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Raised from the ashes of eighties new wave (when Materiali Sonori debuted the Fuzz Dance series), Problemes D’Amour soon began a disco and electro classic all over the place. Florence born producer and musician Maurizio Dami - with co-conspirators Giampiero Bigazzi, Arlo Bigazzi and Marzio Benelli – created a mysterious character, a so called “modular structure born out a soviet calculator and promptly runaway". He was singing in french and was supported by primordial digital machine, using at the same time the more classical electric guitars, sax and sensual female voices. A handful of evergreen are still played all over the world by many international deejays, while “Problemes d’Amour” was even featured on influential Strut compilation Disco Not Disco 2. American label Sire (home of Talking Heads and a young Madonna) published a Fuzz Dance Ep in 1985 with the Robotnick masterpiece and several contribution from Mya & The Mirror, Gina & The Flexix and Naïf Orchestra. Maurizio Dami is still performing worldwide as a dj and is still composing new music. After 40 years Spittle Records in joint venture with Materiali Sonori re-issues the mini album and the 12” with its original artwork. "Once I was in Chicago, it was around 2010, I was just finishing my set and went outside the club to light a cigarette. Suddenly a police car stops nearby. I thought the policeman was here to fine me (I was more than 20 meters outside the venue), but he just lifted a poster of mine and asked to sign it. Then I realized that "Problèmes d’Amour" has been for a longtime the opening theme for a popular radio broadcast well-known between the black community (hence the policeman was black)”. Maurizio Dami

Soul Jazz Records new ‘Two Synths, A Guitar (and) A Drum Machine’ is a new collection of current D-i-y post-punk bands shaped by the mutant sounds of no wave, punk funk and New York Noise bands from the late 70s and early 80s that collided with the world of underground dance music found at the Paradise Garage, Mudd Club in New York City (esg, Arthur Russell, Bush Tetras, Talking Heads, Suicide, Liquid Liquid).

Other influences cited here include Manchester and Sheffield’s industrial post-punk sounds of the 1980s (Joy Division, Cabaret Voltaire, Gang of Four) as well as the 1970s German electronic experimentalism of Cluster, Neu!, Harmonia and Can.

Featured artists from around the globe include Los Angeles D-i-y band Automatic, New Fries from Toronto, artist/music collaborators Toresch from Germany, Susumu Makai from Japan/UK, Vex Ruffin from the Phillipines/California and Madmadmad, Gramme, Tom of England and other UK groups

That all the bands featured here manage to make distinctive contemporary music out of these 80s roots is testament to the wide range of other musics that are seamlessly absorbed into a modern melting pot of sound – hip-hop, the electronic European avant-garde, rave culture, and more.

Two Synths, A Guitar (and) A Drum Machine come as a heavyweight double vinyl housed in bespoke individual inner sleeves and the limited edition first pressing of this album comes with its own free pull-out fanzine on the groups featured.

Dark Entries is pleased to announce a deluxe reissue of Sexual Harrassment’s 1983 opus I Need A Freak. Lynn Tolliver, DJ/Program Director at Cleveland’s Wzak, adopted the pseudonym David Payton in order to keep his musical endeavors separate from his public persona. Sexual Harrassment (misspelled deliberately) was formed as a concept band, with members selected based on appearance and choreographic skill rather than musical ability. Tolliver’s explicit lyrics focused on the central themes of desire and sexual relations. Working at a studio in Akron, he recorded an album of quirky-yet-lurid electro funk, which was released on Heat Records. Tolliver remarks, “I learned as a youngster, sex sells! The things that are rated the worst – violence, horror and sex – are the things people want to see or hear about.” I Need a Freak was a surprise hit, selling over 100,000 copies. I Need A Freak is presented here for the first time on double LP, pressed at 45 rpm for maximum DJ-friendliness. While the album’s naughtier moments seem quaint by contemporary standards, the fusion of lo-fi funk and disaffected vocals still stuns today. On the eternal electro-raunch anthem “I Need a Freak”, minimalism serves to highlight the lasciviousness of the deadpan lyrics, which were inspired by Lourdes Figueroa, Tolliver’s girlfriend at the time. Tolliver’s whimsy shines on tracks like “If I Gave You a Party” and “K.I.S.S.I.N.G.”, which contrast nursery rhyme structures with decidedly R-rated lyrics. “Exercise Your Ass Off” lampoons the home exercise craze, but with a more-than-suggestive sexual bent. Also included are two bonus cuts, “We Want Prince” and “These Are The Things That I Like”, previously released as singles in 1984 and 1986, respectively. “We Want Prince” is both a homage to the Purple one and a gentle satire of obsessive fandom. I Need A Freak has been remastered by George Horn at Fantasy Studios. The album comes in a gatefold sleeve featuring the original artwork. Included are lyrics, photos, and liner notes by Lynn Tolliver and drummer Dale Jackson. Tolliver’s sly provacateurship is best captured by the quote: “It’s funny – without sex, mankind is dead, yet we hide the very thing we need.”

Japanese pressing without OBI

Japanese pressing with obi.

1980s New York was where modern dance music took its first steps; a phoenix rising out of the ashes of disco’s over-exposure and demise. The underground scene was the very opposite of the celebrity-sprinkled commercialism of Studio 54 – “Lofts & Garages” looks at how the Spring label, with its brand new 1980s subsidiary Posse, reacted to the new movement.

As an independent New York label, it was perfectly placed to understand new trends in the clubs; it worked with some of those who would go on to define the dance music of the era, and for a glorious summer tracked the important early work of Arthur Baker, Maurice Starr and Michael Jonzun. These began their careers with productions that included Ritz, Glory and Blaze – records that sounded perfect for 12-inch singles and mixed electronic instruments with a real feel for the dancefloor.

Label mainstays Fatback were always searching for a new groove and kept an eye on the floor. Their final single for the label, ‘Spread Love’, was remixed by Morales and Munzibai. Fatback’s Bill Curtis and Gerry Thomas also produced the sought-after boogie single ‘Get Up An’ Dance (Dance With Me)’ for Mynk.

Others featured include one of the most distinctive voices in dance music, Fonda Rae, with her single ‘Live It Up’, released here in its rare radio edit; veteran soul man Lonnie Youngblood with his gospel-influenced ‘Sing A Song’; Detroit dance pioneers C-Brand’s ‘Wired For Sound’ and Body’s ‘Have Your Cake’, which has an early mixing credit for dance music legend Timmy Regisford.

These records may not have all worked on the floor of the Paradise Garage, but they were part of the energy that was given off by that and the rest of New York’s vibrant post-disco era.

Wewantsounds is delighted to announce the reissue of Ammar El Sherei's superb instrumental album “Oriental Music” from 1976. Here, the iconic Egyptian musician and composer revisits six classic compositions by another Egyptian legend, Mohamed Abdel Wahab, in his own hypnotic way. This series of great Arabic music reissues, started with the Fairuz and Ziad Rahbani album reissues are curated by Lebanese-born Arabic music expert Mario Choueiry from Institut du Monde Arabe in Paris. This reissue has been newly remastered and comes in its beautiful original artwork.

The late musician and composer Ammar El Sherei is one of Egypt's musical giants. Born in Upper Egypt in 1948 into an upper middle class family (his paternal grandfather had been an MP during King Fouad's reign and his eldest brother became the Egyptian ambassador to Australia) El Sherei moved to Cairo with his family when he was five and attended a special school for the blind (he had lost his eyesight in his early childhood). A child prodigy with a unique gift for music, he got noticed by his teachers who recommended him to the Hadley School for the Blind in America so he could perfect his studies by correspondence. El Sherei then quickly learn piano, oud and composition with unparalleled ease. Once he got his BA in English literature from Cairo's Ain Shams University, he decided to become a musician against the will of his family. He began playing accordion in the Cairo bars and clubs and started making a name for himself on the Cairo scene. El Sherei got his first taste of success when he managed to place a song with famed Egyptian singer Maha Sabry. This was the start of a long series of hit he composed for many established Egyptian artists. From then on, his ascension was meteoric and he went to to become a very successful composer for films and TV series especially. A true innovator who didn't hesitate to bring some western influences to traditional Egyptian music and was one of the musicians responsible for ending the lengthy song trend of the 70s. He embraced modern instrumentations and was asked by Japanese keyboard maker Yamaha Corp. to help develop new electronic keyboards that could handle quarter tone. Early in his career El Sherei recorded albums for Soutelphan, including "Oriental Music" celebrating the music of another Egyptian legend, composer Mohamed Abdel Wahab, who had co-founded Soutelphan. Here he masterfully interprets six classics from the Master including "Ana Wehabieby" (aka Ana Wa Habibi), "Ya Wabour Koly" and the classic "Ahwak" made famous by such talents as Abdel Halim Hafez or Fairuz. Using early electronic keyboards like the Steelphon S900 or the Farfisa as seen on the album cover, El Sherei creates beautifully hypnotic instrumentals that blend together traditional melodies with modern instrumentation, adding jazz and pop elements in the mix. Achieving cult status over the years with Arabic music collectors and vinyl diggers, "Oriental Music is now a sought-after album which command high prices on the international scene. Wewantsounds is delighted to make this unique album available on vinyl for the first time since it originally came out in Egypt in 1976.

Here's the sixth exploration so far of the FullTime Production world with four brand new reworks of tracks extracted from our infinite vaults, finally coming into a brand new sparkling life for DJs and Disco fanatics. After the well-received and successful previous five volumes, there's so much to enjoy throughout this new limited edition 12-inch trip, completely remastered. On the A-side the Disco supernova Da Lukas brings into the world a boosted rework of the B.B. and Band classic "That Special Magic". An incredible groovy vertigo that will take the dancers deeper in. Then the Musta's remix of the 1982 Ago's "It Will Never Be" is pure funky! On the flip side Antonello Ferrari and Aldo Bergamasco alias F&B provide a stomping killer nu-disco rendition of Selection's "Desire", while C. Da Afro closes the package in big fashion kicking the groove and pathos of the Italo-Disco gem "I'm In love" by Patty Johnson.

In eleven years of deep digging, Dark Entries has uncovered many curiosities, lone exemplars of the scarsest breeds. They are lurking in Croatia, on the streets of New York, maybe in the back of your own dusty closet - these odd-ball Italo and synth-wave monsters are too rare to live, too divine to die. Once-lost creatures now have a home with Dark Entries’ new Endangered Species series. The inaugural edition features five specimens previously deemed extinct, only mentioned passingly in lore and speculation, but now safely preserved on vinyl. The first cut on Endangered Species Vol. 1 is the previously unreleased electro-New Wave gem “Munich” by John King, an artist best known for his work as one half of the Dust Brothers, lauded producers of the Beastie Boys’ legendary Paul’s Boutique. “Munich”, a Danceteria-ready cut produced in 1983, sheds some light on King’s earlier interests, bridging between freestyle and emotive synthpop. Next up is a rare demo version of The Actor’s “Picture 210”. The Dutch duo here channel both the minimalism of Kraftwerk and the Surrealism of Throbbing Gristle to create one of the finest teary-eyed Goth club anthems. Brazil is a synthpop band from Croatia, and they feature with their 1990 cover of Tears for Fears’ “Mad World”, which is sure to turn some heads on the dancefloor. The eerily faithful production belies Brazil’s re-working of the song’s lyrics. “L'Étranger (Ana Gharib)” by Jamal Khe follows, a pearl originally only available on an impossibly rare French 7” from 1983. Khe is from the Ain Beida region of Algeria, and his Arabic vocal melodies perfectly complement the propulsive percussion and airy arpeggios from producer Jacky Bourgogne. Closing the record is the previously unreleased “Abemus Mind” from Marzio Benellil’s project Nightless. Recorded in 1983, this moody, low-tempo Italo groover features Gregorian chant-inspired vocoders and jazzy piano courtesy of Benelli’s collaborator Marco Falagiani. All songs were mastered for vinyl by George Horn. The sleeve is the first in a series of endangered animal designs by Eloise Leigh, featuring the glam tiger in its natural, 1980’s habitat. Also included is an insert with lyrics, photos, and notes. Please assist us in our efforts to preserve this planet’s weirdest beasts.

In 1981, Nick Robson wrote Stars. The song can pretty much be described as a slow, cosmic disco song. It has an unusual feel, and it comes as Oslo-based Neppås third release. This 12″ holds the 12″ mix, the 7″ mix, and the original B-side Eye To Eye. The original 12″ is as rare as they come, and here you get the original material, fully licenced, and remastered. The process of recording the material back in 1981 was not an easy one, as Nick Robson recalls: “Fame by David Bowie is one of my favourite songs, period. I was 18 when i wrote Stars and i wanted to write something that was my version of Fame and quite honestly, as a tribute to the song. If you listen to the bass lines, there is a hint of similarity in the two. Even the lyric of Stars has a passing reference to Fame. Stars was one of four songs recorded at Gary’s Rock City studio to supply the first two singles and form the basis of the first album. The other three tracks were Eye To Eye, Boys and She’a Like Ice. Although all four tracks were finished, for one reason or another, Boys never made it to pressing and i walked away from the business to pursue a career in film. Stars itself, was the most ardous and problematic track that i’ve ever recorded. It took around 14 days to finally get an agreed mix when the budget probably only ran to three days. Part of the reason for this is the enormous quantity of music tracks recorded in the song. In those days, we only had 24 recordable tracks available on the Otari, so once you had recorded 23 or less actually, you had to bounce down sub-mixes to a single track to free up another batch of tracks. I think that there are around 46 tracks of instruments alone on Stars so although that kind of track usage is not uncommon now, back then it was rare.

This set features the original album plus Demos and Remixes, incl. Massive Attacks Remix of "Manchild". Three discs in single LP sleeves, housed in a rigid slip-case, includes original album remastered and two bonus discs of b-sides, remixes & extras
Also features the 48-page book

Remastered at Abbey Road, pressed on heavyweight vinyl, with download card included.

30th anniversary of Neneh Cherry’s classic hit album Raw Like Sushi (1989),“an unorthodox and brilliantly daring blend of R&B, rap, pop, and dance music”, sees the original album remastered and given the super deluxe treatment as a 3LP box set.

This box sets feature a 48-page 12x12 book packed full of iconic photos, new interviews, liner notes and memorabilia. The album features 5 singles - includes the worldwide smash hit single ‘Buffalo Stance’ (number 1 US Dance Chart) as well as hit singles – ‘Manchild’ produced by Massive Attack’s Robert Del Naja, ‘Kisses On The Wind’, ‘Heart’ & ‘Inna City Mamma’. Also features rare mixes of key tracks by Massive Attack, Arthur Baker, Smith N Mighty, and more.One of the most important records of all-time. Listed as one of the "1001 Albums You Must Hear Before You Die".

Japanese pressing with OBI and insert. Vinyl is close to NM.

OBI is missing. close to NM. Original Japanese pressing.

Cover with OBI is close to NM. With insert. Original Japanese pressing.

Includes OBI and insert.
Back cover with minor foxing.

Alex Dorothee was born in Guadaloupe, and lived between Paris and his hometown. He began his musical career as part of the band: The Will Boy, Vautours and Les Junior De Paris. He has released 8 albums and several singles. Harmonie Exotic will re-propose you the reissue of the album “Au Krisma Discothèque” released in the mid 80s.

2022 repress; LP version. Obi strip; Includes two-page insert. Wewantsounds present a reissue of Akiko Yano's Tadaima., originally released in 1981. The first release Wewantsounds' ambitious program to release Akiko Yano's albums outside of Japan Tadaima. ("I'm home" in Japanese) is Yano's fifth studio album and a synth-pop masterpiece, co-produced by her then husband Ryuichi Sakamoto and featuring all the musicians from Yellow Magic Orchestra (Haruomi Hosono, Yukihiro Takahashi, and Sakamoto), the group she was touring with at the time. Japan's best kept secret, Akiko Yano is one of the most ground-breaking artists to come out of the '70s Japanese music scene along with Haruomi Hosono and Ryuichi Sakamoto. A piano child prodigy, Yano started her solo recording career in 1976 at just 21, recording her debut album Japanese Girl with no less than Little Feat as the backing band. This album created a stir on the Japanese scene and Yano was on the map. She went on to record a series of superb albums mixing funk, electro, and city pop featuring the cream of Japanese (and sometimes American and English) musicians; The fact she was producing, writing and composing herself made her a true maverick in a very male-dominated industry. These albums, incredibly, have never been released outside of Japan to this day. Tadaima. is Yano's first attempt to leave the acoustic piano aside and delve into the synth sounds of the early '80s. The result is a fascinating electro pop masterpiece showcasing her talent as a writer, musician, and singer, creating her own unique universe. Mixing Japanese and English lyrics, Yano crafts perfect pop songs such as "Tadaima.", "I Sing", "Harusaki Kobeni" (which became one of her most famous songs after its use in a Japanese cosmetics ad), while "Taiyo No Onara" is a suite composed of nine short stories written by children. Contributors on Tadaima. also include Shigesato Itoi, one of Japan's most famous copywriters (for Studio Ghibli among others) who wrote two tracks on the album and his friend legendary illustrator Teruhiko Yumura -- aka King Terry -- who revolutionized underground manga in the '70s with his "heta-uma" (bad-good) style, as showcased on the album's striking artwork. Tadaima. is the perfect entry point to Akiko Yano's unique body or work. This reissue includes original artwork by cult illustrator King Terry and a new introduction by renowned DJ Joakim.

The Arms of Someone New formed in 1983 in Champaign-Urbana, Illinois as the brainchild Mel Eberle and Steve Jones. Steve managed and helped record Mel’s band The First Things; while in the studio to demo some of Mel’s songs, they started collaborating. The idea for the Arms of Someone New was to combine Mel’s and Steve’s several varied interests in the Beatles, psychedelia, blues, new wave and post-punk to create a sound in which the listener would be enveloped, immersed. They drew inspiration from Joy Division, Young Marble Giants, Nico and Pink Floyd. Between 1983 and 1985 they released four cassettes, one 7” and one EP.

In September 1985, the duo self-released their debut full length ‘Susan Sleepwalking’ on Office Records. Equipped with simple keyboards, drum machines and jangly guitars, The Arms Of Someone New provided an American take on English folk, Ambient and Industrial music. The album is ten tracks of mood-filled music with sparse instrumentation and simple chord changes that paint pictures of stillness and calm. Psychedelic vocals add texture, producing an ethereal, dream-like quality. The Arms of Someone New challenges conformity by mixing styles, but without sacrificing unity. “‘Susan Sleepwalking’ could as well be retitled ‘Music for Interiors’ – both architectural and of the mind” – The Michigan Daily 1985.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring an blood red tinted photograph with ghostly textures. Each copy includes a 2-sided 11” square insert with lyrics, and press clipping from the band’s archive.

This classic Queen album is pressed on 180gram.

Cover with punch hole