Pop Vinyl 549 Items

Released in May 1984, ‘Murder’ was originally recorded in Winter 1982 during the sessions for the Power, Corruption & Lies album. Peter Saville's cover art is a "night-time" version of the "Thieves Like Us" sleeve.

The band’s sixth single and their first collaboration with DJ Arthur Baker. Originally released in August 1983, this new reissue remastered from the original master tapes at Abbey Road Studios

The biggest selling 12” single of all time in the UK, reissued and remastered from the original master tapes at Abbey Road Studios. Originally released on Factory Records in March 1983, the single has become the band’s most recognisable track

* Originally released in 1988 * Shimada's 6th album * Pressed on Black Vinyl / Curiosity' is Nami Shimada's 6th album, and is known by many to be a city pop and 80s boogie masterpiece. The album features poems and songs by Takashi Matsumoto and Shinji Harada, two of the era's most famous artists. Also included on the record is a diverse lineup of songs such as, 'Curiosity Girl', which Shimada wrote under her real name, Naoko Shimada, and 'HE Loves Her', a song composed by Kenichi Kurosawa.

Founded in December 1984, they started to make a name for themselves (the name comes from Stanly Kubriks classic "Clockwork Orange" and stands for a special drink which was available at the Korova Milkbar. In the russian translation "Moloko +" means "milk with knives"). At the same time in Great Britain bands like Bauhaus, Dead Can Dance, or Southern Death Cult started a new era in music: Gothic Underground.

Moloko + with its singer Martin Holm gave great concerts and got a well known name in the scene in Southern Germany. TV, Radio and the press followed closely the rise of the band from Landshut. The 1986 published first record is still an admirable jewel and should not be missed on any searching list. They got prepared to record a second album when "suddenly a comet burned out, near the sun, on distant skys".

"In meinen Taschen die Sterne wie Staub" (Translation: In my pockets the stars like dust) - The song from the first album and our thoughts are dedicated to our leadsinger Martin Holm, who left our world much to early.

Mastered 2014 by Yves Roussel.
Edition of 400 numbered copies. Hand printed with photoengraving (each cover is different). Comes with DIN A3-sized poster printed double sided.

180gr./6th Album/2000 Cps Flaming
Coloured Vinyl, High Quality
In the Garden of Venus is the sixth studio album by German synthpop duo Modern Talking. It was their last album to be released before they split up in 1987 (and reunited in 1998). Although it's one of their lesser-known albums, it was widely embraced by fans. 180 gram audiophile vinyl

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.

Adapted from Charles Perrault's famous fairy tale, the soundtrack of Jacques Demy's unforgettable movie 'Peau d'Âne',

Jacques Demy's unforgettable film, is once again available in its original format. A timeless music, for all ages, orchestrated by one of the greatest French composers at the service of a masterpiece of French cinema. Peau d'Âne, an event disc for the end of the year celebrations!

Picturedisc!

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.