WEWANTSOUNDS - Forced Exposure

$31.50 PREORDER RELEASE DATE: 11/24/2023

LP version. Wewantsounds continues its Akiko Yano reissue series with the release of the singer's third studio album To Ki Me Ki, recorded in New York and released in 1978 in Japan. It follows her cult Iroha Ni Konpeitou LP and keeps the similar blend of Japanese pop and New York funk found in the latter. To Ki Me Ki features such musicians as Rick Marotta, Will Lee, and David Spinozza, and also programmer Hideki Matsutake who would soon join the YMO with Akiko. To Ki Me Ki is reissued outside of Japan for the first time, remastered in Tokyo by revered engineer Mitsuo Koike and featuring original artwork by Tsutomu Murakami with four-page color insert and new liner notes by Paul Bowler.

$17.50 PREORDER RELEASE DATE: 11/24/2023

Wewantsounds continues its Akiko Yano reissue series with the release of the singer's third studio album To Ki Me Ki, recorded in New York and released in 1978 in Japan. It follows her cult Iroha Ni Konpeitou LP and keeps the similar blend of Japanese pop and New York funk found in the latter. To Ki Me Ki features such musicians as Rick Marotta, Will Lee, and David Spinozza, and also programmer Hideki Matsutake who would soon join the YMO with Akiko. To Ki Me Ki is reissued outside of Japan for the first time, remastered in Tokyo by revered engineer Mitsuo Koike and featuring original artwork by Tsutomu Murakami with four-page color insert and new liner notes by Paul Bowler. 1978 was a key year for Japanese Music. Yellow Magic Orchestra was about to release their ground-breaking debut album. All musicians involved had also released key solo albums that year (Sakamoto with Thousand Knives, Takahashi with Saravah and Hosono with Paraiso) and Akiko Yano (who would soon join the YMO on tour for their first international tour) was no exception and came with To Ki Me Ki. Two key additions come in the form of synth programmers Hideki Matsutake who had worked with Isao Tomita and who would soon be YMO's unofficial fourth member and Roger Powell, a Robert Moog protege who was playing with Todd Rundgren's Utopia group at the time. Together Akiko and her musicians concocted a superb mix of diverse styles ranging from funk ("Two on the Stage" and "To Ki Me Ki"), Latin "Uo Sao" featuring Marrero's distinctive percussion in addition to slower songs such as "Kodomo Tachi" and "Andante Cantabile," all showcasing Akiko's beautiful piano playing, unique singing and unparalleled knack for composing catchy songs. "To Ki Me Ki" is a key works in Akiko's discography just before she embarked in the YMO adventure and recorded her landmark album Tadaima in a radical shift of sound.

$31.50 PREORDER RELEASE DATE: 11/10/2023

Wewantsounds, in collaboration with Corbett vs. Dempsey, reissues one of the great albums out of the BAG galaxy recorded by Luther Thomas and a cohort of musicians including Joe Bowie, Charles Bobo Shaw, Floyd LeFlore, and Lester Bowie. Recorded live in 1973 at The Berea Presbyterian Church in St. Louis, the album consists of two tracks, the formidable, aptly titled "Funky Donkey" and the spiritual "Una New York." Released as a private press on Thomas' own Creative Consciousness Records, it's reissued here for the first time since the '70s, marking the recording's 50th anniversary, and features original artwork, remastered audio and new liner notes by Howard Mandel. Closely associated to the Black Artists Group in St. Louis, the Human Arts Ensemble was a loose collective of musicians sharing many of its musicians, such as Joseph Bowie, Floyd LeFlore and Charles Bobo Shaw. The album was reissued on CD on John Corbett's Atavistic label in 2001 but this is the first time Funky Donkey Vol.1 is reissued on vinyl, remastered by Colorsound Studio in Paris and featuring liner notes by Howard Mandel, exactly fifty years after this groundbreaking concert was recorded, which Wewantsounds is happy to put back into circulation.

$31.50 PREORDER RELEASE DATE: 10/27/2023

Wewantsounds presents the release of Touch, a selection of sought-after tracks produced by Yuji Ohno, one of the most revered producers and arrangers on the Nippon music scene. His blend of jazz, space funk and disco have long been sought-after by DJs around the world and Wewanstounds has been given unique access to the Nippon Columbia vaults and to Mr. Ohno himself to come with a versatile selection from his '70s body of work, all bearing his uniquely recognizable sound. The set includes works with singers Nanako Sato, Hatsumi Shibata, and Ken Tanaka alongside tracks from his cult anime soundtracks for Lupin III and Captain Future. Approved by Yuji Ohno himself, Touch was remastered in Tokyo by Nippon Columbia and features liner notes by Nick Luscombe in conversation with the maestro and artwork by Optigram's Manuel Sepulveda. Also featuring Ann Young, Mieko Hirota, and Electric Keyboard Orchestra.

$17.50 PREORDER RELEASE DATE: 10/27/2023

Wewantsounds presents the release of Touch, a selection of sought-after tracks produced by Yuji Ohno, one of the most revered producers and arrangers on the Nippon music scene. His blend of jazz, space funk and disco have long been sought-after by DJs around the world and Wewanstounds has been given unique access to the Nippon Columbia vaults and to Mr. Ohno himself to come with a versatile selection from his '70s body of work, all bearing his uniquely recognizable sound. The set includes works with singers Nanako Sato, Hatsumi Shibata, and Ken Tanaka alongside tracks from his cult anime soundtracks for Lupin III and Captain Future. Approved by Yuji Ohno himself, Touch was remastered in Tokyo by Nippon Columbia and features liner notes by Nick Luscombe in conversation with the maestro and artwork by Optigram's Manuel Sepulveda. Also featuring Ann Young, Mieko Hirota, and Electric Keyboard Orchestra.

$40.00 PREORDER RELEASE DATE: 9/29/2023

Limited LP version, includes 12" EP with three extra tracks: "Replica," "Ma Mère l'Oye," and "Tibetan Dance (Version)." The first ever international release of Ryuichi Sakamoto's landmark 1984 album Ongaku Zukan, originally issued in Japan on his own School label in 1984. Remastered by Saidera Mastering in Tokyo. The early '80s were a turning point for Japanese musician Ryuichi Sakamoto. As a solo artist, the smash hit soundtrack he had composed for 1983's Merry Christmas Mr. Lawrence, had put him on the verge of becoming a global superstar. Meanwhile he had called a halt to his work with Yellow Magic Orchestra; the influential, globally successful pop trio calling it quits after the release of their 1983 album Naughty Boys. Against this backdrop, Sakamoto descended on Tokyo's Onkyo Haus Studio to record his fourth solo album, Ongaku Zukan ("Musical Encyclopedia") accompanied by a handful of musicians including his ex-YMO partners Haruomi Hosono and Yukihiro Takahashi, and the prolifically talented Yasuaki Shimizu, Tatsuro Yamashita and Toshinori Kondo. It was on his return to the studio the following year that the album truly began to take shape. Released in August 1984 the album Ongaku Zukan proved a huge success, providing Sakamoto with his first top five hit in Japan. Filled with inspired melodies that showcase his unique gift as a composer, it offers up a fascinating mix of styles. Featuring remastered audio with bonus tracks and new liner notes by Andy Beta. This is the very first time that the two 1984 Japanese editions of Ryuichi Sakamoto's classic album have been released internationally in collaboration with the artist's management and Midi Inc., with remastered audio and the original artwork faithfully reproduced.

$36.50 PREORDER RELEASE DATE: 9/29/2023

LP version, includes 7" with two extra tracks: "Replica" and "Ma Mère l'Oye." The first ever international release of Ryuichi Sakamoto's landmark 1984 album Ongaku Zukan, originally issued in Japan on his own School label in 1984. Remastered by Saidera Mastering in Tokyo. The early '80s were a turning point for Japanese musician Ryuichi Sakamoto. As a solo artist, the smash hit soundtrack he had composed for 1983's Merry Christmas Mr. Lawrence, had put him on the verge of becoming a global superstar. Meanwhile he had called a halt to his work with Yellow Magic Orchestra; the influential, globally successful pop trio calling it quits after the release of their 1983 album Naughty Boys. Against this backdrop, Sakamoto descended on Tokyo's Onkyo Haus Studio to record his fourth solo album, Ongaku Zukan ("Musical Encyclopedia") accompanied by a handful of musicians including his ex-YMO partners Haruomi Hosono and Yukihiro Takahashi, and the prolifically talented Yasuaki Shimizu, Tatsuro Yamashita and Toshinori Kondo. It was on his return to the studio the following year that the album truly began to take shape. Released in August 1984 the album Ongaku Zukan proved a huge success, providing Sakamoto with his first top five hit in Japan. Filled with inspired melodies that showcase his unique gift as a composer, it offers up a fascinating mix of styles. Featuring remastered audio with bonus tracks and new liner notes by Andy Beta. This is the very first time that the two 1984 Japanese editions of Ryuichi Sakamoto's classic album have been released internationally in collaboration with the artist's management and Midi Inc., with remastered audio and the original artwork faithfully reproduced.

$17.50 PREORDER RELEASE DATE: 9/29/2023

The first ever international release of Ryuichi Sakamoto's landmark 1984 album Ongaku Zukan, originally issued in Japan on his own School label in 1984. Remastered by Saidera Mastering in Tokyo. The early '80s were a turning point for Japanese musician Ryuichi Sakamoto. As a solo artist, the smash hit soundtrack he had composed for 1983's Merry Christmas Mr. Lawrence, had put him on the verge of becoming a global superstar. Meanwhile he had called a halt to his work with Yellow Magic Orchestra; the influential, globally successful pop trio calling it quits after the release of their 1983 album Naughty Boys. Against this backdrop, Sakamoto descended on Tokyo's Onkyo Haus Studio to record his fourth solo album, Ongaku Zukan ("Musical Encyclopedia") accompanied by a handful of musicians including his ex-YMO partners Haruomi Hosono and Yukihiro Takahashi, and the prolifically talented Yasuaki Shimizu, Tatsuro Yamashita and Toshinori Kondo. It was on his return to the studio the following year that the album truly began to take shape. Released in August 1984 the album Ongaku Zukan proved a huge success, providing Sakamoto with his first top five hit in Japan. Filled with inspired melodies that showcase his unique gift as a composer, it offers up a fascinating mix of styles. Featuring remastered audio with bonus tracks and new liner notes by Andy Beta. This is the very first time that the two 1984 Japanese editions of Ryuichi Sakamoto's classic album have been released internationally in collaboration with the artist's management and Midi Inc., with remastered audio and the original artwork faithfully reproduced.

$31.50 IN STOCK

Wewantsounds team up with Disco Arabesquo for the reissue of Nagat El Seghira's cult 1980 album Eyoun El Alb. Originally released only on cassette on the Egyptian label Soutelphan, the album has since become a sought-after classic on the Arabic groove scene and this is the first time it is released on vinyl. Consisting of four tracks, the album features two tracks, "Bahlam Meaak" and "Ana Bashaa El Bahr" produced by Hany Shenouda whose group Al Massrieen is a reference to the Arabic funk scene. The long title track "Eyoun el Alb" features a more traditional percussion-heavy orchestra enhancing Nagat's languorous singing and was recorded live while the track "Fakra" brings the best of both world with a syncopated rhythm and arrangements that are slightly more traditional than the Shenouda-produced tracks. When it comes to Arabic Divas, Oum Kalthoum, Fairuz and Warda usually take the lead in the poll list. But in her native Egypt, singer Nagat Al Saghira comes very close to this triumvirate. She rose to fame in the late forties and became an essential part of classic period of Arabic music, interpreting songs by such titans as Mohamed Abdel Wahab, Baligh Hamdy and Kamal Al Taweel. One such song is "Eyoun El Alb" ("Eyes of the Heart") which makes up the whole of Side 1 of the original cassette. Written by Mohamed El Mougy and Abd al-Rahman al-Abdouni, "Eyoun El Alb" is a love song made up of several distinct sections enhancing Nagat's hypnotic singing, accompanied by a percussion-heavy, traditional Egyptian orchestra. Side 2 is the "diggers" groovier side featuring two floaters, "Bahlam Ma'ak" ("I Dream with You") and "Ana Basha El Bahr" ("I Adore the Sea") produced by cult Egyptian musician and producer Hany Shenouda. Both tracks feature an infectious slow-burning groove and incorporate funk influences with fat bass and lines of synth and clavinet that adds a funky tone to Nagat's soft singing. The third track "Fakra" ("Do You Remember") brings the best of both worlds with a syncopated rhythm and arrangements that are slightly more traditional than the Shenouda-produced tracks. The album is now making its vinyl debut on Wewantsounds annotated by Disco Arabesquo and remastered for vinyl by Colorsound Studio in Paris for the joy of Arabic funk and Global beats worldwide. It includes the original cassette artwork plus a two-page color insert featuring liner notes by Disco Arabesquo.

$16.00 IN STOCK

Wewantsounds announce the first international reissue of Ayako Shinozaki's Music Now For Harp released in 1974 by Nippon Columbia. The LP was released on the label's cult "Master Sonic" series and features Shinozaki's harp soundscape on works by renowned composer Toru Takemitsu and Katsuhiro Tsubono. The highlight of the album is the spaced-out, ethereal 25-min ambient epic "Heterodyne" featuring cult musician Takehisa Kosugi (Taj Mahal Travellers, Group Ongaku) on electric violin and sound waves. Japanese harpist Ayako Shinozaki first studied in Japan, then at Julliard in New York and, upon her return in Japan in the early 1970s, she launched her yearly "Harp No Koten" recital (the first or which took place in 1972) with the idea of pushing the boundaries of the instrument, delving into the more experimental side of the spectrum and following in the recent steps by Dorothy Ashby and Alice Coltrane to get the instrument out of classical music. The album Music Now For Harp is the fruit of this first recital and is composed of three pieces that were played there. The first piece, "Stanza II" was composed by Toru Takemitsu, one of the most famous contemporary Japanese composers of the 20th century. "Stanza II" was written in 1971 for Swiss harpist Ursula Holliger and is a subtle piece featuring Shinozaki's harp intertwined with tapes of drones, birdcall and street sounds. It's typical of the music composed by Takemitsu at the time and in the Japanese notes, he refers to the music as "a midday scene, a stone shatters the silence, words are exchanged, a bird crosses the sky, casting no shadow." The second piece of the album, "Poem of Lin" was written by the young Japanese composer Katsuhiro Tsubono (who was 25 years old at the time). The piece was composed for harp, bells and voice and is an eerie yet percussive soundscape emphasizing Shinozaki's interplay with percussion and voice. The final piece "Heterodyne" makes up the whole of side two, composed by legendary Japanese musician Takehisa Kosugi. It is an extraordinary piece of music featuring Shinozaki's harp and Kosugi violin dialoguing over Kosugi's added electronic effects. The piece is a deep, spiritual journey mixing the organic feel of the harp and violin with the futuristic touch brought by Kosugi's hypnotic, almost funky sound waves. Newly remastered by Nippon Columbia. Original artwork designed by legendary Japanese graphic designer Kohei Sugiura. Includes two-page insert with new liner notes by Alan Cummings.

$31.50 IN STOCK

LP version. Wewantsounds announce the first international reissue of Ayako Shinozaki's Music Now For Harp released in 1974 by Nippon Columbia. The LP was released on the label's cult "Master Sonic" series and features Shinozaki's harp soundscape on works by renowned composer Toru Takemitsu and Katsuhiro Tsubono. The highlight of the album is the spaced-out, ethereal 25-min ambient epic "Heterodyne" featuring cult musician Takehisa Kosugi (Taj Mahal Travellers, Group Ongaku) on electric violin and sound waves. Japanese harpist Ayako Shinozaki first studied in Japan, then at Julliard in New York and, upon her return in Japan in the early 1970s, she launched her yearly "Harp No Koten" recital (the first or which took place in 1972) with the idea of pushing the boundaries of the instrument, delving into the more experimental side of the spectrum and following in the recent steps by Dorothy Ashby and Alice Coltrane to get the instrument out of classical music. The album Music Now For Harp is the fruit of this first recital and is composed of three pieces that were played there. The first piece, "Stanza II" was composed by Toru Takemitsu, one of the most famous contemporary Japanese composers of the 20th century. "Stanza II" was written in 1971 for Swiss harpist Ursula Holliger and is a subtle piece featuring Shinozaki's harp intertwined with tapes of drones, birdcall and street sounds. It's typical of the music composed by Takemitsu at the time and in the Japanese notes, he refers to the music as "a midday scene, a stone shatters the silence, words are exchanged, a bird crosses the sky, casting no shadow." The second piece of the album, "Poem of Lin" was written by the young Japanese composer Katsuhiro Tsubono (who was 25 years old at the time). The piece was composed for harp, bells and voice and is an eerie yet percussive soundscape emphasizing Shinozaki's interplay with percussion and voice. The final piece "Heterodyne" makes up the whole of side two, composed by legendary Japanese musician Takehisa Kosugi. It is an extraordinary piece of music featuring Shinozaki's harp and Kosugi violin dialoguing over Kosugi's added electronic effects. The piece is a deep, spiritual journey mixing the organic feel of the harp and violin with the futuristic touch brought by Kosugi's hypnotic, almost funky sound waves. Newly remastered by Nippon Columbia. Original artwork designed by legendary Japanese graphic designer Kohei Sugiura. Includes two-page insert with new liner notes by Alan Cummings.

$31.50 IN STOCK

Wewantsounds announce the vinyl reissue of Ramuntcho Matta's rare first self-titled album from 1985, mixing funk, no wave, and ambient soundscapes. The album released on tiny French label Mosquito was conceived as the soundtrack for French choreographer Régine Chopinot's play VIA with costumes by fashion rising star Jean-Paul Gaultier. It was recorded at a buoyant time in Paris when Matta -- who had just spent a few years in New York following the death of his brother Gordon Matta-Clark -- immersed himself in Paris's underground scene. Ramuntcho Matta, one of France's most interesting producers, collaborated with a wide array of luminaries such as Don Cherry, Brion Gysin, and Laurie Anderson. Coming from an illustrious artistic family -- his father was painter Roberto Matta, one of the giants of 20th Century art, his brother Gordon Matta Clark a cult figure of the '70s New York avant-garde scene and his uncle Serge Matta a renowned fashion illustrator who was a mentor to Jean Paul Goude. Having spent his teenage years in Paris assisting the legendary beat writer Brion Gysin, Matta left for New York in 1978 upon the death of Gordon Matta Clark to sort things out. Planning to stay for a couple of weeks, he stayed two years working in Laurie Anderson's studio and immersing himself in the cultural and musical hurricane that was late '70s NYC downtown scene. The album is a superb mix of d-i-y no wave soundscapes recorded mainly at Matta's home and avant funk tracks recorded at Studio d'Auteuil in Paris. The latter include Fred Cousseau on drums, Elli Medeiros on vocals, Urugayian percussionist Negrito Trasante and Polo Lombardo on Konks with Matta producing and playing a wide array of instruments. Highlights of the album include "Sassam Kitaki" featuring Elli on vocals, "Jeunes Et Vieilles" which sounds like Money Mark's "Mark's Keyboard Repair" only ten years before and "Une A Une" whose version here is an unissued instrumental that makes its vinyl debut. The music is a perfect match for Chopinot's innovative choreography which made her an essential part of France's 80s new wave of artists. The album was released in 1985 in France only by Mosquito Records and was never really promoted. The original release had several mistakes, misspelling musician names and knocking off one track title from the tracklist. The reissue here is in partnership with Ramuntcho Matta. Remastered audio. Includes four-page booklet featuring Jacques Denis's interview with Ramuntcho Matta (English/French) and an additional insert with a facsimile of Marc Caro's original artwork for the VIA show.

$31.50 LOW STOCK LEVEL

LP version. Wewantsounds announce an extensive reissue program of Meiko Kaji's first five albums released in Japan between 1972 and 1974 on Teichiku Records. The program, in partnership with Teichiku and Meiko Kaji, will see her first five albums reissued on vinyl for the first time ever in their original Japanese artwork and remastered audio. Famous for her early '70s exploitation movies (Lady Snowblood, the Female Prisoner Scorpion and Stray Cat Rock series) revered by Quentin Tarantino, Meiko Kaji was also a singer releasing albums to tie in with her movie career. These albums are a fascinating mix of Japanese pop and groove with superb funky cinematic orchestrations as displayed in Hajiki Uta. A cult icon on the international film scene, Japanese actress Meiko Kaji, born in Tokyo, has been put into the spotlight internationally by Quentin Tarantino when he heavily based his Kill Bill film on the 1973 revenge genre film Lady Snowblood. By the time she appeared in it, she had already made almost fifty feature films (she began her career in 1965) and she was one of the most famous exploitation actresses in Japan doubling as a sex symbol. This gave the studios the idea of getting her to start a singing career and release music closely associated with the films she starred in often singing the theme songs. Thus, she began releasing records at the dawn of the '70s, recording several 7" singles and five albums for Teichiku which have become sought-after and almost as cult as her films. Drawing on her film roles, the music on these albums were an uber-cool mix of kayokyoku (Japanese pop), traditional enka music, acid folk, and funky beats arranged by the best producers of the time in a cinematic way that could sound like Ennio Morricone or Jean-Claude Vannier. The album featured two film songs, namely "Urami Bushi" used for Female Prisoner Scorpion, and "Onna No Jumon" featured in Female Prisoner Scorpion - Jailhouse 41, which have been composed by Shunsuke Kikuchi who also composed the score for these films. Reissued with original artwork. Features new liner notes by Hashim Kotaro Bharoocha who has interviewed Meiko for the occasion. LP version comes in gatefold sleeve; OBI strip and insert.

$31.50 IN STOCK

Wewantsounds reissue for the first time Harold Land's classic LP Damisi, recorded in Los Angeles for Bob Shad's Mainstream Records and released in 1972. Featuring Buster Williams (b), Ndugu (ds), Bill Henderson (keys), and Oscar Breashear (tp), the album was recorded at a crucial time when Land was shifting to a more spiritual sound. The session is a superb mix of funk and modal jazz and features monster grooves. Harold Land was born in Houston in 1928 and grew up in San Diego, California. in 1954, he joined the Max Roach/Clifford Brown Quintet recording one of the most important albums in the development of hard Bop, which was produced by Bob Shad, then the head of the Emarcy jazz label. Land quickly moved to Los Angeles and became a key saxophone player on the West Coast scene, recording as a leader for Contemporary and Pacific Jazz Records in the sixties. In 1968, he started a fruitful collaboration with vibe player Bobby Hutcherson forming the Harold Land/Bobby Hutcherson Quintet that would last until 1971. Together they produced several records for Blue Note, Cadet, and Mainstream Records. Shad decided to go back to his jazz roots and record young emerging talents plus a handful of seasoned musicians from his Emarcy days, including Harold Land. He primarily recorded out of New York City but went to Los Angeles in 1971 with his A&R Ernie Wilkins for a short trip to record a few sessions with the sax player. Shad brought back three albums: two with the Land/Hutcherson Quintet -- A New Shade of Blue reissued by Wewantsounds (WWSCD 008CD/WWSLP 008LP) and Choma both released in 1971 -- and Damisi recorded with Oscar Brashear on trumpet replacing Hutcherson, released in 1972. Damisi, comprised of five extended tracks, kicks off with the up-tempo post bop "Step Right Up to the Bottom" before switching to the slow burning funk of "In The Back In The Corner, In the Dark" showcasing Buster Williams's formidable bassline and Ndugu's funk chops. Side one ends with "Pakistan", a beautifully serene tribute to the country, full of Eastern influences and featuring Land on oboe in the reflective tone. Side two opens with "Chocolate Mess" penned by Ndugu Chancler, a muscular funk groove backing great solos by Land, Oscar Brashear (who would soon join Earth Wind & Fire's horn section) and Bill Henderson on Fender Rhodes. "Damisi" the title track follows up and intricately alternates slow sequences with funkier passages, closing the album on perfect note. Original gatefold sleeve with never-seen session photos; newly remastered audio; includes two-page insert including new liner notes by Kevin Le Gendre.

$17.50 IN STOCK

Wewantsounds announce an extensive reissue program of Meiko Kaji's first five albums released in Japan between 1972 and 1974 on Teichiku Records. The program, in partnership with Teichiku and Meiko Kaji, will see her first five albums reissued on vinyl for the first time ever in their original Japanese artwork and remastered audio. Famous for her early '70s exploitation movies (Lady Snowblood, the Female Prisoner Scorpion and Stray Cat Rock series) revered by Quentin Tarantino, Meiko Kaji was also a singer releasing albums to tie in with her movie career. These albums are a fascinating mix of Japanese pop and groove with superb funky cinematic orchestrations as displayed in Hajiki Uta. A cult icon on the international film scene, Japanese actress Meiko Kaji, born in Tokyo, has been put into the spotlight internationally by Quentin Tarantino when he heavily based his Kill Bill film on the 1973 revenge genre film Lady Snowblood. By the time she appeared in it, she had already made almost fifty feature films (she began her career in 1965) and she was one of the most famous exploitation actresses in Japan doubling as a sex symbol. This gave the studios the idea of getting her to start a singing career and release music closely associated with the films she starred in often singing the theme songs. Thus, she began releasing records at the dawn of the '70s, recording several 7" singles and five albums for Teichiku which have become sought-after and almost as cult as her films. Drawing on her film roles, the music on these albums were an uber-cool mix of kayokyoku (Japanese pop), traditional enka music, acid folk, and funky beats arranged by the best producers of the time in a cinematic way that could sound like Ennio Morricone or Jean-Claude Vannier. The album featured two film songs, namely "Urami Bushi" used for Female Prisoner Scorpion, and "Onna No Jumon" featured in Female Prisoner Scorpion - Jailhouse 41, which have been composed by Shunsuke Kikuchi who also composed the score for these films. Reissued with original artwork. Features new liner notes by Hashim Kotaro Bharoocha who has interviewed Meiko for the occasion. LP version comes in gatefold sleeve; OBI strip and insert.

$31.50 IN STOCK

Wewantsounds release for the first time on vinyl the Lalo Schifrin's soundtrack for Frank Perry's thriller Man On A Swing from 1974. Featuring Schifrin's superb mix of jazz, bossa, groove, and atmospheric soundscape, the soundtrack, recorded in LA with the Wrecking Crew's Emil Richards, Bud Shank, and Howard Roberts, among others, finds the composer at his most inspired. Among which the mind-blowing rhythm track for the title "Radio Source", featuring a super funk breakbeat. Remastered for vinyl by Colorsound Studio. Features liner notes by Jeremy Allen with artwork by Eric Adrian Lee. By the time Lalo Schifrin composed the soundtrack for Frank Perry's psychological thriller in 1974, starring Cliff Robertson and Joel Gray (who'd just won an Oscar for his role in Bob Fosse's Cabaret) he was Hollywood royalty having worked on such iconic films as Bullitt and Dirty Harry. Perry on his side, had caused a stir with The Swimmer in 1968 starring Burt Lancaster (although he would dismiss the film after being fired from the production) and followed up with a string of great cult movies including Last Summer (1969), Diary of a Mad Housewife (1970) starring Carrie Snodgress. Breaking from the social dramas from of his previous films, Perry decided to shoot a thriller based on journalist William Arthur Clark's book The Girl on The Volkswagen Floor. The film follows a police officer investigating a murder with the help of a strange ambiguous clairvoyant played by Gray. For the score Perry went to Lalo Schifrin who'd just come out of a bad experience on The Exorcist working with William Friedkin who'd rejected his music in favor of Tubular Bells by Mike Oldfield. Man On A Swing is pure undiluted Schifrin from the early '70s. The score plays like a long suite alternating bossa nova ("Juke Box Source"), lounge jazz ("Trip to LA"), and groove ("FM Groove") with superb "suspense" soundscapes, like "Rosehaven Hotel". The label has gone back to the Paramount 3-track tape transfers and come up with an updated tracklist (a CD version briefly appeared in the 2010s) -- re-sequenced and augmented with a handful of bonus tracks and alternate takes. A highlight is certainly "Radio Source Rhythm" which, losing the guitar and organ, reveal a jaw dropping funk breakbeat that is in the league of Dirty Harry and Enter the Dragon. This and the whole soundtrack, will ravish all the funk diggers and Lalo Schifrin fans around the world.

$31.50 IN STOCK

Wewantsounds present a first time reissue of Farid el Atrache's cult album Nagham Fi Hayati released in 1974 on Voice of Lebanon. It is the soundtrack of the eponymous film starring El Atrache. Sampled by the Beatles and nicknamed the "King of Oud", El Atrache is one of the giants of Egyptian music together with Oum Kalthoum and Abdel Halim Hafez. The album which showcases El Atrache's versatility and includes the monster groove "Hebina Hebina", is one of Brian Eno's favorite albums. Nagham Fi Hayati also contains an unedited version of "Takassim Oud" highlighting El Atrache superb oud playing. In the '50s and '60s, El Atrache became one of the most famous singers in the Arab world. One of his songs from the '60s, "Awel Hamsa" even got sampled by the Beatles on their "Revolution 9" from the White Album. The album Nagham Fi Hayati (The Melody of My Life) released in 1974, the year of his death. It was also the soundtrack of the eponymous film directed by famed Egyptian director Henry Barakat and also featured female star Mervat Amin. The album is comprised of four tracks. "Alachan Malich Gheirak" (Because There is No One Else for Me but You) and "Ya Habaybi Ya Ghaybin" (My Absent Loves) are typical long romantic songs alternating lush instrumental parts by a full Egyptian orchestra with parts sung by El Atrache. "Takassim Oud" is an astonishing instrumental highlighting El Atrache's virtuoso oud playing explaining why he was nicknamed "The King of Oud". The song is released here in its entirety for the first time on vinyl as a small section that was cut from the original vinyl release, has been reintegrated. The highlight of the album is certainly "Hebina Hebina" (Love Us, Love Us) which has become an Arabic groove club classic over the years featuring a funky loop and groovy organ. The song and the album actually caught the ear of producer Brian Eno who named it one of his favorite albums in an interview with musician William Doyle in 2016 for The Quietus. Originally released on the label Voice of Lebanon, Nagham Fi Hayati was recorded by engineer Nabil Mumtaz (from the cult Polysound Studios in Beirut). It has become one of Farid El Atrache's most coveted albums on the Arabic music scene. Audio newly remastered by Colorsound, original artwork and new liner notes by Mario Choueiry from Institut du Monde Arabe in Paris.

$31.50 IN STOCK

Funk and soul in the early '70s were mutating to a new sound spearheaded by such labels as Philadelphia International Records (PIR), Scepter, and Salsoul: Early disco was taking off and Its sound was earthier and more urban, mixing the nascent disco beat with strong funk and soul elements. New York was at the epicenter of the phenomenon, thanks to its thriving club scene and also to a new wave of DJs from the Bronx who started playing the music at block parties along with James Brown and Mandrill. bubbling under was a cohort of small independent labels that released some great music on 7" singles to meet the growing demand. Industry veteran Bob Shad and his label Mainstream Records started investigating this new scene and asked his circle of independent producers to bring him their latest production for release. For the occasion, he set up two sub labels, IX Chains and Brown Dog. Among the producers who'd heard Shad's call were Tommy Stewart who came up with The South Side Coalition's funky "(Don't You Wanna) Get Down Get Down" in 1975 and Prophecy's "What Ever's Your Sign" a year later. Seasoned arranger/producer Bert DeCoteaux (Patti Austin, Maxine Brown, The Main Ingredient) brought Lenny Welch's soulful "A Hundred Pounds of Pain' and the superb mid-tempo instrumental "Nothing Between Us" by The Electric Ladies. Arranger Jimmy Roach came with his latest single with The Dramatics ("No Rebate on Love") whom he'd worked with at Volt and with Three Ounces of Love on their aptly titled single "Disco Man," whose unissued long version merging Side 1 and 2 is released here on vinyl for the first time. The sister group would go on to sign with Motown in 1978 and release their sole album self-titled Three Ounces of Love. Other highlights on Mainstream Disco Funk include The Grand Jury's "Music Is Fun To Me" with its languid funky rhythm arranged by Ted Bodnar, a producer and studio engineer who'd work with Sir Joe Quarterman, Blair and Al Johnson. Also featured on the set is Crystal Image's superb "Gonna Have a Good Time (part 1 & 2)" which typifies the blend of urban funk, glitzy strings and metronomic beat that were signature elements of early disco. Also features Chocolate Syrup. Remastered by Colorsound Studio in Paris, with liner notes by Charles Waring.

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Wewantsounds reissue Mawood one of the cornerstones of Egyptian music, recorded in 1971 by legendary Arabic singer Abdel Halim Hafez. Famously sampled by Jay-Z on "Big Pimpin'", Hafez is captured here live with his full orchestra including Omar Khorshid on guitar. The album mixes traditional Arabic music with modern instrumentation and shades of '70s groove. "Mawood" is one of Hafez's all-time classics, written by the legendary composer Baligh Hamdi. Alongside Oum Kalthoum, Warda, Farid el Atrache, and Mohammed Abdel Wahab, Hafez revolutionized Egyptian music and became a hugely popular star across the whole Arab world. Blessed with striking good looks, Abdel Halim Hafez started his career in the early '50s and quickly attracted the attention of one of the Egyptian radio's A&Rs who took him under his wing and invited him to perform on the radio. His career went from strength to strength and from 1953, he was associated with the Egyptian revolution led by Nasser. His music mixing tradition and modernity made him one of the most loved singers of the 1950s as he developed a romantic edge that became his signature style (he was dubbed "the dark-skinned nightingale"). In the mid-50s, hot on the heels of his success in music, he launched his acting career in the thriving Egyptian film industry and also became a hugely popular actor. Hafez worked with the greatest composers of their time including Mohammed Abdel Wahab and Baligh Hamdi. Recorded live in 1971, "Mawood" is one of the singer's most recognizable standards. The song stretches over the two sides of the album and consists of several sections alternating instrumental parts and sung ones. The song, written by Egyptian poet Mohamed Hamza, sees Hafez talking to his heart, apologizing for driving it from failure to failure and concluding that, to find solace, one must keep love at bay. He's backed by his full orchestra featuring traditional instrumentation and those powerful strings that influenced the likes of Jean-Claude Vannier, together with modern instrumentation including organ and electric guitar by Omar Khorshid adding his unmissable twang to the ensemble. Mawood mixes tradition and modernity and develops into a hypnotic epic full of groove with a superb soulful performance by one of the greatest singers of the 20th century. Remastered for vinyl; features the original LP artwork with a two-page insert featuring new liner notes (English/French) by Mario Choueiry (IMA, Paris).

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The hip sound of Biensüre, based in the vibrant city of Marseille and mixing hypnotic synths-fueled disco grooves with Turkish/Kurdish music, infused in the hip urban spirit of the Mediterranean French city. The group's music, inspired by the personal stories of its singer, Kurdish Hakan Toprak, speaks of impossible loves, friendship and exile and is wrapped up in an unmistakable groove. The eponymous album is the group's first release, written, composed and produced by the four musicians and it is composed of seven groove-infused tracks that will please all global music lovers. Biensüre was born in the setting of Marseille: Inspired by the diverse influences of the city and moved by an urge to experiment, the four band members, Milan Petrucci, Hakan Toprak, Anselme Kavoukdjian, and Benjamin Dauvergne met there and quickly started jamming together. The alchemy was instant and after a handful of sessions, the desire to build from there and start a group was the natural way forward. Their name also came naturally: it is drawn from the French expression "Bien sûr" ("of course") "You worked all day today, aren't you too tired?" -- "Bien sûr" "Are we still meeting up to jam?" -- "Bien sûr" Hakan (vocals, saz) talks in a French that is not completely fluent, having learned the language on the go. Hakan says "bien sur" frequently, as to proclaim his unwavering enthusiasm despite the difficulties of his everyday life. This simple, engaging expression also sums up the creative intention of the group. Biensüre's influences are varied and transcend generations and borders. Ranging from the Anatolian pop scene of the '70s and '80s with key figures like Erkin Koray and Barış Manço to '70s jazz, disco, and early electro, their music is at the intersection of several musical continents. Obviously, Hakan's close connection to traditional Kurdish music is at the heart of the group's music, embraced by all the other members. In addition, Anselme, who is of Armenian origin, brings his own influences to the mix playing such instruments as the saz, an Anatolian lute found in the whole region. Blending these influences to their pulsating disco beats, Biensüre show the breadth of their inspirations and their desire to build bridges between distant cultures.

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2023 repress; Wewantsounds present a first-time vinyl reissue Fairuz's classic album Kifak Inta produced by her son Ziad Rahbani in the late '80s and only released on cassette and CD in 1991. Composed and arranged by Rahbani, who had already produced Wahdon (1979) and Maarifti Feek (1987), Kifak Inta features his usual blend of jazz, funk, and Arabic music, spiced up with Brazilian influences serving Fairuz's beautiful voice. Fairuz is a living legend and one of the greatest divas of the Arab world. She came to prominence in the '50s crossing path with the Rahbani Brothers (Assi and Mansour) an encounter that turned into a fruitful collaboration that would last until the '70s, spawning countless classics in the process. Fairuz's marriage with Assi produced a son, Ziad, who would start a brilliant career as a cutting-edge playwright, musician, and producer in the early '70s. When Assi Rahbani became ill in the mid-70s and the couple separated, Ziad took over as Fairuz's musical director and started to add elements of jazz, funk, and bossa nova to her music. The collaboration started in 1979 with Wahdon which included the funky cult classic "Al Bosta". They worked together again in 1983-84 on the album Maarifti Feek which was released in 1987 and continued their collaboration with Kifak Inta a few years later. The album was released on the Lebanese label Relax-in in 1991 on cassette and CD only, but, although there are no recording dates listed, the track "Ouverture 87" indicates it was recorded around that year. The album follows the same pattern as previous Ziad Rahbani productions for his mother and mixes traditional Arabic music ("Farewell Song", "It's Not a Problem"), jazz-funk ("Ya Leili Leili Leili"), and bossa nova ("Indi Thika Fik"), all featuring Ziad's superb orchestrations and slick arrangements. The jewel in the crown is the album's title track, "Kifak Inta" (And You, How Are You?), a ballad written and composed by Ziad Rahbani. The song is sung by a woman opening her heart to her childhood sweetheart, now married to another woman, and confessing she still loves him. The subject was controversial and created quite a stir when the song came out in the still conservative Lebanese society of the time. The track "Prova" which closes side one is a fascinating studio rehearsal of "Kifak Inta" featuring both Ziad and Fairuz. Remastered audio by Colorsound Studio in Paris. Includes new liner notes (French/English) by Mario Choueiry (Institut Du Monde Arabe).

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2023 restock; LP version. Wewantsounds announce a special edition of the legendary 1979 Masahiko Togashi album Song of Soil, recorded in Paris with Don Cherry and Charlie Haden and released on Japanese label Paddle Wheel. Supervised by Parisian producer Martin Meissonnier -- then Don Cherry's right-hand man -- Song of Soil reaches heights of spirituality mixing Eastern influences with jazz and deep ambient soundscapes. The album is reissued here with its original artwork and remastered by King Records in Japan. Masahiko Togashi's cult classic, Song of Soil was recorded just a few months after the Codona album release but unlike the landmark ECM album, Song of Soil was only released in Japan at the time. Thanks to Japanese pianist Takashi Kako, who was living in Paris at the time, a session had been set up with Don Cherry and Charlie Haden thanks to Martin Meissonnier, a young journalist and radio producer, who was starting to make an impression on the Paris music scene. Paris at the time was a buzzing city and one of the most active epicenters of jazz creativity. Masahiko Togashi was, at the time, one of Japan's most celebrated jazz musicians. He was a key exponent of the Japanese free jazz movement at the turn of the '60s. Despite an accident that had left him paralyzed from waist down, Togashi became more active than ever thanks to a special drumkit that enabled him to play like before. He came to Paris to record Song of Soil with the two American musicians who were touring Europe with their Old and New Dreams quartet (they'd played a concert promoted by Meissonnier at the Palais des Glaces on the July 31st). Always on the lookout for new inspiring adventures, Cherry agreed to do the session with Togashi and the musicians headed to the Ramses studio to record the album with Haden as the bassist. Comprised of six Togashi originals, Song of Soil is a superb blend of global improvisational interaction featuring Togashi's deep abstract drumming, Don Cherry's imaginary trumpet playing, and Charlie Haden's expansive basslines. Also present during the session was Don Cherry's friend, photographer Philippe Gras who'd shot the cult legendary short film Don Cherry in 1968. Gras shot the session for the album release and artwork. For Meissonnier, it was the beginning of a meteoric rise that would see him shape the global sound of the '80s with Fela Kuti, King Sunny Ade, and Rai musicians. A key album in Don Cherry's discography as well as an essential Japanese jazz album, Song of Soil is a unique meeting of the minds. Includes eight-page color booklet with liner notes by Jacques Denis/Martin Meissonnier and Paul Bowler plus unissued photos by Philippe Gras.

$17.50 IN STOCK

Wewantsounds announce a special edition of the legendary 1979 Masahiko Togashi album Song of Soil, recorded in Paris with Don Cherry and Charlie Haden and released on Japanese label Paddle Wheel. Supervised by Parisian producer Martin Meissonnier -- then Don Cherry's right-hand man -- Song of Soil reaches heights of spirituality mixing Eastern influences with jazz and deep ambient soundscapes. The album is reissued here with its original artwork and remastered by King Records in Japan. Masahiko Togashi's cult classic, Song of Soil was recorded just a few months after the Codona album release but unlike the landmark ECM album, Song of Soil was only released in Japan at the time. Thanks to Japanese pianist Takashi Kako, who was living in Paris at the time, a session had been set up with Don Cherry and Charlie Haden thanks to Martin Meissonnier, a young journalist and radio producer, who was starting to make an impression on the Paris music scene. Paris at the time was a buzzing city and one of the most active epicenters of jazz creativity. Masahiko Togashi was, at the time, one of Japan's most celebrated jazz musicians. He was a key exponent of the Japanese free jazz movement at the turn of the '60s. Despite an accident that had left him paralyzed from waist down, Togashi became more active than ever thanks to a special drumkit that enabled him to play like before. He came to Paris to record Song of Soil with the two American musicians who were touring Europe with their Old and New Dreams quartet (they'd played a concert promoted by Meissonnier at the Palais des Glaces on the July 31st). Always on the lookout for new inspiring adventures, Cherry agreed to do the session with Togashi and the musicians headed to the Ramses studio to record the album with Haden as the bassist. Comprised of six Togashi originals, Song of Soil is a superb blend of global improvisational interaction featuring Togashi's deep abstract drumming, Don Cherry's imaginary trumpet playing, and Charlie Haden's expansive basslines. Also present during the session was Don Cherry's friend, photographer Philippe Gras who'd shot the cult legendary short film Don Cherry in 1968. Gras shot the session for the album release and artwork. For Meissonnier, it was the beginning of a meteoric rise that would see him shape the global sound of the '80s with Fela Kuti, King Sunny Ade, and Rai musicians. A key album in Don Cherry's discography as well as an essential Japanese jazz album, Song of Soil is a unique meeting of the minds. Includes eight-page color booklet with liner notes by Jacques Denis/Martin Meissonnier and Paul Bowler plus unissued photos by Philippe Gras.

$16.00 IN STOCK

Wewantsounds announce the first-ever release of the mesmerizing live performance by Freddie Hubbard and his quintet recorded in Paris at Maison de la Radio (ORTF) on March 25, 1973. Featuring Hubbard with George Cables on Fender Rhodes, Junior Cook on sax/flute, Kent Brinkley on bass, and Michael Carvin on drums, the group interprets four Hubbard classics in deep, spiritual mode. The tapes of the concert were transferred at INA's studios and remastered by Colorsound Studio 1973 was a special year for Freddie Hubbard. He had been one of jazz's brightest young stars for more than a decade and had also recorded as a sideman for such luminaries as John Coltrane, Art Blakey, and Ornette Coleman. After a spell at Blue Note and Atlantic Records, Hubbard signed to CTI records in 1970. Launched by Creed Taylor, CTI was the up-and-coming jazz label at the time, aiming at the pop market with their trademark blend of fusion jazz and highly stylized album covers. There, Hubbard recorded five highly successful studio albums further cementing is reputation as a jazz superstar. In early 1973, after years of working with the cream of the CTI stable of musicians for his albums and concerts, Hubbard decided to put together a new quintet consisting of Junior Cook on sax, Kent Brinkley on bass, plus two young Turks from the thriving post-bop jazz scene: pianist George Cables and drummer Michael Carvin. The quintet, save Carvin, would record Hubbard's Keep Your Soul Together for CTI later that year (his last album for the label) but for the time being, the quintet was busy touring and they all left for Europe to hone their skills as a tight unit. The music they created during that tour, as showcased on this live performance recorded in Paris, is nothing but extraordinary and unlike anything Hubbard had recorded for CTI. The musicians are heard here playing four recent Hubbard classics: "Sky Dive", "The Intrepid Fox", "Povo" and "First Light" in a very different style: the music here is deep and organic, retaining the quintessence of the four beautiful melodies and stretching them in long, spiritual work outs. The concert which was filmed by French TV in beautiful black-and-white by Marc Pavaux and legendary DoP Willy Kurant is a vivid testimony of the musicians' togetherness, caught in full flight on this performance and taking the music to higher grounds. Artwork designed by Raimund Wong. Liner notes by Kevin Le Gendre in conversation with drummer Michael Carvin.

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Wewantsounds present the first retrospective on vinyl of Saravah Records, one of the most influential French labels founded in Paris by singer, songwriter, and producer Pierre Barouh in 1966. Featuring Brigitte Fontaine, Jacques Higelin, Alfred Panou, and many rare tracks reissued on vinyl for the first time, the set gives a glimpse of the free-form, groovy sound of the label between 1965 and 1976. Supervised by Pierre Barouh's son and Saravah historian, Benjamin Barouh. Pierre Barouh became an icon with the Claude Lelouch film Un Homme et Une Femme in 1966 that made him a star. Indeed, in 1965 while in Brazil, on the insistence of Vinicius de Moraes, he recorded French version of "Samba de Bênção" with Baden Powell on a revox, retitled "Samba Saravah" and played it to his friend Lelouch who fell in love with the song and decided to use it in the film. The film and the score became huge hits. Barouh then decided to develop Saravah Publishing into a label and a recording studio with his old friend and associate Fernand Boruso to develop projects in a truly independent and original way. Through their film connections, came Brigitte Fontaine and Jacques Higelin and recorded "Cet Enfant Que Je T'avais Fait" for the 1968 film Les Encerclés. Saravah signed them on the spot and the song, arranged by Jean Claude Vannier, which would become a cult classic and appeared on Fontaine's breakthrough debut LP Brigitte Fontaine Est... Folle (1968). Fontaine would go on to record several albums for Saravah -- often with her partner Areski Belkacem -- including Comme A La Radio in 1969 with Art Ensemble of Chicago. The latter are also featured on "Mystifying Mama" by Marva Broome and "Je Suis Un Sauvage" by Alfred Panou, an African actor and singer who'd worked with Jean-Luc Godard. Pierre Barouh pioneered music from Africa and Latin America as he'd spent time in Brazil (in 1969 he directed Saravah a documentary about the Rio music scene). He released two albums by Gabonese artist Pierre Akendengue, whose "Orema Ka-ka-ka" from the 1976 album Africa Obota is featured here. Through Boruso, Saravah also released a handful of jazz albums including the Pianos Puzzle series from which come Rene Urtreger's "Tchac Poum Poum", Georges Arvanitas's "Trane's Call", and Maurice Vander's "Sicilienne". The label also ventured in fascinating recordings mixing jazz, experimental music, and pop by Baroque Jazz Trio, Michel Roques, or Cohelmec Ensemble. The set also features rare singles by Beartrice Arnac (then Boruso's girlfriend) with the jazzy "Le Bruit et le Bruit" and Jacques Higelin's "Je Jouais le Piano", one of the first songs recorded for the label and which has never been reissued since. The set ends with a haunting duet between Pierre Barouh and Baden Powell, recorded in 1965 during the same Rio session as Samba Saravah. Also features E.D.F.. Includes liner notes (English/French) by Benjamin plus an exclusive interview of Barouh's partner Fernand Boruso by Jacques Denis.