1980s Vinyl 124 Items

Operation Sole like the summer, hopefully, imminent; “Operazione Sole” like the 1967 song by Peppino Di Capri, considered, perhaps wrongly, the first ska in Italy, but certainly the first to talk about Jamaica and upbeat rhythms. The record you have in your hand is intended to be a testimony to how much the sounds born in Kingston between the '60s and '70s had a significant influence on local pop. With the first explosion of reggae in England between 1968 and 1970, as well as with the rise of Bob Marley to a worldwide cult phenomenon, parallel to the all-English phenomenon of Two Tone and the ska revival, Italy, always attracted by the new trends not only English, he certainly couldn't stay on the sidelines. Therefore these innovative and unknown upbeat sounds, derived from the blues of the 1950s and mixed with a Caribbean sauce, have also taken hold in the Bel Paese. It began as early as 1959 with the song “Nessuno” by Mina, considered to all intents and purposes a Jamaican shuffle, to arrive in a few years at blue-beat (I4 di Lucca, Claudio Casavecchi) and ska (Margherita, Peppino Di Capri , Silvano Silvi, Renzo and Virginia) and be exposed to the first reggae (for example Jo Fedeli and his Italian version of “Israelites” by Desmond Dekker). Thus, we quickly reach the end of the decade of the economic boom and the culture, styles, references change: everything becomes more busy (on a cultural, artistic and political level). After a stalemate phase that lasted more than five years, Bob Marley's reggae (considered a sort of new Messiah) conquers the planet, including Italy: the producers and artists, even at a high level, for a few years do not remain at all indifferent to this novelty and decide to introduce the "upbeat", primarily reggae, into the various pop repertoires: well-known names such as Loredana Bertè, Mario Lavezzi, Rino Gaetano, Ivano Fossati, Ilona Staller, Adriano Celentano, Edoardo Bennato throw themselves headlong into new sonic adventures, in a pioneering way, but often with excellent results. The "Operazione Sole" collection wants to take the credit, instead, of proposing and discovering lesser-known artists (with the exception of Gino Santercole, former associate and relative of Il Molleggiato), often real meteors in the Italian musical panorama, who have tried to achieve (or achieve again) success by adapting the pop that was so popular in those years to the new black sounds prevailing in the West. We are in the early 80s and we range from the most classic reggae, to Italo-disco contaminated by dub up to the true Neapolitan style which, on more than one occasion, in its being endemically "black" and full of groove, has wrung out the watch out for agreements made in Kingston and London. “Operation Sun”: a pleasant philological work, but surrounded by an equally pleasant aura of disengagement.

Limited to 500 copies, worldwide, exclusively available at HHV. The latest chapter in the acclaimed Pacific Breeze series!

Artwork by renowned illustrator Hiroshi Nagai

Compiled by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab)

Newly remastered audio

2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI

Extensive artist bios by Yosuke Kitazawa

Digital mockups are not an exact representation of colors

Light in the Attic’s Pacific Breeze series has supplied the world’s growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings—the mesmerizing and nebulous genre of Japanese bubble-era music of the ‘70s-’80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan’s affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave.

Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country’s creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as “Heartbeat” by Miho Fujiwara.

This volume of Pacific Breeze, like its predecessors, is a female-forward offering, with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto, while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka.

Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

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.

Limited edition repress on bone vinyl of cult-favorite Captured Tracks release, including bonus flexidisc featuring a rare cover of Free's "All Right Now". Saada Bonaire. The fantastic German disco/world music project from Bremen which never was meant to be. Formed by Bremen DJ Ralf Behrendt in 1982, Saada Bonaire was a unique concept band centered around two sultry female vocalists (Stefanie Lange and Claudia Hossfeld) and dozens of local musicians culled from the local immigration center. Originally signed to EMI in 1982, their first and only single, "You Could Be More As You Are" was produced by legendary Matumbi, Slits and POP Group producer Dennis Bovell in Kraftwerk's studio in Cologne. Its fusion of husky female vocals, Eastern instruments, dub and African music aesthetics, drum computers and synthesizers remains unique to this day. EMI cancelled the project upon its release. Saada Bonaire compiles two songs from the original EMI single plus eleven previously unreleased songs recorded between 1982 and 1985. Also included are never before published photos and in depth interviews with band members and a full gate fold cover for those dedicated vinyl buyers. Saada Bonaire. A bizarre mix of Kraftwerk, Grace Jones, and Marlene Dietrich. These lost recordings from the early eighties still sound fresh on today's dance floor.

Synth pop trio Bronski Beat's 1984 debut The Age of Consent is a rarity in musical history - an album that both defined a generation and challenged the status quo. Its four singles, and particular lead single 'Smalltown Boy', have endured with astonishing resonance, offering home to all listeners dreaming of escape from their familiar surroundings and situations.

Every track on the album places the listener 'in the room': they are in it, living it, rolling inside each song's thematic meaning. Through the blue-eyed wonder of singer Jimmy Somerville's vocal pirouettes, they too take the punch of hate in 'Why?', question the bible with alongside a male voice choir on 'It Ain't Necessarily So', and watch the same crappy TV advertising on 'Junk'. They are part of the trade-off between lust and commerce in 'Love and Money' and the heated near climax of 'Need A Man Blues.'

40 years later and The Age of Consent remains as prescient and vital as ever as it did on its original release; truly transgressive - defiant, queer, and laden with hooks. To celebrate this important anniversary, London Records revisit the album across a series of expanded formats, uncovering sonic archival gems, new mixes, essays and more.

TRACKLISTING:

DOUBLE VINYL
VINYL 1 : THE AGE OF CONSENT (2018 REMASTER)
SIDE ONE
1. WHY?
2. IT AIN'T NECESSARILY SO
3. SCREAMING
4. NO MORE WAR
5. LOVE AND MONEY
SIDE TWO
1. SMALLTOWN BOY
2. HEATWAVE
3. JUNK
4. NEED A MAN BLUES
5. I FEEL LOVE / JOHNNY REMEMBER ME

VINYL 2 : HUNDREDS & THOUSANDS (2024 REMASTER)
SIDE THREE
1. HEATWAVE (HARVEY GOLDBERG REMIX)
2. WHY (HARVEY GOLDBERG REMIX)
3. RUN FROM LOVE (DOMINIC MAITA REMIX)
SIDE FOUR
1. HARD RAIN (HARVEY GOLDBERG REMIX)
2. SMALLTOWN BOY (HARVEY GOLDBERG REMIX)
3. JUNK (HARVEY GOLDBERG REMIX)

Minimal Wave proudly presents a newly remastered deluxe double album of archival material by pioneering 80s minimal electronic duo Oppenheimer Analysis. Oppenheimer Analysis formed in London, England in 1982 by Andy Oppenheimer and Martin Lloyd. Their first meeting though was at the 1979 World Science Fiction Convention in Brighton. They quickly became good friends, sharing an interest in the work of David Bowie, electronic music and early synthesizer bands such as the Human League and Soft Cell. They also shared a love of old science fiction movies, 1950s graphics and comic book imagery and a fascination with post-World War II propaganda, the politics and aesthetics of the Cold War, and the social impact of the atomic bomb. Over the next few years Andy and Martin frequented the growing club scene, including Studio 21 on Oxford Street, and became involved in the developing Futurist and New Romantic style sub-cultures. During this period Martin recorded as Analysis, both alone and with David Rome of Drinking Electricity. They released their first single, “Surface Tension/Connections” on David’s Survival label in 1981. In 1982, Oppenheimer Analysis began writing and recording together at Feedback Studio in Battersea, and performed several times at The Bell, Islington, the 1983 World David Bowie Convention in Hammersmith, the Starzone Birthday Party at Camden Palace, the 1984 European Science Fiction Convention in Brighton and other live venues. Their first demo tape and twelve song “New Mexico” cassette were sold at gigs and by mail-order, and were reviewed in Melody Maker, Sounds and Soundmaker. For the years to follow, Oppenheimer Analysis became recognized among electro-music aficionados as a pioneering duo who influenced countless other bands during the club and home-recording era of the early 1980s and beyond. Their cassettes became massively collectible. In 2005 they re-formed with the release of a self-titled four song 12” EP of selections from the New Mexico cassette, including “Cold War” and “The Devil’s Dancers”. This marked the first release on Minimal Wave. Now in 2015, we’re happy to present the entire New Mexico collection, newly remastered and cut to vinyl for the first time ever, to celebrate our 10 year anniversary. This first edition of 1000 copies is pressed on deluxe ‘nuclear’ style black and white 160 gram vinyl, housed in a glossy gatefold silver and black printed sleeve, featuring all the song lyrics on the inside of the sleeve. First release date: May 16th, 2015. This quintessential reissue has been produced in loving memory of Martin Lloyd.

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.

Minimal Wave is thrilled to present a long-awaited LP showcasing previously unreleased gems from the influential UK duo, Vicious Pink. Originating from a serendipitous encounter in a smoky Leeds nightclub back in 1979, Josephine Warden and Brian Moss embarked on a musical journey that would redefine the synth-pop landscape. Initially known as Vicious Pink Phenomena, they made their mark by providing distinctively off-kilter backing vocals for their friends in Soft Cell a collaboration that unfolded organically and without rehearsal. Transitioning to the simplified moniker Vicious Pink, the duo continued to captivate audiences with their avant-garde sound, releasing a string of singles that defied conventional expectations and climbed the UK dance charts between 1982 and 1986. Despite their modest intentions, their music proved to be both artful and provocative, leaving an enduring legacy in the annals of electronic music history. 'Unexpected' offers listeners a glimpse into the duo's creative process, compiling pop experiments recorded spontaneously, some in collaboration with Dave Ball. Each LP is housed in a deluxe glossy heavyweight sleeve, featuring captivating artwork that reflects the essence of Vicious Pink's sonic universe. Limited to 999 copies, pressed on high-quality 160 gram Coke bottle clear vinyl, this release promises to be a collector's dream. Included with every LP, is a 5” x 7” postcard adorned with an exclusive, unpublished photograph of Brian, Jose, and Dave, providing fans with a personal memento of this remarkable musical journey. Release date: May 21st, 2024. Get ready to discover the magic of Vicious Pink in 'Unexpected.’

Dark Entries returns to Mexico with Back Up Dos: Mexican Tecno Pop 1982-1989. Following 2021’s Back Up compilation, Back Up Dos delivers 10 more tracks of synth-pop and New Beat, 7 of which have never before appeared on vinyl. From mutant drum machine beats to irresistible synthesizer hooks, fans of the fringes of the 80s will find songs to stir their cold, dark hearts. But Back Up Dos does more than mine retro kitsch; it documents the development of a rich DIY music scene that is still underexplored. As affordable samplers and digital synths spread throughout the decade, post-punk and new wave gave way to more aggressive EBM and cyberpunk sounds. The scene also developed in opposition to the political climate of the times: the rise of the drug cartels and a reactionary turn in national politics. Using home recording techniques, these bands took cues from the electronic wizardry of the Human League and Wax Trax Records while reflecting the vibrant and chaotic Mexican cultural landscape of the era. On Back Up Dos, impeccable pop anthems from Casino Shanghai and Los Agentes Secretos sit alongside gnarled obscurities from Ford Proco and María Bonita, showcasing a decade of sly deviance and enthusiastic experimentation. This album comes housed in an 80s-inflected neon sleeve designed by Gwenael Rattke and includes a 12-page booklet with photographs, lyrics, and notes. Back Up Dos compiles synthetic music produced in Mexico at the crossroads from Tecno Pop to Post-Industrial, nourished by culture shock and stories of dystopian worlds.

* The latest chapter in the acclaimed Pacific Breeze series! * Artwork by renowned illustrator Hiroshi Nagai * Compiled by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab) * Newly remastered audio * 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI * Extensive artist bios by Yosuke Kitazawa * Digital mockups are not an exact representation of colors

Light in the Attic’s Pacific Breeze series has supplied the world’s growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings—the mesmerizing and nebulous genre of Japanese bubble-era music of the ‘70s-’80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan’s affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave.

Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country’s creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as “Heartbeat” by Miho Fujiwara.

This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka.

Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

Italo-Disco classic, originally released in 1983, limited to 500 copies.

‘Make It Big’ is exactly what Wham! had done by the time they released their second album in 1984. Featuring the hit singles ‘Wake Me Up Before You Go-Go’, ‘Everything She Wants’ ‘Freedom and ‘Careless Whisper’, the album cemented their place as pop icons. Now on vinyl for the first time in over 30 years, ‘Make It Big’ is available in limited edition white vinyl and black vinyl.

To celebrate Christmas Eve’s 40th years anniversary, originally released in 1984, it will be released on 12-inch analog record. On side B, the different version of White Christmas will be recorded.

Reissue on black vinyl limited to 200 copies.

6LP Box

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.

Exclusively for Record Store Day 2023 comes Rare Birds ‘A Flock Of Seagulls’ B-Sides, Edits and Alternate Mixes. Pressed on transparent vinyl with the original A Flock Of Seagulls album sleeve design reworked for this limited edition release; the LP includes b-sides of singles from the original album, including ‘Tanglimara’ (b-side to ‘Telecommunication’), alongside the single ‘(It’s Not Me) Talking’, which never appeared on the original album, and single edits and mixes of their most popular hits including ‘I ran’ and ‘Modern Love Is Automatic’.

If The Fall truly is a cult band, then Slates both benefits from and reinforces such shrouded obsessions. In presenting these six particular songs as a 10" EP, the inherent and attractive difficulty of The Fall's sound is made physical, framing the urgency of their singles from this period (notably How I Wrote 'Elastic Man' and Lie Dream of a Casino Soul) alongside lengthy rumblings normally restricted to long players.


The tumbling and phased "Middle Mass" begins on an incredible high note, segueing into the snake-charm hypnotism of "An Older Lover Etc." "Slates, Slags, Etc." is built on stretched VU-inspired riffing, complete with ace feedback bleed that doubtlessly went on long after fade-out. Ultimately, it's the piercing chimes of guitar and marching drum grind of "Prole Art Threat" that elevates Slates beyond oddity. Truly one of Mark E. Smith's finest, busiest and most enigmatic performances, equally matched by a band at the peak of their powers.


Superior Viaduct's edition is the first time that Slates has been available on vinyl domestically since its initial release in 1981. Liner notes by Brian Turner.

The Rough Trade Singles collects The Fall’s four singles recorded for this influential label in 1980 and 1983 – How I Wrote ‘Elastic Man’ / City Hobgoblins, Totally Wired / Putta Block, The Man Whose Head Expanded / Ludd Gang and Kicker Conspiracy – none of which appeared on any of the band’s studio LPs. With 7-inches being the era’s vehicle for buzzing communiqués, The Fall would use the format for short-form, standalone works rather than as mere promotional devices for forthcoming albums.

“Totally Wired” is often cited (and rightfully so) as The Fall’s most infectious tune – an amphetamine-fueled anthem with stuttering nods to forebears, yet too incisive to have been made by anyone else. “How I Wrote ‘Elastic Man’” is another mad hoedown, one reimagined for the post-punk age. While the playful rhythm machine on “The Man Whose Head Expanded” almost suggests danceability, Mark E. Smith’s idiosyncratic shriek on “Kicker Conspiracy” pierces through the twin drumming of Paul Hanley and Karl Burns and the group’s unpredictable / unmistakable racket. Together these songs remain some of the absolute best material The Fall would ever release.

Superior Viaduct’s edition is the first time that The Rough Trade Singles has been available on vinyl domestically. Liner notes by Brian Turner.

Piano & A Microphone 1983 is set to feature a previously unreleased cassette recording of Prince at the piano at his home studio in Minnesota captured in 1983.

“This raw, intimate recording, which took place at the start of Prince’s career right before he achieved international stardom, is similar in format to the Piano & A Microphone Tour that he ended his career with in 2016,” said Prince Estate entertainment adviser Troy Carter. “The Estate is excited to be able to give fans a glimpse of his evolution and show how his career ultimately came full circle with just him and his piano.”

The private rehearsal provides a rare, intimate glimpse into Prince’s creative process as he worked through songs which include ’17 Days‘ and ‘Purple Rain’ (neither of which would be released until 1984), a cover of Joni Mitchell’s ‘A Case Of You‘, ‘Strange Relationship‘ (not released until 1987 on his critically acclaimed Sign O’ The Times album), and ‘International Lover’.

The album also includes a rare recording of the 19th Century spiritual ‘Mary Don’t You Weep’, which will be featured during the end credits of Spike Lee’s BlacKKKlansman in cinemas August 2018. For fans of Prince’s spontaneous live medleys, tracks 1-7 of the album are presented in that same format as they were originally recorded.

The album cover photo captures a rare view of Prince backstage during the 1999 tour. The photo was taken by Prince’s trusted photographer and creative collaborator Allen Beaulieu who worked closely with Prince between 1979-1984. Allen’s work with Prince includes the cover shots for the Dirty Mind and Controversy albums and iconic promotional photos for the 1999 album.

Palais Des Bauzards persued an industrial and electronic variant of the sound that swept into vogue during the first half of the '80s. This compilation digs into the original material provided by the band and offers an amazing selection from start to finish. The sometimes rudimentary though gripping tracks tracks on the first side are emblematic for their early period, for example “Money” a song driven by a screeching rhythm box, distant guitar lines and a nonchalant voice. Cabaret Voltaire comes to mind. They’re not afraid to experiment and to explore new horizons (the track “Lies").

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.

“night TOGETHER,” the Japanese groove classic from Yuji Toriyama's 1982 album 'aerobics' will be coupled with a song from Chie Sawa's 1974 album '23', arranged by Makoto Yano and featuring Caramel Mama and Sugar Babe.

Rukatama is a Japanese singer songwriter from Tokyo. After years with idol band Melon Batake A Go Go , she started her solo career in 2020. Most of her songs and works are written and composed by herself. Her voice & music sound like a contemporary citypop dream, with rock, electronic and sometimes mellow, jazzy, folk influences as well. You can catch Ruka’s live performances around Japan or internationally, sometimes in the UK or Italy where she performed lately with Italian idols “Erisu”. Back in 2022 she made her solo debut album titled “Misrule” on NarisuRecords/via Ultra Vibe Inc, where the cd /album has been available most of the time during Sunday Girls events as in Japanese Major Record shops as well. Finally, Rukatama makes her first vinyl debut ever outside Japan, via Tanoshii Records.

1994 is a perfect mix between UK 90s broken music and classic Japanese city pop with some jazzy vibes, where Ruka’s lyrics during the last years had a huge impact on the Italian crew, inspiring the whole Tanoshii project.

Mellow is the kind of song in which you can hear Rukatama soul during some sunset DJ set. It’s the perfect food for Balearic/Tropical heads, as deep lovers lost in classic music from Mondo Grosso, Monday Michiru, Masters At Work, Blaze, King Street Rec.It’ won’t be the first time that music like Mellow could be played in classic parties like Body & Soul or Club Shelter Saturday Night event in Nyc as well.

‘Make It Big’ is exactly what Wham! had done by the time they released their second album in 1984. Featuring the hit singles ‘Wake Me Up Before You Go-Go’, ‘Everything She Wants’ ‘Freedom and ‘Careless Whisper’, the album cemented their place as pop icons. Now on vinyl for the first time in over 30 years, ‘Make It Big’ is available in limited edition white vinyl and black vinyl.

Wham! exploded onto the global stage with their first album ‘Fantastic’ in 1983 and music was never the same again. Featuring the huge hits ‘Bad Boys’ ‘Wham! Rap (Enjoy What You Do)’ and ‘Club Tropicana’, the album debuted at #1 in the UK and sold millions of copies worldwide. Now on vinyl for the first time in over 30 years, ‘Fantastic’ is available in limited edition transparent red vinyl and black vinyl.

"Yoichi Takizawa's second album ""boy"" which follows his first album ""Leonids no Kanatani"", is miraculously released after more than 40 years!

This work was scheduled to be released on July 25, 1982, following his first single ""Sunday Park"". For unknown reasons, this is a phantom second album that was canceled just before its release.

*Also includes the original version of ""Kagirinaki Natsu"" from Hideki Saijo's 17th album ""gentle・a Man"" released on March 5, 1984.

The mixdown was once complete, but the original master of the 2-mix is currently missing, so the mixdown was done again for this album (except for Side B, 1st and 2nd tracks released as singles). The mix work this time was done based on the remaining karaoke masters of all the songs, and the album was revived as a supreme album that expresses a modern sound while staying as close to the original mix as possible.

The first album "" Leonids no Kanatani"" released by Alfa and traded at high prices long before the City Pop boom, has been reissued on vinyl. This second album is also finally being released in its entirety on vinyl for the first time in the world!"

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.

The venerable Dark Entries celebrates it’s 300th release with Panoramic Coloursound, a triple LP from the Creative Technology Consortium. Traxx, Andrew Bisenius, and Jason Letkiewicz forged the CtC during the depths of pandemic isolation. Drawing from film and television music of the 80’s/90’s and armed with a mighty array of vintage analog and digital synthesizers, they set out to explore heists, vices, and catastrophe. Panoramic Coloursound collapses sound and image into a neon blur throughout its 25 tracks. While retro scores were the starting point for the CtC, the project does more than pay dutiful homage — these notes are warped and skewed, devolving into decaying digital soundscapes. EBM-inflected basslines pop up on tracks like “Catastrophe” and “A Retro Vice”, menacing numbers that recall Traxx and Letkiewicz’s legendary work as Mutant Beat Dance (a project also featuring Beau Wanzer). “Follow Our Kode” pairs heroic synths with funky bass, striking cosmic chords akin to the material that Traxx and Bisenius have released as An Anomaly. Krautrock-esque guitars slide along anthemic pads on “Beautifully Polluted Sunset”, which comes across like an alien Miami Vice closing theme. The CtC channel corroded VHS vibes while making music for the future. Panoramic Coloursound was mastered by Frédéric Alstadt. The sleeve was designed by Eloise Leigh, and features a photograph by Jason Letkiewicz. Also included is a postcard featuring liner notes, a gear list, and a photograph by Maria Tzeka.

In 1985, NOW Music released 'NOW Dance: The 12' Mixes', a 20-track compilation that included the extended or remix versions of some of the biggest recent hits and popular club tracks. This was followed a year later by a second 20-track volume, and in 1989, a third. NOW Music proudly present 'NOW Dance - The 80s'; a selection of 26 tracks that appeared on those three original 'NOW Dance' albums - all in their 12-inch, extended or remixed versions across a 3LP set, pressed on red vinyl.

* The latest chapter in the acclaimed Pacific Breeze series! * Artwork by renowned illustrator Hiroshi Nagai * Compiled by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab) * Newly remastered audio * 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI * Extensive artist bios by Yosuke Kitazawa * Digital mockups are not an exact representation of colors * Available in two vinyl variants: Pink or Black Vinyl

Light in the Attic’s Pacific Breeze series has supplied the world’s growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings—the mesmerizing and nebulous genre of Japanese bubble-era music of the ‘70s-’80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan’s affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave.

Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country’s creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as “Heartbeat” by Miho Fujiwara.

This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka.

Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

* The latest chapter in the acclaimed Pacific Breeze series! * Artwork by renowned illustrator Hiroshi Nagai * Compiled by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab) * Newly remastered audio * 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI * Extensive artist bios by Yosuke Kitazawa * Digital mockups are not an exact representation of colors * Available in two vinyl variants: Pink or Black Vinyl

Light in the Attic’s Pacific Breeze series has supplied the world’s growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings—the mesmerizing and nebulous genre of Japanese bubble-era music of the ‘70s-’80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan’s affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave.

Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country’s creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as “Heartbeat” by Miho Fujiwara.

This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka.

Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

Reissue of David Microwave solo material from 1980-83. David Javelosa (aka David Microwave), founder of LOS MicrowaveS with Meg Brazil and Todd Rosa, were a San Francisco trio in which synthesizers predominated. Although they issued 45s as early as 1979, their debut album came out in 1981, by which time leader Javelosa had done a five-song, 12-inch EP on his own, using musicians outside his band. Javelosa's solo effort offers straightforward synthesized pop music with swirling keyboards (including familiar-sounding organ), acoustic drums and engaging vocals. The record shows polish, but retains a slightly amateurish sense, making it paradoxically complex and simple at the same time.

Polaroid were an Italian post-punk/new wave band, formed in Turin in 1981. The original lineup of the band consisted of Marcello Zavatto (voice, guitar), Massimo Vagnarelli (bass, drum-machine), Evandro Fornasier (guitar), Claudio Vagnarelli (synthersizer) and Marco Farano (Drums). Polaroid made their debut with the cassette 6-track EP ‘Senza Respiro’, self-released in 1984. Influenced by Bauhaus, Joy Division, The Cure, Pere Ubu as well as Chic and Talking Heads. The music was dark and cold, but also melodic especially with regards to guitars and voices. At the end of 1984 the band added vocalist Michele Cantoblundo while drummer Marco left and was replaced by a Roland TR-909. With Michele began a period of very dark and poetic music, influenced also by bands like Red Lorry Yellow Lorry and The Sisters of Mercy. The band peacefully broke-up in 1987. This vinyl re-issue of ‘Senza Respiro’ contains all 6 original songs with 4 bonus tracks from the band’s later period. All songs have been remastered by George Horn at Fantasy Studios. The record is housed in custom jacket designed by Eloise Leigh and includes 4 polaroid sized postcards with photos notes and lyrics.

Piano & A Microphone 1983 is set to feature a previously unreleased cassette recording of Prince at the piano at his home studio in Minnesota captured in 1983.

“This raw, intimate recording, which took place at the start of Prince’s career right before he achieved international stardom, is similar in format to the Piano & A Microphone Tour that he ended his career with in 2016,” said Prince Estate entertainment adviser Troy Carter. “The Estate is excited to be able to give fans a glimpse of his evolution and show how his career ultimately came full circle with just him and his piano.”

The private rehearsal provides a rare, intimate glimpse into Prince’s creative process as he worked through songs which include ’17 Days‘ and ‘Purple Rain’ (neither of which would be released until 1984), a cover of Joni Mitchell’s ‘A Case Of You‘, ‘Strange Relationship‘ (not released until 1987 on his critically acclaimed Sign O’ The Times album), and ‘International Lover’.

The album also includes a rare recording of the 19th Century spiritual ‘Mary Don’t You Weep’, which will be featured during the end credits of Spike Lee’s BlacKKKlansman in cinemas August 2018. For fans of Prince’s spontaneous live medleys, tracks 1-7 of the album are presented in that same format as they were originally recorded.

The album cover photo captures a rare view of Prince backstage during the 1999 tour. The photo was taken by Prince’s trusted photographer and creative collaborator Allen Beaulieu who worked closely with Prince between 1979-1984. Allen’s work with Prince includes the cover shots for the Dirty Mind and Controversy albums and iconic promotional photos for the 1999 album.

Limited edition for Record Store Day 2018!

Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7” single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave." “Musique Électronique” is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the “From Bocal 5 To X-Ray Pop” album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7” originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation “Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured; richly textured, moving at a quick speed with hardly a pause. Evy’s pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group’s sense of humor, vitality and carefree playfulness. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band’s archives designed by Eloise Leigh that exudes the project’s DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.

Crash Course In Science are a post punk band that formed in 1979 in Philadelphia. The band members, Dale Feliciello, Mallory Yago and Michael Zodorozny, met while attending art school, where they began to experiment with crude electronics and off-beat lyrics. CCIS avoided

conventional instrumentation by using toy instruments and kitchen appliances to augment the distorted guitar, drums and synthesized beats. Their first single, “Cakes in the Home” was released in 1979 followed by a 4-song 12″ EP “Signals From Pier Thirteen” in 1981.


“Jump Over Barrels” was recorded at the Third Story Studio in Philadelphia in 1981, one year after “Signals From Pier Thirteen”. The song remained unmixed and unreleased at that time for a proposed album titled “Near Marineland”. Lyrically the song tackles overcoming obstacles, self imposed or otherwise, with vocal interplay between Michael and Mallory. On the A Side is the original mix and a demo mix from 1981. Then on the flip is a brand new remix by prolific Ann Arbor producer Charles Manier, a pseudonym of Tadd Mullinix, who toughens up the track. Also included is an unreleased demo version of the song from 1980, accentuating the raw and skeletal nature of the track.


All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. It is in a custom-made jacket by our in-house designer Eloise Leigh that incorporates waveform-esque squiggles jumping over abstract barrel symbols, plus a postcard with lyrics and notes.

Vocoder were a quartet from Zaragoza, Spain formed in 1981. Keyboardists Antonio Laval, Alfonso Olarte and Antonio Tenas met while attending university, and were later joined by vocalist Pilar Pellicer. They recorded several demos with synthesizers, sequencers and drum machines, creating a soundtrack for the clubs and dance floors. After sending demos to various record companies, they signed a deal with Aviador Dro's sublabel Neón Danza and released two EPs, "What Happens Now"/"Radio" in 1984, "Mindanao"/"Amor de Robot" in 1985 and a self-titled LP which was produced by Michel Huygen (Neuronium) in 1987. Vocoder also appeared on the TV program La Bola De Cristal, presenting their music video for "What Happens Now," in which the band danced in a supermarket with a shopping cart full of synthesizers. The group mutually disbanded in 1988 and continued to organize concerts for other groups touring in Spain. Cuadro Sinóptico compiles both two-song 12" maxi singles as one four-song EP. All four songs were recorded during 1984-85 at Doublewtronics Studios in Madrid, Spain, using the most advanced and sophisticated techniques of time in digital recording and Direct Metal Mastering (DMM). The band utilized many professional synthesizers of the time: Roland Juno 60, Prophet V, Korg Poly 61, Yamaha DX-7, Roland TR-909 and the Linn Drum, which was used by most Italo Disco artists. These songs were recorded in the highest fidelity with disc jockeys in mind. Genuinely catchy, Vocoder combined soaring melodies with cybernetic coldness. A futuristic sound for the modern age topped with Pilar's charismatic vocals. Lyrically they address robotic love, disco dancing, and the tropical island of Mindanao, and sing in Spanish, English and French. All songs on Cuadro Sinóptico have been remastered from the original reel to reel master tapes for vinyl by George Horn at Fantasy Studios in Berkeley, CA. Each LP includes a double-sided insert with photos, lyrics and liner notes by Flemming Dalum, a Danish DJ who introduced much of the world to Vocoder in 2008 on his “French Spanish Italo Connection” mix. Vocoder want you to barricade yourself in the discotheques and dance away the depression.

Limited to 999 hand-silkscreened numbered copies!