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Limited 180-gram vinyl LP pressing of this 1971 album from the soul singer/songwriter. Remastered and repackaged as a part of Sony's Dual Disc series, this album, one of the best soul debuts ever issued, is now available to a whole new generation of listeners that might have missed out the first time. And the remastering brings with it an intimacy the previous editions couldn't quite boast of. "Ain't No Sunshine," "Harlem" and "Better Off Dead" are beloved tracks that have stood the test of time, and listening to them again here reminds us why. Even Withers's covers are handled with great care and intensity-treated as if they were his own compositions

This triple vinyl package includes the complete sessions that The Animals recorded with producer Mickie Most in 1964 and 1965. The 40 songs capture the band at their peak, including most of their best and biggest hits: "House of the Rising Sun", "Don't Let Me Be Misunderstood", "Bring It on Home To Me", "We Gotta Get Out Of This Place", "I'm Crying", "It's My Life" and "Boom Boom."

180g vinyl.3

Remastered from the original analogue tapes and pressed on 180-gram vinyl!

“Elton John” is the second album by English singer-songwriter Elton John, released in 1970. However, because it was his first album released in America, many people there assumed it was his first album, as Empty Sky was not released in the US until 1975. Elton John includes his breakthrough hit, "Your Song", and helped to establish his career during what was considered the "singer-songwriter" era of popular music. In the US, it was certified gold in February 1971 by the RIAA. In the same year, it was nominated for the Grammy Award for Album of the Year.

“Tumbleweed Connection” is the third studio album by English singer-songwriter Elton John. It is a concept album based on country and western/Americana themes.

Remastered from the original analogue tapes and pressed on 180-gram vinyl!

Tiny wear. obi is missing.

Still sealed. 2015 reissue.

OBI is missing. Vinyl is close to NM. Red vinyl.

Japanese pressing, no Obi.

OBI is missing. Vinyl is close to NM. Red vinyl. Cover has some damage from OBI.

OBI not included.

Record Store Day Italia 2021 Drop 2 release.

Still sealed with hype sticker. 2011 reissue.

Jaoanese pressing without OBI!

Japanese pressing with obi.

Quantity: 3000
Release type: 'RSD First' Release
Caribou, Elton John’s fourth album to claim the top spot on the charts in the US and his third in the UK, showcases hits like ‘Don’t Let The Sun Go Down On Me’ and ‘The Bitch Is Back.’ In honour of the 50th Anniversary of its release, a Record Store Day exclusive awaits enthusiasts:t with a sky blue 2LP. LP2 features session demos and rarities.

Japanese pressing without obi, includes booklet and original inner sleeve|

Comes with Obi and inserts. Cover is close to NM.

„Rock of the Westies“, released in October 1975, is the tenth official album release for Elton John. As with „Captain Fantastic and the Brown Dirt Cowboy“,“ Rock of the Westies“ debuted on the US Billboard 200 chart at No. 1, the only two albums at that time to have done so.

Japanese pressing without OBI!

Japanese pressing with obi and insert. Cover close to VG+

Japanese pressing without OBI!

Japanese pressing without OBI!

Japanese pressing, no OBI.

No obi.

Japanese pressing with obi.

Japanese pressing, no Obi.

Small stain on back cover.

Japanese pressing, no Obi.

close to NM

Japanese pressing with OBI. Vinyl with a couple of light scuffs

Japanese pressing.1978 reissue.

Cover close to VG+. With original inner sleeve

Japanese pressing with Obi.

Japanese pressing without obi, includes inserts | Faintest foxing inside gatefold

Japanese pressing without obi, includes inserts and original inner sleeve | Faint foxing on front cover, no seam splits, tears ...

Japanese pressing with OBI.

Japanese pressing without OBI!

Saw cut. Includes original inner sleeve.

OBI is missing!

Early repress on green Vinyl!

Japanese pressing with OBI and insert

Japanese pressing without OBI, but with insert.

Cover with cut-out.

Japanese pressing with OBI and insert

Cover has corner and ring wear, with price tag on front and on back cover. Original inner sleeve. Original EU pressing.

The B-52's is the debut album by the Athens, Georgia-based new wave band The B-52's. The band went on to release several chart-topping singles. Produced by Chris Blackwell, The B-52's peaked at number 59 on the Billboard 200, and "Rock Lobster" reached number 56 on the Hot 100.

180g vinyl.

YMO's second album Solid State Survivor was released in 1979, and represented numerous crossover tracks from Techno to New Wave. Solid State Survivor is probably the most sampled YMO album, as over the years several artists performed numerous covers of "Behind The Mask". This extremely popular album peaked at # 1 in several charts all over the world.

180g vinyl.

This first YMO album was released in 1978 in Japan ('79 in Europe) and set a precedent in the music industry like never before. By releasing this daring album, YMO shook the world with their 'Synthpop', at the time a revelation as well as a revolution. Featuring the hit "Firecracker", an infectious and exotic Martin Denny cover, which became a staple in the early Hip Hop scene in New York.

180g vinyl.

Limited to 7000 copies.

Record Store Day 2022 will be the first time The Complete Thom Bell Sessions has been made available on Colored Vinyl, as well as the first time it has ever been available on vinyl in the UK. Recorded in 1977, the original pressing ‘The Thom Bell Sessions ‘77’ (released in 1979) only features 3 tracks, but this release brings together the full recording session on one album. This pressing will be released on 180 gram purple vinyl and features the hit singles ‘Are You Ready For Love’ and ‘Mama Can’t Buy You Love’.

Japanese pressing with OBI!

Cover with seam split and writing.

Japanese pressing without OBI, but with insert. Vinyl close to VG+

Japanese pressing with obi.

Japanese pressing. OBI is missing. 1983 reissue.

Japanese pressing without OBI! Copy is close to NM!

Joe Jackson – Collected is a comprehensive series of sounds Joe Jackson has gone through, from old to new, this collection will never get boring!

Remastered from the original analogue tapes and pressed on 180-gram vinyl!


“Honky Château”, released in 1972, is the fifth studio album released by Elton John. It was titled after the 18th century French chateau where it was recorded, Château d'Hérouville. The album reached number one in the US, the first of seven consecutive US number one albums for Elton John.

It was certified gold in July 1972 and platinum in October 1995 by the RIAA. This was the final Elton John album on the Uni label in the US and Canada before MCA consolidated all of its various labels under the MCA brand. This and John's earlier Uni albums were later reissued on MCA Records.

Two singles were released worldwide from Honky Chateau, "Rocket Man" and "Honky Cat." A third single, "Hercules," was prepared for release, but this never materialised.

COLLECTED is a perfect overview of the multiple classic hits and tracks throughout the career of The Mamas & The Papas and complimented with several popular tracks by Mama Cass Elliot.

• Cover art by famed artist Hiroshi Nagai
• Extensive liner notes and bios
• Compiled by Andy Cabic (Vetiver), Zach Cowie (DJ & music supervisor) and Mark “Frosty” McNeill (dublab)
• 2xLP housed in a deluxe wide spine jacket with over sized fold-out booklet, full color printed inner sleeves, and custom die-cut obi card
• Remastered audio

Pacific Breeze documents Japan’s blast into the stratosphere. By the 1960s, the nation had achieved a postwar miracle, soaring to become the world’s second largest economy. Thriving tech exports sent The Rising Sun over the moon. Its pocket cassette players, bleeping video games, and gleaming cars boomed worldwide, wooing pleasure points and pumping Japanese pockets full of yen.

Japan’s financial buoyancy also permeated its popular culture, birthing an audio analog called City Pop. This new sound arose in the mid ’70s and ruled through the ’80s, channeling the country’s contemporary psyche. It was sophisticated music mirroring Japan’s punch-drunk prosperity. City Pop epitomized the era, providing a soundtrack for emerging urbanites. An optimistic spirit buzzed through the music in neon-bathed, gauzy tableaus coated with groove-heavy strokes.

Pacific Breeze is an expertly compiled collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between. Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.

Many of the key City Pop players evolved from the Japanese New Music scene of the early ’70s, as heard on Light In The Attic’s acclaimed Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, “Deconstructing the line between imitation and authenticity.” Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.

Definitive compilation spans solo recordings, rarities and duets with Lee Hazlewood
Newly remastered from the original analog tapes by GRAMMY®–nominated engineer John Baldwin
New interviews with the legendary singer, actress, and activist, Nancy Sinatra
Extensive essay by Amanda Petrusich
Q&A interview with Nancy & GRAMMY®–nominated reissue co-producer, Hunter Lea
Never–before–seen photos from Nancy Sinatra’s personal archive
Beautifully packaged Double LP (pressed at RTI) featuring a 24–pg book
Images are mock-ups and subject to change

Light In The Attic Records is proud to present Nancy Sinatra: Start Walkin’ 1965–1976. The definitive new collection surveys Sinatra’s most prolific period over 1965–1976, including her revered collaborations with Lee Hazlewood, over 23 tracks.

Remastered from the original analog tapes by GRAMMY®–nominated engineer John Baldwin, the collection is complemented by liner notes penned by Amanda Petrusich (author and music critic at The New Yorker), featuring insightful new interviews with Sinatra, as well as a Q&A with archivist and GRAMMY®–nominated reissue co-producer, Hunter Lea. The CD edition comes housed in a 7”x7” hardcover book (featuring 64–pages) and the two-disc vinyl set is presented in a gatefold jacket (featuring a 24–page booklet).

Nancy’s performance of the Lee Hazlewood–penned song “These Boots Are Made for Walkin’” was a huge hit in 1966 and became her signature tune. The pair began a three year run of successful albums, duets, and singles including “Sugar Town,” “Some Velvet Morning,” “Summer Wine,” “Sand,” “Jackson,” and the title track to the 1967 James Bond film “You Only Live Twice.”

Start Walkin’ explores Nancy’s recordings with Lee, her inspired collaborations with songwriter Mac Davis (“Hello L.A., Bye Bye Birmingham”), producer Lenny Waronker (“Hook and Ladder”), and the “should’ve been hit” song with arranger/producer Billy Strange (“How Are Things In California.”)

Over the years, she has been cited as an influence by countless artists, including Sonic Youth, Morrissey, Calexico, U2, and Lana Del Rey. Her haunting song “Bang, Bang” gained a new legion of fans when it appeared in the opening credits of Quentin Tarantino’s 2003 film, Kill Bill Volume 1.

* 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

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.

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.

It’s time to deck the halls and put up the Christmas tree as the yuletide season is upon us. Christmas Collected is the brand-new compilation with both traditional and modern songs celebrating the festive season. Artist and groups including Queen, Bruce Springsteen, Band Aid, Paul McCartney, U2, The Teskey Brothers, Frankie Goes To Hollywood, Amy Winehouse, Ariana Grande, Mud and many more are featured on the 2LP. Christmas Collected is available as a limited edition on translucent green (LP1) and translucent red (LP2) coloured vinyl and includes an insert.

Released in May 1972, Honky Chƒteau is the fifth studio album by Elton John, including singles 'RocketMan' and 'Honky Cat'. This 50th anniversary edition contains the original album, a newly created selection of outtakes from the original session tapes and a 40-page booklet containing rare photos, memorabilia and interviews. The 2CD format additionally contains eight live recordings from the Royal Festival Hall show in 1972, where the tracks receive their live debut.