Search "A.G.+Get+dirty+Radio" 170 Items

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.

Inimitable post punk insurgents! The John Cale produced '79 Model Citizens EP is finally available again, and with it comes unheard live recordings from Max's and Hurrah! "Model Citizens, attacking their instruments with poetic yet strangely ironic frenzy, reflect the frightened, scattered, painful (yet edge-of-ecstatic) world of the moment." (NY Rocker) This short lived vanguard outfit now gets its due on red vinyl, with an insert featuring liner notes from Tim Page.

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.

* 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.

Blondie’s first concert in 17 years on February 10, 1999, at New York’s Town Hall, was an
emotional one. This show, brilliantly captured on the aptly named “Live”, features the founding
members Debbie Harry, Chris Stein, Jimmy Destri and Clem Burke and includes remarkable
classics such as ‘Atomic’, ‘The Tide Is High’, ‘One Way Or Another’, ‘Call Me’ and ‘Heart of Glass’,
as well as songs from their successful comeback album “No Exit” with the worldwide hit single
‘Maria’.
“Live” returns to vinyl in a magnificent Collector’s Edition. Fans can look forward to listening to
Blondie on Strictly Limited 180g White Vinyl in a beautiful 2LP Gatefold packaging featuring
original photographs from the concert in 1999.

Sir Rod Stewart was on his way to becoming one of the most successful recording artists in history in 1974 when he moved to America and signed with Warner Bros. Records (now Warner Records). Over his next 27 years with the label, Stewart released some of the most commercially successful and critically acclaimed records of his extraordinary career. This 5LP boxed set features Stewart's first four Warner albums on vinyl, plus a bonus LP of rare and unreleased studio outtakes from those albums: Atlantic Crossing (1975), A Night on the Town (1976), Footloose & Fancy Free (1977), and Blondes Have More Fun (1978).



After being out of print for decades, the studio albums look and sound better than ever as they return to vinyl, complete with replica sleeves and newly remastered sound. The albums and the bonus LP are all organised in an iridescent box with Stewart foil-stamped on the cover, his blonde shag haircut glistening in gold, and his leopard-print suit shimmering in silver.

After brilliant stints with the Jeff Beck Group and the Faces and several outstanding solo albums, Stewart moved to Los Angeles in 1974. ROD Stewart: 1975-1978 reflects the burst of creativity that followed, starting in 1975 with his label debut, Atlantic Crossing. The album was produced by the legendary Tom Dowd, who produced Stewart's next three albums. After Atlantic Crossing was certified gold, A Night On the Town went double-platinum, and Foot Loose & Fancy Free went triple-platinum, as did its follow-up Blondes Have More Fun, which became Stewart's first #1 album. That era introduced many of the singer's best-known tracks: "Sailing," "I Don't Want to Talk About It," "I Was Only Joking," "The First Cut Is the Deepest," "You're in My Heart (The Final Acclaim)," "Da Ya Think I'm Sexy?" and "Hot Legs."



The bonus LP, titled Encores 1975-1978, is a collection of 10 outtakes selected from the recording sessions for all four albums. The first side highlights five songs from the recent deluxe editions released for Atlantic Crossing and A Night on the Town. Songs include an alternate version of the B-side "Rosie" and a cover of the Bee Gees' "To Love Somebody" recorded with the influential Stax Records house band, Booker T. & The MG's. The flip side features five previously unreleased session outtakes from Foot Loose & Fancy Free and Blondes Have More Fun. Highlights include a cover of the Motown classic, "You Really Got A Hold On Me," and the unreleased tracks "Silver Tongue" and "Don't Hang Up".

“I’ve had the pleasure of being a [The] Fall fan since I was a teen. I was lucky enough to have some guidance from my local record shop stoner-lords. They turned me on to many of my heroes, but once I heard my first slanted and barky Fall song, I was part of the army for life. The word prolific gets tossed around a lot. It almost seems like a slag-off in the press, as if they wish the artist would produce less so they wouldn’t have to do their self-imposed job of judging releases for the rabble. The Fall is subjected to this lazy word often.Yet I can honestly say that I am so thankful for any nugget of Fall that lands at my feet and in my brain. Live Fall performances are always a pleasure because they seem to take what already made the Fall great and push it even a bit more into the rough and bloody uncharted wasteland that is drug scorched proto-punk and heady political poetry. “So, it is with great pleasure that we introduce this Fall bootleg soundboard recording to you. Recorded during one of the many strong points in the bands vast and mighty history. They really burn bright here and bring every ounce of what you expect from this formidable force. “We have reached out to every surviving member of the band, the sound person, the bootlegger who recorded it and the photographer and received their blessings and help piecing it all together. Castle Face will be donating 50% of our profits to Centrepoint, which helps the homeless in the Manchester area get back on their feet, so the local and deserving Fall fans get a little, and give a little back, too. “Nothing but the hits here folks and as raw as you dig it. This one really is exceptional in terms of live sound for The Fall. All the stars were aligned over St. Helens that eve. And it wouldn’t be complete with a bit of Fall fan saltiness so, fuck you too, Jason.” —John Dwyer

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.

20th Anniversary Record Store Day edition, Pink splatter vinyl. Copy closer to NM

• 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.

Drama were the Canadian duo of Eric Simpson (Vocals, Bass Guitar, Guitar) and Don Stagg (Keyboards). Formed in in Mississauga, Ontario in 1978, the pair had previously played together in progressive psych bands Majik and VIIth Temple. Almost every Saturday, Eric and Don would record one song on a TEAC 4 track tape recorder after a couple of takes with very little over dubbing. The pair were influenced by what was playing on the radio during the recording sessions. Everyone else at that time was in a rock or pop band yet Drama were making electronic music. The pair released their debut LP ‘Loneliness’ on Psycho Records in 1979. There were 500 albums made and about 200 ended up in the garbage as band members shuffled from apartment to apartment. This was followed by a 4-track 7” later that year featuring live drums and additional guitar.

Seance Centre says it best, “On Loneliness, the pair traded in their velvet and chord charts for thin ties and a cheap drum-machine. The LP still carries a whiff of patchouli, but the sound stings of solder and electricity, and inhabits a nascent zone somewhere between krautrock and new-wave. The vocal cuts are all clustered on the A-side, starting with an ode to the inefficiency of the Toronto Transit Commission - some things never change! The dystopian sci-fi themes are par for the League, and highlights are the love ballad “Anna King” and the charming “Feable”. The instrumentals on the B-side feel decidedly more Teutonic, and have a certain CBC charm that sounds like JP Decerf recording for Parry Music. It even opens with a slinky stoned Pink Panther.” For this first time vinyl reissue we’ve expanded to a double LP with a bonus album of the 4 songs from Old Hollywood 7” and 9 previously unreleased tracks and demo versions. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket with original photo by Don Stagg taken from his apartment rooftop overlooking Toronto of a young teenager sniffing glue and includes an insert with photos and liner notes by Drama.

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

Konstruktivists are a UK Industrial group formed by Glenn Michael Wallis in 1982 out of the ashes of Heute. In the late '70s/early '80s Wallis was heavily involved with Throbbing Gristle and the Industrial Records crew. Influenced by Krautrock bands like Can, NEU!, Cluster/Harmonia as well as Tuxedomoon, Yello, Chrome, SPK, and early Clock DVA, Glenn began to record his own material. After several cassette releases through Flowmotion under his own name, Konstruktivists’ first LP A Dissembly was released in 1982. To record A Dissembly, Glenn went into IPS Studio in Shepherds Bush, London. Glenn played synthesziers, percussion and vocals, with help from Dave Rouse (guitar), Adrian Grover (piano, tape loops) and Dave Kenny (engineer, treatments, tapes). The equipment used for this album includes a Korg MS-20, Casio MT-40, Roland TR-606 and TB-303, Korg Space Echo 555 and an Eventide Harmonizer previously used by Throbbing Gristle. In the studio was an old broken piano which was recorded with two microphones onto an 18 foot tape loop. Chris Carter of Throbbing Gristle modified Glenn’s TR-606 with separate outputs for snare and bass drums to help create the slap back snare sound heard through the album. Konstruktivists create their own brand of Industrial using tape loops and lurching rhythms arched by droning melodies.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket, featuring a black and white photograph of a church by Dave Byatt and hand lettering and line drawing by Lorna M. Each copy includes a 2-page double-sided 8×11 insert with liner notes by Glenn Wallis, press clippings, and photos, plus a bonus flexi-disc containing the song “Smack,” which was recorded during the same session as A Dissembly.

RSD First, Limitation: 1200

First released in 2007, this 12-track holiday album comes to RSD Black Friday for the first time on vinyl. For the album, Cross selected his favorite Christmas standards and wrote two additional songs with long-time collaborator Rob Meurer. Guests include Michael Omartian and Kenny Edwards with strings by the Pacific Jazz Orchestra founder, Chris Walden.

Limited to 4000 copies worldwide. Celebrating the 40th anniversary of the U2 single “Gloria”, originally released as a single in October 1981, the second single to be taken from the second studio album October. It remains a staple in U2’s live set. This 40th anniversary limited edition EP includes the studio version of “Gloria” plus three live versions from three different decades. • 4-track 12” EP, cut at 45 rpm • Pressed on 180g transparent sun yellow vinyl • Full color gatefold outer sleeve with high gloss finish, featuring portraits of the band • Large poster (600mm x 600mm, folded) with montage of photos from the various live shows across the decades

* Record Store Day Europe / UK 2019 Exclusive Release!
* First ever vinyl reissue since 1981
* Limited to 1,000 copies
* Includes insert with extensive liner notes + obi strip

Strange Disc Records proudly presents the first ever vinyl reissue of a landmark Icelandic minimal Synth album: The Magnetics ‘A Historical Glimpse Of The Future’ (1981). The Magnetics were Jakob Magnússon and Alan Howarth, an intriguing international & iconic duo. Keyboard player Magnússon was an Icelander who already had an impressive jazz resume, while Howarth was making a name for himself as a Hollywood composer – in 1981, the same year that A Historical Glimpse of the Future was released, he also was involved in the soundtracks for two hit John Carpenter movies, Escape from New York and Halloween II. Both have been quite successful in their post-Magentics careers, Howarth with more soundtrack work (They Live, Big Trouble In Little China, Christine etc. ) and Magnússon with various jazz outfits. Jakob would end up working as the Icelandic ambassador to the UK during the 90’s. Throughout the fantastic A Historical Glimpse of the Future album you can hear the soundscapes people came to associate with the 1980s films scored by Carpenter/Howarth. Dark and moody material but with a strange twist as you can hear on the synth cover of “The Lion Sleeps Tonight” & the old-timey cabaret-styled “I’m Getting Married Today”, two truly bizarre pieces that doesn’t seem to fit at all… and somehow by not fitting actually fits perfectly, which is the real story of A Historical Glimpse of the Future. Originally released in 1981 on WRT (and going for hefty amounts on the second hand market), Strange Disc Records proudly presents a deluxe vinyl reissue (1000 copies) containing an insert with extensive & exclusive liner notes from Jakob Magnússon himself. Released exclusively for Record Store Day (UK & Europe) 2019, available in participating stores on April 13.

Japanese pressing without OBI! Coopy is close to NM!

Japanese pressing without OBI.

Vinyl is close to NM. Early German reissue on white labels. Original inner sleeve

Original japanese pressing without OBI!

Japanese pressing, no Obi.

Originally released in 1979 Limited edition Pressed on 180g black vinyl Bursting with energy on the eve of his big break, Yamashita’s 4th record was a major milestone. The highly acclaimed Moonglow is Yamashita’s record that stayed the longest in the Oricon charts. Most of the songs included in this album were written by Minako Yoshida and composed by Tatsuro Yamashita.

tears in spines

close to NM

Original japanese pressing with obi.

Cover with seam split and writing.

Japanese pressing with obi.

OBI not included.
Includes original inserts.

Japanese pressing without OBI, but with insert.

Cover with seam split.

Japanese pressing with obi.

Japanese pressing with obi.

* Vinyl reissue of the original 1979 album

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.

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.

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.

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

Copy is close to VG+!

Originally released in 1978 Limited edition Pressed on 180g black vinyl Yamashita’s 3rd solo record, Go Ahead!, defined the path he would subsequently follow as it a blossomed writer acclaimed for this versatility. The songs “Let’s Dance Baby”, “Bomber” & “潮騒 (The Whispering Sea)” would’ve be featured in his 1982 greatest hits album “Greatest Hits! of Tatsuro Yamashita”. Meanwhile, the song “This Could Be The Night” would get re-recorded in 1984 as part of his soundtrack album “Big Wave”.

Pitman Pressing.
Includes original inner sleeves and large poster.
Cover with cut corner.

Red vinyl version! Gatefold cover is close to VG+!

Original japanese pressing

Japanese pressing without OBI, but with insert.