooked gems has been remixed and remastered from the original master tapes. Finally available again after 20+ years of unavailability.

The Freddie Mercury produced title-track features the iconic Queen frontman on piano and vocals and Brian May on guitar. The further Eddie Howell tracks on the album are from around the same period and feature cameo appearances from Phil Collins, Gary Moore, Ray Cooper, and many others.

Pressed on 180gram audiophile quality white vinyl, presented in an exclusive boxset including photos, poster, plectrum, QR code (for the Dolby Atmos version of the album) and the story behind the project.

Max Holler a Berlin-based singer and musician founded Echo Romeo in the early 80s and later the Atlantic Popes, which himself considers his main project together with Bernhard Lloyd (from Alphaville). In those years Max's dream was to direct films and create music videos but, according to his statements, the equipment for it was way too expensive. Therefore, after meeting Jurgen Erdmann from Dusseldorf, Echo Romeo and the first and only single "Your Tears" were born. The Wall was still there and Jurgen had insanely adventurous car journeys to reach Berlin, precisely the Tritonus Studio where they recorded the masterpiece. But, despite everything and everyone, the title track "Your Tears" is one of the most seminal examples of robotic synth-wave we've ever heard with a driving bass that blows you away, mixed with a pulsating soul and lyrics that are pure poetry. On the B-side, we find "Dreams" and the same kind of atmosphere but, drastically pitched down and with a splash of jazz that is actually Max's first love.

The fully remastered reissue comes courtesy of Max Holler via the new Kings Of Harmony imprint.

Drew Schlesinger has been playing synthesizers and composing electronic music since the early 1970s. In 1986, he began developing third-party sounds for Casio CZ synths, leading to a career designing presets for over 200 products from 30 companies including Roland, Korg, Kurzweil, Alesis, E-mu, Ensoniq, TC, Lexicon, Eventide, and others. After a 20-year hiatus in the corporate world, he has recently returned to music and sound design. His latest release is the album Radar Signals (Recorded 1981-82).

Getting into Summer vibe gears with this breezy smooth Italo-Disco single originally released in 1990 as a 7” under another one of the many unknown Italian private press labels, Tengo La Sangre Caliente is a playful latin sounding production with a strong balearic feeling given by the Spanish lyrics and Flamenco guitars that adorn the early drum machine house beats. Certainly one to have haunted a good amount of Discogs wantlists over the past years, Thankyou brings it back again remastered for 12” format with a new edit from Castro that cuts off some of the harder-to-digest vocals along with a more to the point “bonus beats” as well.

Depeche Mode live on their ‘Construction Time Tour’. This is the recording of the first of three shows at the Hammersmith Odeon in London starting on the October 6,1983. The first tour with the then new keyboarder Alan Wilder.

In Menstrual Night was recorded in 1985 by Current 93, who could never be: David Michael Tibet, Hilmar Örn Hilmarsson, Steven Stapleton, Diana Rogerson, John Balance, Ruby Tathata Wallis, Keiko Yoshida, Rose McDowall and Bee. The album was mixed by Steven Stapleton, and was originally released as a picture disc on United Dairies / Maldoror (ud022/m) in 1985.

Named after one of the basic rhythms of Cuban folk music and drawing on influences from across the globe, Cho Co Pa Co Cho Co Quin Quin are quite simply a world unto itself. Comprised of three childhood friends, Daido, Yuta and So, who reconnected during the coronavirus pandemic, Cho Co Pa initially emerged as a playful way for the three 23-year-olds to pass the time. Tapping into their youthful connection, they created a sound that exudes confidence and curiosity, a homage to the masterful world of YMO’s and Happy End’s Haruomi Hosono, rooted in the trio’s own idiosyncratic experience of the present. Recorded at home and promoted on hugely popular DIY TikTok videos, their debut album Tradition is a technicolour exercise in armchair travelling – a kind of lockdown exotica for the housebound whose nostalgic flights of fancy are laced with a sense of whimsical melancholy for the lost freedoms of youth. Referencing everything from Afro-Cuban percussion to lo-fi beats, Buddhist spirituality to trap, each member of the band brings different musical inspirations to the table. Latin American and Middle Eastern styles sit adjacent to a fascination for the electronic music of Aphex Twin, Dorian Concept, Underworld and Daft Punk. At times, the music verges on acid pop bliss, at others, it grooves with the instrumental funk sensibility of Badbadnotgood. “In the first place, when I create a song, my goal is to transport the listener to a mysterious place,” vocalist Daido explained in a recent magazine interview. Using lyrics as another sonic texture in the composition of ideas, Cho Co Pa paint beguiling sonic postcards of far-flung moods across 12 highly original tracks. Marrying the organic and the electronic on rhythmically sophisticated compositions like ‘Chichibu’ and ‘Watatsumi’, it is on the album’s standout track ‘Gandhara’ that the experimental sound of Cho Co Pa comes to the fore. Referencing the ancient city of Gandhara through which Buddhism made its way from India to China, the track is a vocoder-trap-inspired, Udu drum-driven pop jam that lilts with unmistakable Balearic flair. If that’s difficult to imagine, then know simply that ‘Gandhara’ sounds like nothing else on this side of Saturn. Even Daido seemed surprised by the outcome: “I feel like we were able to create something that exceeded our abilities. That was huge!” Hugely popular in Japan, with festival appearances lined up alongside Badbadnotgood at Asagiri Jam in October, it's safe to say the success of Tradition has taken Cho Co Pa by surprise. Released digitally in July 2023, Tradition will get a full international vinyl release in January 2024. You won’t have heard anything like it.

CHBB was a project by Beate Bartel and Chris Haas that developed from their collaboration in 1981, while working on the self-titled album 'Liaisons Dangereuses‘. They released their music only on four limited cassettes.

This compilation presents the complete works of Chbb, including all recordings from their original cassettes alongside previously unreleased tracks produced by both artists.

Funky Kromong Vol. 2 continues the legacy of Vol.1 by featuring unbeatable songs. At this time’s release, Lamunai Records re-selected some of the songs by legendary musician Benyamin Suaeb who showed his excellence in combining traditional Betawi elements with innovative funk and groovy rhythms. Each track in this compilation brings listeners a unique musical journey, blending Benjamin’s distinctive humor with a nuance of sound.



Vol. 2 not only maintains the eccentric spirit and intelligent satire of its predecessor but also explores Benjamin’s rich culture and musicality more deeply. Songs like “Kompor Meleduk”, “Cong-Cong Balicong” and “Koboi Ngungsi” offer a fresh listening experience but remain familiar to old and new listeners. The combination of traditional musical instruments with modern instruments creates charming harmony, inviting us to re-experience the golden age of Indonesian music with a contemporary touch.

Funky Kromong Vol. 2 continues the legacy of Vol.1 by featuring unbeatable songs. At this time’s release, Lamunai Records re-selected some of the songs by legendary musician Benyamin Suaeb who showed his excellence in combining traditional Betawi elements with innovative funk and groovy rhythms. Each track in this compilation brings listeners a unique musical journey, blending Benjamin’s distinctive humor with a nuance of sound.



Vol. 2 not only maintains the eccentric spirit and intelligent satire of its predecessor but also explores Benjamin’s rich culture and musicality more deeply. Songs like “Kompor Meleduk”, “Cong-Cong Balicong” and “Koboi Ngungsi” offer a fresh listening experience but remain familiar to old and new listeners. The combination of traditional musical instruments with modern instruments creates charming harmony, inviting us to re-experience the golden age of Indonesian music with a contemporary touch.

Bananarama celebrate over 40 years at the top with the release of 'Glorious - The Ultimate Collection'. With 40 tracks selected by Sara and Keren themselves, the double CD album revisits every decade of the band's career, with hits including Cruel Summer, Venus, Love in the First Degree, Only Your Love, Preacher Man, Move in My Direction and more, along with two new singles, Feel The Love (released October 18) and Supernova.
- The 1LP edition features 16 tracks : singles + new remixes of classic hits and "Feel the Love" & "Supernova "for the first time on vinyl.
- Bananarama are THE original girl group. They're featured in Guinness World of Records for the most internationally charted hits by an all female band, with in excess of 30+ million sales worldwide.

Originally released in 1984
Due to becoming a big hit from her previous record, “Timely!!”, Anri was brought to record her next album in L.A. with producer, Toshiki Kadomatsu. The studio musicians that took part in making of this album include Leon Chancler・Ed Green (Dr)、Nathan East (B)、Paul Jackson Jr.・Calros Rios (Gt)、Don Grusin (Key)、Ernie Watts (Sax)、Jerry Hey (Tp) participated. From dance tracks to mellow tunes, the colorful and vivid songs on this album are truly the culmination of the Kadomatsu trilogy, and a prologue to the dance-ability of Anri of the late 80's.

The 10th original album, "CRIMSON," includes the famous songs "Eki" and "OH NO, OH YES!" This luxurious album was completed with five songs each provided by two female musicians, Mariya Takeuchi and Akiko Kobayashi.

The second single collection features all 10 singles from the 14th single "desire - Jounetsu -" (winner of the 28th Japan Record Award) to the 22nd single "I Missed 'the Shock'" (including "Nonfiction Ecstasy" released as a single cassette). This best album was simultaneously released on December 24, 1988, in three formats—LP, cassette tape, and CD—each with a different cover photo pose.

The debut single collection, featuring all 13 singles from "Slow Motion" to the 13th single "SOLITUDE," includes a total of 13 tracks. This best album was simultaneously released in three formats—LP, cassette tape, and CD—on April 1, 1986.

The final part of this ‘A.R. Kane reissue collection is 1989’s astonishing double-LP ‘i’ which

followed up on ‘sixty nine’s promise and saw the duo fully unleash their experimental

pop sensibilities over 26 tracks, plunging the A.R. Kane sound into a dazzlingly

kaleidoscopic vision of pop experiment and play. Suffused with new digital

technologies and combining searingly sweet and danceable pop with perhaps the

duo’s strangest and boundary-pushing compositions, the album did exactly what a

great double-set should do - indulge the artists sprawling pursuit of their own

imaginations but always with a concision and an ear for those moments where pop

both transcends and toys with the listeners expectations. Jason Ankeny has noted

that “In retrospect, ‘i’ now seems like a crystal ball prophesying virtually every major

musical development of the 1990s; from the shimmering techno of ‘A Love from

Outer Space’ to the liquid dub of ‘What’s All This Then?’, from the alien drone-pop of

‘Conundrum’ to the sinister shoegazer miasma of ‘Supervixens’ — it’s all here, an

underground road map for countless bands to follow.” Perhaps the most

overwhelmingly all-encompassing transmission from A.R. Kane, ‘i’ bookended a

three year period in which the duo had made some of the most prophetic and

revelatory music of the entire decade.

After ‘i’ the duo’s output became more sporadic with Tambala and Ayuli moving in

different directions both geographically and musically, with only 1994’s ‘New Clear

Child’ a crystalline re-fraction of future and past echoes of jazz, folk and soul, before

the duo went their separate ways. Since then, A.R. Kane’s music has endured, not

thanks to the usual sepia’d false memories that seem to maintain interest in so much

of the musical past, but because those who hear A.R. Kane music and are changed

irrevocably, have to share that universe which A.R. Kane opened up, with anyone

else who will listen. Far more than other lauded documents of the late 80s it still

sounds astonishingly fresh, astonishingly livid and vivid and necessary and NOW.