1980s Vinyl 343 Items

Midori Hara’s 2nd album. A masterpiece of 80s urban pop with mellow grooves. First class session musicians such as Hiroshi Sato (p), Kenji Takamizu (b), Shuichi Murakami (ds), and Masahiro Ikumi (g) participate.

The Dark Entries Italo drop continues with Garland’s “Heartbeat”. Like the Alex Molo reissue, this is another 1986 dancefloor bomb produced by Claudio Corradini along with Massimo Filippi. Art Déco singer and songwriter Claudio Valenti conceived of Garland as an outlet for his more dancefloor-oriented material. Inspired by Valenti’s time spent in London seeing Steve Strange (of New Romantic group Visage) DJ at Heaven, “Heartbeat” is an epic Italo number with a heavy New Wave stamp. Déjà vu comes over the listener with melodies evoking Debarge and Bronski Beat, but this passes when the fist-pumping, sing-along-worthy chorus hits. Both the “Song Version” and the “Dance Version” are included on this reissue, with the latter featuring an extended intro and stripped down arrangement.

The Italo connoisseurs at Dark Entries have unearthed another hard-rocking jam. Alex Molo’s “Look At Me” was released in 1986 on Rainbow Records. Produced by Claudio Corradini and featuring Mauro Spagnolo and Steven Stefani, “Look At Me” delivers everything you want from latter-period Italo: propulsive digital synth basslines, anthemic chords, and reverb-washed orchestra hits. The “Dancing Mix” is engineered for DJs and dancefloors, with a heavier low end and a clearer mixdown, while the “Radio Mix” is more midrange-heavy and features additional synthesizer work. With original copies fetching a hefty sum on the second hand market, this reissue will excite both die-hard collectors and fledgling Italo-enthusiasts alike.

After Belgian electro-samba wunderkinds Antena split at the end of 1985, singer Isabelle Antena immediately shed her cold wave crown for a sophisticated pop princess tiara. On 1986's Martin Hayles-produced En Cavale, echos of Madonna and city pop abound, with a lipstick stain of L80s Euro dance and spilled cosmopolitan's worth of bossa nova stirred in for good measure. This elegant second chapter of a French pop diva has been expanded to include Antena's shelved Island Records demo, adjacent B-sides and rarities, plus an expansive essay and previously unpublished photographs.

After Belgian electro-samba wunderkinds Antena split at the end of 1985, singer Isabelle Antena immediately shed her cold wave crown for a sophisticated pop princess tiara. On 1986's Martin Hayles-produced En Cavale, echos of Madonna and city pop abound, with a lipstick stain of L80s Euro dance and spilled cosmopolitan's worth of bossa nova stirred in for good measure. This elegant second chapter of a French pop diva has been expanded to include Antena's shelved Island Records demo, adjacent B-sides and rarities, plus an expansive essay and previously unpublished photographs.

Limited 180 gram vinyl LP pressing of this album from the classic rock band. Released in 1987, Permanent Vacation marked a turning point in the band's career. Here the band worked alongside professional songwriters to craft an album chock full of hits that charted in the Top 20. This came at the suggestion of executive John Kalodner. He also pushed the band to work with producer Bruce Fairbairn, who remained with them for another two albums. It was also the first Aerosmith album to be promoted by heavy music video airplay on MTV. Though Done with Mirrors was intended to mark Aerosmith's comeback, Permanent Vacation is often considered their true comeback, as it was the band's first truly popular album since their reunion. Tracks like 'Rag Doll', 'Dude (Looks like a Lady)', and 'Angel' helped Permanent Vacation become the band's greatest success in a decade.

This classic Queen album is pressed on 180gram. Queen Greatest Hits (and Greatest Hits II separately) is released on 180 gram heavyweight vinyl. Both titles will use their original artwork, and for the first time, Greatest Hits will be released as a 2LP set. 'Greatest Hits is a compilation album by Queen, originally released in the UK on 26 October 1981. The album consisted of Queen's best-selling singles since their first chart appearance in 1974 with "Seven Seas of Rhye", up to their 1980 hit "Flash". Queen's Greatest Hits was an instant success, peaking at number one on the UK Album Chart for four weeks. It has spent over 700 weeks in the UK Charts, and is the best-selling album of all time in the UK, selling over 6 million copies there. It is certified 8x Platinum in the United States, and is Queen's most commercially successful album worldwide with over 25 million copies sold, making it one of the best-selling albums of all time.

Limited 180 gram vinyl LP pressing of this album from the classic rock band. Pump is the tenth studio album by Aerosmith, released on September 12, 1989. Pump incorporates the use of keyboards and a horn section on many of the singles ("Love in an Elevator", "The Other Side"), and contains straightforward rockers ("F.I.N.E.", "Young Lust"), the ballad "What It Takes", songs about issues such as incest and murder ("Janie's Got a Gun") and drug and alcohol abuse ("Monkey on My Back"), [4] as well as a variety of instrumental interludes such as "Hoodoo" and "Dulcimer Stomp." The album has certified sales of seven million copies in the U.S. and is tied with it's successor Get a Grip as Aerosmith's second best-selling studio album in the U.S. (Toys in the Attic leads with eight million).

* Ultra rare U.S Powerpop album from 1982 reissued for the first time ever * A U.S. powerpop killer & D.I.Y-nugget – Original album is rare and highly in demand * Deluxe reissue housed in gatefold sleeve * Expanded with bonus tracks * Printed inner sleeve filled with rare photos * Extensive liner notes by Kieron Tyler (Mojo) * Carefully restored and remastered sound * Colored vinyl (yellow)

The Trend is high explosive, hyperactive teenage powerpop. The Trend hailed from Kennett, Missouri and was formed back in 1979. Aged fifteen to sixteen at the time, and armed with guitars, striped t-shirts, skinny ties, tambourines and colorful drainpipe trousers. The Trend (Is In) was a full on powerpop and bubblegum-explosion.

One self-released (and nowadays mega-rare) album in 1982 and a just-as-hard-to-find 7-inch single from the previous year was all that The Trend unleashed on record during their short lifespan. Since then, appearances on compilations like Yellow Pills and Numero’s Buttons have made sure The Trend is in high demand amongst powerpop aficionados all over the world.

Trend’s debut 45 “She’s Hi-Fi” b/w “Lucky Day” is blistering class AAA powerpop that will most likely make anyone with the slightest interest in the genre strip off all clothes and do the helicopter. “The Girl At The Holiday In” shows that The Trend had moved on since the single. So much so that “The Girl I Used To Know” could have been recorded by one of the then contemporary Paisley Underground bands from Los Angeles. “Real Cheap Thrill” is raging Merseybeat-pop-mayhem bordering to killed by death-punk. “Two Plus Two” is suffused with the spirit of late 1960s Paul McCartney. Above all, The Trend is about direct, driving upbeat pop. “Go For Broke” could have clicked as a single, while “Southsiders (Waiting To Go Northside)” caught The Trend’s outlook in a nutshell: “power pop, bubblegum, punk rock, here we come.”

Housed in a deluxe gatefold sleeve that comes with a printed inner sleeve richly illustrated with rare and previously unpublished photos. In the extensive liner notes The Trend’s main man and song writer John McMullan tells the full story to Kieron Tyler (Mojo Magazine).

The Trend is finally in!

The first analog reissue of Piper's 5th album 'lovers Logic' released in 1985 has been decided!

The 5th album 'lovers Logic' released by Moon Records in 1985 by Piper, led by guitarist Keisuke Yamamoto, who worked as a backup for Kazuto Murata, will be reissued for the first time!

Released in 1983, Fujimaru Yoshino's 2nd album 'romantic Guys' is the long-awaited first reissue!

This record is a masterpiece of city pop, backed by gorgeous overseas musicians such as Ab's members Makoto Matsushita, Naoki Watanabe, Atsuo Okamoto, Robben Ford, Nathan East, and Mike Baird. The album features nine tracks, including, 'Natsu no Onna', as well as a cover of the famous Shogun-era song, 'You're The One'.

* Faithful reproduction of the 1977 original * Cut from the original analog master

A record that should never leave any HiNRG sympathetic record bag. You get two monstrous club tracks from the second half of the 80s for the price of one. These two singles put the power couple (Pascal and Denise Languirand) on the HiNRG map worldwide. “Imagination” is an electro influenced anthem that will shift gears for any dancefloor. The percussive work on the break is a ground quaking homage to freestyle/latin influences from the scene in LA at the time, (reminiscent of the unconstrained drum machine programing on “Just My Love” by Umo Vogue for example). Flip it and you're left with “I'm Yours Tonight”: a highly sought after Patrick Miller holly grail that might have been too honest to be taken seriously by the already "house" infected zeitgeist which might have been dominating the mainstream for the tail end of the late 80s. But for many faithful HiNRG scholars this would never leave our radars, so here it is again at a now reasonable price and remastered for serious club application.

London Records releases remastered and expanded editions of Voice Of The Beehive’s classic debut 1988 album, ‘Let It Bee’ on November 25th. Formats include a remastered gatefold vinyl edition in transparent honey yellow, and an expanded double CD edition featuring previously unreleased tracks, live versions and demos. All formats feature new liner notes by the band’s very own Tracey Belland. In the mid 80s, armed with a only a suitcase of songs, Californian sisters Tracey Bryn and Melissa Brooke Belland escaped the American music industry in search of the vibrant British indie scene, finding recently split Madness band member Daniel ‘Woody’ Woodgate, who together with guitarist Mike Jones and bassist Martin Brett would form ‘the Beehive Boys’. The powerful live chops of the Beehive Boys, combined with the harmonies, energy and stage presence of Tracey and Melissa, made Voice of the Beehive indie darlings and one of the hottest live acts on the London scene. Signing with London Records, they recorded ‘Let It Bee’, its sunny exterior of sparkling indie guitars, energetic rhythms matched with lyrics and melodies that revealed both hope and an occasionally cutting cynicism. On its release ‘Let It Bee’ was a UK Top 15 album, its singles ‘I Say Nothing’, ‘I Walk The Earth’ & ‘Don’t Call Me Baby’ all chart hits and radio favourites. Re-issued for the first time since its initial release. The expanded double CD version features ‘Cartoon City’, a band favourite recently uncovered and remastered from the London Records archives.

Massimo Morini, has been technical director and conductor of San Remo festival for over 30 years. On his conducting debut in 1995 he was only 26 years old. Before his big hall music adventure started, back in 1985 he formed his first italo disco group – J.F & Hitwave, later to be transformed into Love Kills (I want to Become). A forgotten and highly demanded among obscure 7″ italo collectors tune titled “Dance Floor Girl” is now brought back to the light of day on a 12″ vinyl. The reissue contains previously unreleased 12″ version as well remixes by Flemming Dalum, Italoconnection and Also Playable Mono.

Black Friday Record Store Day 2022 Reissue. Color: Gold. Limitation: 10.000 copies. In 1982, as Duranmania was sweeping the globe following the release of Duran Duran’s smash hit album ‘rio’, the band recorded and filmed one of their three London dates at Hammersmith Odeon. Exclusively for Black Friday 2022 the audio from this legendary show will be pressed on vinyl for the very first time. This gold double vinyl edition, features live performances of Duran Duran hits - Rio, Hungry like the Wolf, Girls on Film and more. Plus, fan favourite cover of Steve Harley & Cockney Rebel’s Make Me Smile (Come Up and See Me). Strictly limited to 10,000 units.

Putting into perspective the incalculable impact and pioneering significance of the best-selling album of all time – Michael Jackson's Thriller – has never been easy. Though Thriller lays claim to mind-boggling statistics that serve as reminders of how pervasive and indispensable it remains to music snobs and casual listeners alike, its essence always traces back to the greatness, power, and scope of the music. Now, as it celebrates its 40th anniversary, the record that reimagined pop; united audiences; made strides towards achieving racial equality; established the video as an artistic and commercial format; and taught the world how to dance sounds even more invigorating than it did during the advent of the Walkman. Mastered from the original analog master tapes, pressed at RTI, and limited to 40,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 33rpm LP set does for Thriller what Jackson's unforgettable appearance on the "Motown 25" TV special in 1983 did for his career: It makes the music personal, human, desirable, relatable, imaginative – the definition of cool. This extraordinary reissue does so by presenting the songs in lifelike fashion, zeroing in on the fundamentals with laser focus, and magnifying the brilliance of the production, arrangements, and vocals in ways that let everyone experience Thriller as if hearing the album for the first time.

Surpassing the sonics of earlier reissues and pressings, Mobile Fidelity's 180g LP set strips away prior limitations and provides a clear, dynamic view of a landmark that crashed through every conceivable barrier and permanently transformed music, culture, and society. The expanse and depth of the soundstage, range of detail, percussive textures, air around the vocals, and natural decay of notes come through with demonstration-grade realism.

The gorgeous packaging of the Thriller Ud1s pressing befits the album's select status. Housed in an open-ended slipcase, the set features a special foil-stamped jacket and faithful-to-the-original graphics that illuminate the splendor of the recording. Aurally and visually, this reissue exists as a curatorial artifact meant to be preserved and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in everything involved with the album.

Given that no album released during the past four decades even approaches the magnitude of Thriller, everything about it remains important. Numbers – even the "40" tied to its anniversary – don't even tell half the story. The 1982 blockbuster has sold more than 34 million copies in the U.S.; globally, it has moved upwards of 70 million units. Thriller dominated the 1984 Grammy Awards, winning a record-breaking eight trophies and sweeping every major category. It repeated the feat at the American Music Awards. Seven of its nine songs were released as singles; each charted in the Top 10. Perhaps most astonishingly, Thriller topped the Top 200 Albums chart for 37 weeks during a 59-week stretch. Fast forward 24 years, and the album was the biggest-selling catalog title of 2008.

The record's unimpeachable accolades and archival standing help provide another frame of reference. Acclaimed upon arrival, Thriller topped The Village Voice's comprehensive Pazz & Jop poll in 1983. Included in both the Library of Congress' National Recording Registry and the Grammy Hall of Fame, Thriller was ranked by the Rock and Roll Hall of Fame at No. 3 on its Definitive 200 Albums of All Time. Rolling Stone named it the 12th Greatest Album of All Time. Time deemed it "the greatest pop album of all time." The Independent called it "the most inspiring album of all time."

Thriller proved as influential as it did inspiring. Its unparalleled success, dazzling style, and sleek architecture changed every facet of culture and entertainment. The reverberations echoed throughout society. Thriller crossed over to mainstream channels and white audiences with a degree that no Black musician managed in decades (if ever); prompted MTV to give Black artists a widespread platform; elevated choreography and dance to higher-level artforms; shattered long-standing racial boundaries; and reconceptualized music via a genre- and color-blind blend of fleet pop, funk, disco, soul, and rock sent up with cinematic panache, oversized ambition, and dynamic energy.

Its effect on multitudes of subsequent artists cannot be overstated. Thriller opened up a new galaxy in which Prince soon strolled. It's the same universe that Usher, Maxwell, and Jamiroquai joined in the ‘90s and that contemporary headliners like Beyonce, Justin Timberlake, and Bruno Mars orbit today. Their style-blurring identities, R&B-rooted foundations, and interdisciplinary approaches directly link to those on Thriller. Notably, the album's first single – "The Girl Is Mine," a duet and co-write with Beatles legend Paul McCartney – captured the record's unwillingness to cater to a specific race, generation, class, or style. Eddie Van Halen – at the time, the world's premier rock guitarist – performed a similar bridge role by supplying the electrifying solo on "Beat It."

Jackson, Quincy Jones, and company do the rest. Drop the needle on any track on Thriller and the insatiable desire to move takes hold. So do sensations of familiarity, pleasure, fun, and soulfulness. Be it the breathless, bass-laden swagger of the Moonwalking "Billie Jean"; horn-accented, post-disco slide of the gossip critique "Wanna Be Startin' Somethin'"; rousing tempo of the lush, sequin-adorned "P. Y. T. (Pretty Young Thing)"; gentle balladry and liquid vocal phrasing of "Human Nature"; vivid hybrid of funk-disco and horror-film drama of the title track; or streetwise strut and rhythmic fantasia of "Beat It," Thriller never lets up.

Released in 1989, Mari Iijima's 7th album MY Heart IN RED is being reissued for the first time!

Recorded in Los Angeles at the time, the album features top players from the Toto area and Jerry Hey Horns Session from Seawind.

Cut on the latest remastered 96k24bit sound source in 2022, officially certified by the man himself.

Super rare Italo electro-pop project Habibi made available by the unstoppable archive label Best Record. Habibi is a joyous Egyptian-influenced Italo piece from the time that Egyptian Lover and Arabian Prince also had their Egyptian influences. Many of the typical elements of the 'Italo-Disco' era give the song a very friendly and reassuring mood, especially the (probably) Linndrum beat with tom fills and tambourine, alternating bass, a sequencer emphasizing the eights, and strings, a nice Hammond added/ "Habibi" was conceived in 1983 by Arcangelo Li Calzi after the success of the one-off project Sahara Band, with Giancarlo Ragni, the skilled arranger from Genga that produced the piece entirely in his Vallemania Recording Studio, the studio where most of the afro-cosmic songs of the dee-jays of the nearby Baia degli Angeli were made, including the album "Africa Mediterranea" by Fabrizio Fattori. The artist Myriam Ferrucci did a lovely job on the graphic work on the cover which is represented in its original way. Worthy re-issue from the depths of the golden Italo era.

180 gram audiophile vinyl / 1986 ALBUM WRITTEN AND PRODUCED BY THE TWO-TIME GRAMMY AWARD WINNER AND ROCK AND ROLL HALL OF FAME LEGEND / FEATURING THE SINGLE “WHAT ABOUT THE LOVE” / LIMITED EDITION ON PINK & PURPLE MARBLED VINYL

Billy Preston was an American musician, who encompassed R&B, rock, soul, funk and gospel. He worked as a top session musician during the Sixties, backing artists such as Little Richard, Sam Cooke, The Rolling Stones and the Beatles amongst others. He is even the only non-Beatle musician to be given a credit on a Beatles recording at the band’s request. His solo career took off during the first half of the Sixties, but it was his early Seventies soul work that put him on the permanent musical map. You Can’t Keep A Good Man Down was one of Preston’s final studio albums and originally came out in 1986.