WEWANTSOUNDS - Forced Exposure

$31.00 PREORDER RELEASE DATE: 6/7/2019

LP version. Obi strip; Includes insert. Wewantsounds present a reissue of Akiko Yano's Iroha Ni Konpeitou, originally released in 1977. Another superb Akiko Yano album and one of her funkiest, highlighting her singing and songwriting talents. Iroha Ni Konpeitou is perhaps Akiko Yano's best-known album in the Western world not just because of its striking front cover -- a shot by famed photographer Bishin Jumonji featuring Akiko holding an inflatable dolphin. A slick mix of Japanese pop and New York funk, the album was recorded in Tokyo except for the title track which was recorded in NYC with an all-star line-up consisting of Rick Marotta, David Spinozza, Will Lee, and Nicky Marrero. For the rest of the album, Akiko is accompanied by some of the best musicians from the Tokyo music scene gravitating around the groups Happy End and Tin Pan Alley: the ubiquitous Haruomi Hosono on bass, Tatsuo Hayashi on drums, Shigeru Suzuki on guitar, to name just a few. Interestingly, two Hosono compositions are featured on the album: "Ai Ai Gasa" which he recorded on his 1973 landmark debut Hosono House and "Hourou" originally recorded in '75 by singer and musician Chu Kosaka, on the eponymous album Horo. Last but not least, Hideki Matsutake is handling the keyboard programming duties on the album as Yano is playing a wide array of keyboards: Moog IIIc, Mini Moog, String Ensemble, on top of the Fender Rhodes, Clavinet, and Yamaha CP7C. Matsutake would soon become programmer in chief for Yellow Magic Orchestra, touring and playing with them around the world (like Yano herself). Although the album feels very accessible and funky, there are complex keyboard layers underneath as on the first short introduction "KAWAJI", a short electro fantasy, or on such tracks as "Ai Ai Gasa" and "Kino Wa Mou" on which Akiko is playing bass with her Moog, making the album a richly textured and inventive one once you scratch its surface. The tracks on the album flow effortlessly also highlighting Akiko Yano's superb songwriting and knack for creating fascinating pop song. "Iroha Ni Konpeitou" sounds as fresh and beautiful as when it first came out more than forty years ago and will please the growing circle of Akiko Yano fans around the world as a welcome addition to her brilliant discography. Remastered sound. First release outside of Japan.

$18.00 PREORDER RELEASE DATE: 6/7/2019

Wewantsounds present a reissue of Akiko Yano's Iroha Ni Konpeitou, originally released in 1977. Another superb Akiko Yano album and one of her funkiest, highlighting her singing and songwriting talents. Iroha Ni Konpeitou is perhaps Akiko Yano's best-known album in the Western world not just because of its striking front cover -- a shot by famed photographer Bishin Jumonji featuring Akiko holding an inflatable dolphin. A slick mix of Japanese pop and New York funk, the album was recorded in Tokyo except for the title track which was recorded in NYC with an all-star line-up consisting of Rick Marotta, David Spinozza, Will Lee, and Nicky Marrero. For the rest of the album, Akiko is accompanied by some of the best musicians from the Tokyo music scene gravitating around the groups Happy End and Tin Pan Alley: the ubiquitous Haruomi Hosono on bass, Tatsuo Hayashi on drums, Shigeru Suzuki on guitar, to name just a few. Interestingly, two Hosono compositions are featured on the album: "Ai Ai Gasa" which he recorded on his 1973 landmark debut Hosono House and "Hourou" originally recorded in '75 by singer and musician Chu Kosaka, on the eponymous album Horo. Last but not least, Hideki Matsutake is handling the keyboard programming duties on the album as Yano is playing a wide array of keyboards: Moog IIIc, Mini Moog, String Ensemble, on top of the Fender Rhodes, Clavinet, and Yamaha CP7C. Matsutake would soon become programmer in chief for Yellow Magic Orchestra, touring and playing with them around the world (like Yano herself). Although the album feels very accessible and funky, there are complex keyboard layers underneath as on the first short introduction "KAWAJI", a short electro fantasy, or on such tracks as "Ai Ai Gasa" and "Kino Wa Mou" on which Akiko is playing bass with her Moog, making the album a richly textured and inventive one once you scratch its surface. The tracks on the album flow effortlessly also highlighting Akiko Yano's superb songwriting and knack for creating fascinating pop song. "Iroha Ni Konpeitou" sounds as fresh and beautiful as when it first came out more than forty years ago and will please the growing circle of Akiko Yano fans around the world as a welcome addition to her brilliant discography. Remastered sound. First release outside of Japan.

$27.50 IN STOCK

RSD 2019 release. Wewantsounds is delighted to announce the first-ever official vinyl reissue of Ziad Rahbani's mythical Lebanese Disco 12" Abu Ali, originally issued in Lebanon in 1978 on his label Zida Records. A highly collectible album, it will get reissued by Wewantsounds with its original artwork, remastered by Colorsound Studio in Paris. Ziad Rahbani is a cultural icon in Lebanon. The musician, pianist, and producer is also a renowned playwright and a political activist, one of the most important exponent of the Lebanese left-wing counterculture to emerge from the '70s. Coming out of an illustrious artistic dynasty (his father is the famous composer and musician Assi Rahbani, member of group The Rahbani Brothers and his mother is the legendary Middle East Diva, Fairuz), Ziad Rahbani started his music career during his late teens, composing music for his mother. Rahbani quickly spread his wings further. He started producing his own music co-founding the label Zida in 1978 at age 22 in the process and started releasing records under his own name. Among these was Abu Ali recorded in Greece at the EMI Studios in Athens with a full orchestra -- there he also recorded his mother's album Wahdon (1979) -- and released it as a limited run EP for the Lebanese market. Legend has it that the album was only pressed at 500 unit hence its rarity. The result is a fabulous New York-meets-Beirut disco ecstasy, developing over two 13-minute tracks and one of the most collectible albums on the international dance and disco scene.

$31.00 IN STOCK

LP version. Tip-on sleeve; includes download card and original four-page insert with lyrics and line-up. Wewantsounds continues their Akiko Yano reissue program with the release of Japanese Girl, her landmark debut album from 1976. Backed by Little Feat with Lowell George and by top Japanese musicians (including Haruomi Hosono), Japanese Girl is one of the most important Japanese albums of the '70s, mixing pop, rock, and Japanese folk together with Little Feat's superb classic sound. After a marriage with musician/producer Makoto Yano and the birth of her son (Fuuta), Yano and her team resumed the recording of the album and decided to pitch Little Feat for a collaboration as she loved the group. Against all odds they said yes and Yano left Tokyo for Los Angeles in March 1976 to record a full side with them. The legend has it they found it so difficult to keep up with Yano's compositions they returned some of their fee. The session was nevertheless stunning and Lowell George even compared Yano to Stevie Wonder. The Little Feat blend of New Orleans groove matched Yano's melodies perfectly, as witnessed on "Funamachi-Uta Part ". Originally a traditional song from The Nebuta Festival in her hometown of Aomori, the Little Feat version is a formidable slow-funk workout not dissimilar to their classic, "Spanish Moon", serving Yano's beautiful vocals and sense of groove to perfection. The whole side is a match made in heaven, showcasing the classic Little Feat line up at their funkiest with Yano's unique Japanese twist. The Japanese side on the album gives a great snapshot of the Tokyo music scene of the '70s with many musicians gravitating around Haruomi Hosono and also several musicians from Japanese band, The Moonriders. Recorded at the legendary Onkyo Haus studio in Tokyo, the sessions mix singer-songwriter sensitivity and pop with traditional Japanese sounds and instruments like the shinobue transverse flute, the koto string instrument, or the Tsuzumi hand drum as played on "Hekoriputaa" by the legendary percussionist Kisaku Katada who was appointed Living National Treasure by the Japanese state in 1999; together they create a beautiful east-meets-west mix masterfully driven by Yano's creativity and unique talent. First international release. Remastered sound.

$18.00 IN STOCK

Wewantsounds continues their Akiko Yano reissue program with the release of Japanese Girl, her landmark debut album from 1976. Backed by Little Feat with Lowell George and by top Japanese musicians (including Haruomi Hosono), Japanese Girl is one of the most important Japanese albums of the '70s, mixing pop, rock, and Japanese folk together with Little Feat's superb classic sound. After a marriage with musician/producer Makoto Yano and the birth of her son (Fuuta), Yano and her team resumed the recording of the album and decided to pitch Little Feat for a collaboration as she loved the group. Against all odds they said yes and Yano left Tokyo for Los Angeles in March 1976 to record a full side with them. The legend has it they found it so difficult to keep up with Yano's compositions they returned some of their fee. The session was nevertheless stunning and Lowell George even compared Yano to Stevie Wonder. The Little Feat blend of New Orleans groove matched Yano's melodies perfectly, as witnessed on "Funamachi-Uta Part ". Originally a traditional song from The Nebuta Festival in her hometown of Aomori, the Little Feat version is a formidable slow-funk workout not dissimilar to their classic, "Spanish Moon", serving Yano's beautiful vocals and sense of groove to perfection. The whole side is a match made in heaven, showcasing the classic Little Feat line up at their funkiest with Yano's unique Japanese twist. The Japanese side on the album gives a great snapshot of the Tokyo music scene of the '70s with many musicians gravitating around Haruomi Hosono and also several musicians from Japanese band, The Moonriders. Recorded at the legendary Onkyo Haus studio in Tokyo, the sessions mix singer-songwriter sensitivity and pop with traditional Japanese sounds and instruments like the shinobue transverse flute, the koto string instrument, or the Tsuzumi hand drum as played on "Hekoriputaa" by the legendary percussionist Kisaku Katada who was appointed Living National Treasure by the Japanese state in 1999; together they create a beautiful east-meets-west mix masterfully driven by Yano's creativity and unique talent. First international release. Remastered sound.

$18.00 IN STOCK

Wewantsounds present a reissue of Jaye P. Morgan's 1976 ultra-rare private press, featuring the cream of the LA jazz and funk scene -- and one of David Foster's first productions -- is reissued on vinyl and CD. This lost classic recorded in LA at the legendary Sound City Studios is also the first full-blown production by David Foster two years before he co-produced Earth Wind & Fire's album I Am (1979) and went on to become one of the hottest producers on the scene. Featuring an extraordinary lineup of the best LA musicians including Harvey Mason, Ed Greene, Jay Graydon, Ray Parker Jr. Tower of Power, Ernie Watts, and many more, it's probably one of the most expensive private press ever produced and a delight of sophisticated Los Angeles funk featuring Jaye's superb soulful vocals. "This album is one of the first David ever produced and I know he was going all the way to the top" stated Jaye P. Morgan in an interview when asked about David Foster before adding: "I tried to make a soulful album and I loved David's work. We used the best musicians in the world." And they certainly did making this album one of the most expensive private presses in the world! This album was a bold move for the singer who had made her mark in the '50s and '60s as a singer and actress. Hiring Foster was a masterstroke as he hadn't yet produced any noticeable hit, but together they gathered the most impressive crew of musicians you could think of including two of Foster's closest associates, guitarist Jay Graydon and singer/arranger Bill Champlin (of Sons of Champlin's fame) and created the perfect white soul album with a breezy California feel. Featuring masterful renditions of such iconic songs as Stevie Wonder's songs as "Seems So Long" and Earth, Wind & Fire's "Can't Hide Love" (Foster, Champlin, and Graydon would soon pen "After The Love Has Gone" which would become a mega hit for Earth Wind & Fire two years later), together with a handpicked selection of originals, the sound alternates between up-tempo funk and soulful mid-tempo ballads, all served by Morgan's superb vocals. The missing link between Steely Dan and Earth, Wind & Fire, Jaye P. Morgan is pure, undiluted funk music and an essential LA classic.

$31.00 IN STOCK

LP version. Includes original four-page insert full of session photos and credits. Wewantsounds present a reissue of Jaye P. Morgan's 1976 ultra-rare private press, featuring the cream of the LA jazz and funk scene -- and one of David Foster's first productions -- is reissued on vinyl and CD. This lost classic recorded in LA at the legendary Sound City Studios is also the first full-blown production by David Foster two years before he co-produced Earth Wind & Fire's album I Am (1979) and went on to become one of the hottest producers on the scene. Featuring an extraordinary lineup of the best LA musicians including Harvey Mason, Ed Greene, Jay Graydon, Ray Parker Jr. Tower of Power, Ernie Watts, and many more, it's probably one of the most expensive private press ever produced and a delight of sophisticated Los Angeles funk featuring Jaye's superb soulful vocals. "This album is one of the first David ever produced and I know he was going all the way to the top" stated Jaye P. Morgan in an interview when asked about David Foster before adding: "I tried to make a soulful album and I loved David's work. We used the best musicians in the world." And they certainly did making this album one of the most expensive private presses in the world! This album was a bold move for the singer who had made her mark in the '50s and '60s as a singer and actress. Hiring Foster was a masterstroke as he hadn't yet produced any noticeable hit, but together they gathered the most impressive crew of musicians you could think of including two of Foster's closest associates, guitarist Jay Graydon and singer/arranger Bill Champlin (of Sons of Champlin's fame) and created the perfect white soul album with a breezy California feel. Featuring masterful renditions of such iconic songs as Stevie Wonder's songs as "Seems So Long" and Earth, Wind & Fire's "Can't Hide Love" (Foster, Champlin, and Graydon would soon pen "After The Love Has Gone" which would become a mega hit for Earth Wind & Fire two years later), together with a handpicked selection of originals, the sound alternates between up-tempo funk and soulful mid-tempo ballads, all served by Morgan's superb vocals. The missing link between Steely Dan and Earth, Wind & Fire, Jaye P. Morgan is pure, undiluted funk music and an essential LA classic.

$31.00 NOT IN STOCK

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.

$18.00 IN STOCK

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.

$31.00 LOW STOCK LEVEL

2019 repress. Wewantsounds present the first ever reissue Jack Wilkins's highly sought-after Mainstream Records album Windows, originally released in 1973. Produced by Bob Shad, the album, which is on many want-lists, is especially cult for his rendition of Freddie Hubbard's classic "Red Clay", notably sampled by A Tribe Called Quest (on "Sucka Nigga") and Chance The Rapper. Recorded in 1973 at New York's Record Plant, this superb session sees guitarist Jack Wilkins in a trio setting accompanied by Mike Moore on bass and young seasoned west coast drummer Bill Goodwin (Gabor Szabo, Gary Burton, Paul Horn, Tom Waits). Together, the trio plays mix of classics including John Coltrane's "Naima", Wayne Shorter's "Pinocchio", and Chick Corea's "Windows", showcasing their instant rapport. Jack Wilkins is an underrated guitarist; he's accompanied such stars as Stanley Turrentine, Ray Charles, Sarah Vaughan, and Sammy Davis Jr. but he has remained more of a musician's musician. Windows has reached cult status for the fact that its slow funk version of Freddie Hubbard's "Red Clay" has been sampled by A Tribe Called Quest for "Sucka Nigga" from their masterpiece Midnight Marauders (1993). ATCQ's jazz samples have always garnered a huge amount of attention from DJs and hip-hop fans and this one has had an instant effect on Windows's popularity, making it one of the most sought-after albums released on Mainstream. Chance the Rapper has also sampled "Red Clay", in the song "Nana" which featured on his second mixtape, Acid Rap (2013). This reissue is thus a great opportunity to (re)discover a great guitarist. Comes in gatefold sleeve featuring never-seen session photos and new liner notes by leading UK journalist, Kevin Le Gendre (Jazzwise, Echoes, BBC's Jazz Line Up).

$31.00 IN STOCK

LP version. Wewantsounds present a reissue of Serge Gainsbourg's cult score for the 1968 French film Le Pacha. These tracks were composed by Serge Gainsbourg at the height of his '60s cool when he was briefly going out with Brigitte Bardot and the couple was on the verge of recording the infamous first version of "Je T'aime... Moi Non Plus" (1969). All the tracks here are arranged by famed arranger Michel Colombier, who had been responsible for some of Gainsbourg's best songs ("Bonnie & Clyde" and "Harley Davidson") and had also arranged Pierre Henry's classic Psyche-Rock around the same time -- note the similarity between Psyche-Rock and "Un Noel 67" from this set. Many of these nuggets blend '60s pop and psychedelia -- pure undiluted Gainsbourg with his classic psyche-pop sound of the late '60s. The original soundtrack features his classic "Requiem Pour Un Con" together with a previously unreleased instrumental mix, along with two bonus tracks from William Klein's 1968 film Mister Freedom. Digitally remastered from the original tapes, this is the first time the full soundtrack is released on vinyl in its entirety. Includes two bonus tracks. Includes liner notes featuring interview by cult French bass player Francis Darizcuren. Artwork by famed poster designer Maxime Pecourt.

$18.00 IN STOCK

Wewantsounds present a reissue of Serge Gainsbourg's cult score for the 1968 French film Le Pacha. These tracks were composed by Serge Gainsbourg at the height of his '60s cool when he was briefly going out with Brigitte Bardot and the couple was on the verge of recording the infamous first version of "Je T'aime... Moi Non Plus" (1969). All the tracks here are arranged by famed arranger Michel Colombier, who had been responsible for some of Gainsbourg's best songs ("Bonnie & Clyde" and "Harley Davidson") and had also arranged Pierre Henry's classic Psyche-Rock around the same time -- note the similarity between Psyche-Rock and "Un Noel 67" from this set. Many of these nuggets blend '60s pop and psychedelia -- pure undiluted Gainsbourg with his classic psyche-pop sound of the late '60s. The original soundtrack features his classic "Requiem Pour Un Con" together with a previously unreleased instrumental mix, along with two bonus tracks from William Klein's 1968 film Mister Freedom. Digitally remastered from the original tapes, this is the first time the full soundtrack is released on vinyl in its entirety. Includes two bonus tracks. Includes liner notes featuring interview by cult French bass player Francis Darizcuren. Artwork by famed poster designer Maxime Pecourt.

$34.50 IN STOCK

Repressed; Double LP version. Gatefold sleeve; Features a new essay by French journalist Jacques Denis (Liberation). Don Cherry's downtown Paris funk masterwork Home Boy, Sister Out, produced in 1985 by Ramuntcho Matta and originally released by Barclay in France only, finally gets a worldwide release on Wewantsounds. Featuring French post-punk muse Elli Medeiros, avant-garde poet Brion Gysin, and cult Senegalese drummer Abdoulaye Prosper Niang (Xalam), this is a unique soundbite of Paris in the early '80s at its coolest when funk, jazz, and new wave were mingling with sounds from Africa, Jamaica, and Latin America. Recorded at the legendary Studio Caroline in Paris, a hotbed for the African diaspora in Paris the '80s, and produced by cult French-Chilean musician and producer Ramuntcho Matta (his father is painter Roberto Matta and half-brother is cult New York artist Gordon Matta-Clark), Home Boy, Sister Out is one of Don Cherry's funkiest albums. Coming back from New York where Matta had immersed himself in the downtown scene working with the likes of Peter Gordon, Arto Lindsay, The Talking Heads, Meredith Monk, and Laurie Anderson, he crossed path with the American trumpet player in Paris by chance. It was love at first sight and together they had the idea of an album where Cherry would not only play but also sing. Accompanied by a first class cast of musicians from the Paris scene, they recorded Home Boy, Sister Out in Spring 1985. Very little known outside of France, where it has achieved cult status in some circles, the album embodies the spirit of the "Sono Mondiale", the multi-ethnic sound of '80s Paris, pioneered by Radio Nova and Celluloid Records. Featuring legendary Senegalese drummer, Abdoulaye Prosper Niang (Xalam), Negrito Trasante, Elli Medeiros, Jannick Top, and Don Cherry on various instruments plus vocals, the album is a fascinating mix of Downtown New York funk, jazz, new wave, reggae, and African music. The release also includes a handful of bonus tracks taken from Ramuntcho Matta's vaults including the cult 1983 single "Kick" featuring legendary multi-artist Brion Gysin who's influenced such artists as David Bowie, Keith Haring, John Zorn, Brian Jones, Genesis P-Orridge, among others. A fascinating album. Newly remastered. Includes five bonus tracks.

$18.00 NOT IN STOCK

Don Cherry's downtown Paris funk masterwork Home Boy, Sister Out, produced in 1985 by Ramuntcho Matta and originally released by Barclay in France only, finally gets a worldwide release on Wewantsounds. Featuring French post-punk muse Elli Medeiros, avant-garde poet Brion Gysin, and cult Senegalese drummer Abdoulaye Prosper Niang (Xalam), this is a unique soundbite of Paris in the early '80s at its coolest when funk, jazz, and new wave were mingling with sounds from Africa, Jamaica, and Latin America. Recorded at the legendary Studio Caroline in Paris, a hotbed for the African diaspora in Paris the '80s, and produced by cult French-Chilean musician and producer Ramuntcho Matta (his father is painter Roberto Matta and half-brother is cult New York artist Gordon Matta-Clark), Home Boy, Sister Out is one of Don Cherry's funkiest albums. Coming back from New York where Matta had immersed himself in the downtown scene working with the likes of Peter Gordon, Arto Lindsay, The Talking Heads, Meredith Monk, and Laurie Anderson, he crossed path with the American trumpet player in Paris by chance. It was love at first sight and together they had the idea of an album where Cherry would not only play but also sing. Accompanied by a first class cast of musicians from the Paris scene, they recorded Home Boy, Sister Out in Spring 1985. Very little known outside of France, where it has achieved cult status in some circles, the album embodies the spirit of the "Sono Mondiale", the multi-ethnic sound of '80s Paris, pioneered by Radio Nova and Celluloid Records. Featuring legendary Senegalese drummer, Abdoulaye Prosper Niang (Xalam), Negrito Trasante, Elli Medeiros, Jannick Top, and Don Cherry on various instruments plus vocals, the album is a fascinating mix of Downtown New York funk, jazz, new wave, reggae, and African music. The release also includes a handful of bonus tracks taken from Ramuntcho Matta's vaults including the cult 1983 single "Kick" featuring legendary multi-artist Brion Gysin who's influenced such artists as David Bowie, Keith Haring, John Zorn, Brian Jones, Genesis P-Orridge, among others. A fascinating album. Newly remastered. Includes five bonus tracks. Double LP version comes in a gatefold sleeve and features a new essay by French journalist Jacques Denis (Liberation).

$31.00 IN STOCK

OFFICIAL RSD 2018 release. Wewantsounds present the first ever vinyl release of Dave Grusin's cult funky original soundtrack for Peter Yates's superb crime film from 1973, The Friends Of Eddie Coyle. The music composed here is both funky and jazzy and on a par with Quincy Jones and Lalo Schifrin's best soundtracks of the early '70s. Peter Yates, who had directed Bullitt (1968), knew who to go for when it came to outstanding musicians, and Grusin was certainly one of the best young composers in Hollywood at the time. Grusin would sign another more famous score in 1975 with 3 Days Of The Condor, but the Eddie Coyle soundtrack recorded two years before is even more stunning. It plays like a hypnotic slow-burning suite and is performed by the cream of the LA jazz scene, including John Guerin, Chuck Rainey, Tom Scott, Bud Shank, and percussionist Emil Richards. Amazingly, the score never got released on vinyl when the film first came out in 1973, making this the soundtrack's first edition. Remastered from the original tapes, it includes one bonus alternate take. Includes a new essay by leading UK writer and musician David Toop. Housed in a beautiful gatefold sleeve, the release features a stunning cover by highly sought-after Alternative Movie Poster illustrator Oliver Barrett.

From David Toop's liner notes: "The Friends Of Eddie Coyle may not be Grusin's best known or most celebrated score but, like both book and film, it's a quiet classic." --David Toop

$18.00 IN STOCK

Wewantsounds present a reissue and the first international release of Hiroshi Sato's ultra-rare synth masterpiece, Orient, originally released in 1979 on Kitty Records in Japan only. This highly sought-after album is a superb breezy mix of Japanese synth-pop with a subtle touch of mid-70s Herbie Hancock-style funk and AOR. Originally released in 1979, at a fruitful time when Hiroshi Sato, Haruomi Hosono, and Shigeru Suzuki were fresh from playing in the group Tin Pan Alley and Haruomi Hosono had just formed Yellow Magic Orchestra, Orient is a unique balance of various styles. It has become one of the most sought-after Japanese LPs on the global Balearic scene and is now exchanging hands for astronomical prices. The album includes such cult tracks as "Son Go Kuw" and "Do-Jo" popular on the international DJ scene. It features the best Japanese musicians at the time, including Shigeru Suzuki on guitar, Haruomi Hosono on bass, Pecker on percussion, and Sato himself on keyboards and synthesizers. The album also features on Gilles Peterson's "Significant Album" List. Fully remastered from the original Kitty Records tapes by Universal Japan. Includes original four-page color insert, including English translations of the original liner notes by leading Japanese journalist Yasufumi Amatatsu, plus the full track-by-track musician line up. "Breezy Balearic synth pop with a Nippon twist" --The Vinyl Factory.

$31.00 LOW STOCK LEVEL

2019 repress. LP version. Wewantsounds present a reissue and the first international release of Hiroshi Sato's ultra-rare synth masterpiece, Orient, originally released in 1979 on Kitty Records in Japan only. This highly sought-after album is a superb breezy mix of Japanese synth-pop with a subtle touch of mid-70s Herbie Hancock-style funk and AOR. Originally released in 1979, at a fruitful time when Hiroshi Sato, Haruomi Hosono, and Shigeru Suzuki were fresh from playing in the group Tin Pan Alley and Haruomi Hosono had just formed Yellow Magic Orchestra, Orient is a unique balance of various styles. It has become one of the most sought-after Japanese LPs on the global Balearic scene and is now exchanging hands for astronomical prices. The album includes such cult tracks as "Son Go Kuw" and "Do-Jo" popular on the international DJ scene. It features the best Japanese musicians at the time, including Shigeru Suzuki on guitar, Haruomi Hosono on bass, Pecker on percussion, and Sato himself on keyboards and synthesizers. The album also features on Gilles Peterson's "Significant Album" List. Fully remastered from the original Kitty Records tapes by Universal Japan. Includes original four-page color insert, including English translations of the original liner notes by leading Japanese journalist Yasufumi Amatatsu, plus the full track-by-track musician line up. "Breezy Balearic synth pop with a Nippon twist" --The Vinyl Factory.

$27.50 IN STOCK

LP version. Gatefold sleeve. Wewantsounds present a reissue of Harold Land's A New Shade Of Blue, originally released in 1971. Following the highly-acclaimed release of Feeling Good (WWSCD 005CD/WWSLP 005LP, 2017) and Inner Peace (WWSCD 007CD/ WWSLP 007LP, 2017) compilations, Wewantsounds present the reissue of two superb classic albums as the first releases in their Mainstream Records Original Classics series: A New Shade Of Blue, presented here, and Buddy Terry's 1971 album Awareness (WWSCD 009CD/WWSLP 009LP). Wewantsounds has gone back to the original negative to reconstruct the original artworks and will add many jaw dropping never-seen photo sessions Recorded in 1971, this beautiful Harold Land record produced by Bob Shad, is nothing but a Harold Land-Bobby Hutcherson quintet album in disguise. The quintet recorded a handful of marvelous albums between 1967 and 1971, mainly under the Bobby Hutcherson name on Blue Note, but they recorded one album on Chess and two for Mainstream Records. A New Shade Of Blue, recorded in Los Angeles where the quintet was based, is one of their best albums and has never been reissued outside of Japan. Featuring a superb line up comprising Buster Williams on bass and Billy Hart on drums -- the rhythm section of Herbie Hancock's Mwandishi (1971) sextet -- the session is augmented by Bill Henderson on piano and Fender Rhodes and Mtume on percussion. Together they create a superb soundscape featuring the quintet's trademark sound, both spiritual and serene, with Land's unmistakable sax playing and Bobby Hutcherson's modal touch. The highlight of the album is the long hypnotic track "Mtume", a deep, slow burner displaying the group's fantastic interplay. Includes unissued session photos taken by LA photographer Dick Sanders and new liner notes by radio DJ and renowned record digger, Sam Barbatano (Sunday Jazz, KTRU Houston). CD version includes a bonus track, a beautiful eight-minute outtake "Dark Mood" briefly issued in 1974 on a Mainstream compilation.

$18.00 IN STOCK

Wewantsounds present a reissue of Harold Land's A New Shade Of Blue, originally released in 1971. Following the highly-acclaimed release of Feeling Good (WWSCD 005CD/WWSLP 005LP, 2017) and Inner Peace (WWSCD 007CD/ WWSLP 007LP, 2017) compilations, Wewantsounds present the reissue of two superb classic albums as the first releases in their Mainstream Records Original Classics series: A New Shade Of Blue, presented here, and Buddy Terry's 1971 album Awareness (WWSCD 009CD/WWSLP 009LP). Wewantsounds has gone back to the original negative to reconstruct the original artworks and will add many jaw dropping never-seen photo sessions Recorded in 1971, this beautiful Harold Land record produced by Bob Shad, is nothing but a Harold Land-Bobby Hutcherson quintet album in disguise. The quintet recorded a handful of marvelous albums between 1967 and 1971, mainly under the Bobby Hutcherson name on Blue Note, but they recorded one album on Chess and two for Mainstream Records. A New Shade Of Blue, recorded in Los Angeles where the quintet was based, is one of their best albums and has never been reissued outside of Japan. Featuring a superb line up comprising Buster Williams on bass and Billy Hart on drums -- the rhythm section of Herbie Hancock's Mwandishi (1971) sextet -- the session is augmented by Bill Henderson on piano and Fender Rhodes and Mtume on percussion. Together they create a superb soundscape featuring the quintet's trademark sound, both spiritual and serene, with Land's unmistakable sax playing and Bobby Hutcherson's modal touch. The highlight of the album is the long hypnotic track "Mtume", a deep, slow burner displaying the group's fantastic interplay. Includes unissued session photos taken by LA photographer Dick Sanders and new liner notes by radio DJ and renowned record digger, Sam Barbatano (Sunday Jazz, KTRU Houston). CD version includes a bonus track, a beautiful eight-minute outtake "Dark Mood" briefly issued in 1974 on a Mainstream compilation.

$27.50 IN STOCK

LP version. Gatefold sleeve. Wewantsounds present a reissue of Buddy Terry's Awareness, originally released in 1971. Following the highly-acclaimed release of Feeling Good (WWSCD 005CD/WWSLP 005LP, 2017) and Inner Peace (WWSCD 007CD/ WWSLP 007LP, 2017) compilations, Wewantsounds present the reissue of two superb classic albums as the first releases in their Mainstream Records Original Classics series: Awareness, presented here, and Harold Land's 1971 album A New Shade Of Blue (WWSCD 008CD/WWSLP 008LP). Awareness was Buddy Terry's first album for Mainstream Records, one of the three he recorded for Bob Shad's label. This is pure, undiluted spiritual jazz that is both deep and funky. Prior to the release of Awareness, Terry had recorded a couple of soul jazz albums for Prestige Record, Electric Soul in 1967 and Natural Soul in 1968. Terry then went under-the-radar until the recording of Awareness, an undisputed buried treasure. 1971 saw him picked up by the ever active Bob Shad who had just decided to produce a new crop of young jazzmen in tune with the sonic revolution of the time, think John Coltrane's Eastern influences and Miles Davis's experiments that took from the music Jimi Hendrix and Sly Stone. Awareness is a pure result of this incredible blend of influences, which saw labels like Black Jazz or Strata East transform jazz into a hip and cool genre adorned by the Woodstock generation. Featuring a glittering line-up composed of Strata East co-founder Stanley Cowell on piano and Rhodes, Cecil Bridgewater on trumpet, Buster Williams and Victor Gaskin on bass, Roland Prince on guitar, Mickey Roker on drums, and a young Mtume on percussion. Together they play a superb mix of deep and funky jazz in the best tradition of the genre. Both hypnotic ("Kamili") and funky (check Cowell's signature tune "Abscretions"), Awareness is a pure delight graced by Shad's tight production values. It will ravish all lovers of early '70s spiritual jazz. Buddy Terry recorded another two great albums for Mainstream Records and played on Art Blakey's superb Child's Dance (1972), gracing the record with his wonderful soprano sax playing. Awareness proves that Buddy Terry is a great player worth (re)discovering. Includes never-before-seen session photos by Raymond Ross and new liner notes by French journalist Jacques Denis (Liberation, Superfly).

$18.00 IN STOCK

Wewantsounds present a reissue of Buddy Terry's Awareness, originally released in 1971. Following the highly-acclaimed release of Feeling Good (WWSCD 005CD/WWSLP 005LP, 2017) and Inner Peace (WWSCD 007CD/ WWSLP 007LP, 2017) compilations, Wewantsounds present the reissue of two superb classic albums as the first releases in their Mainstream Records Original Classics series: Awareness, presented here, and Harold Land's 1971 album A New Shade Of Blue (WWSCD 008CD/WWSLP 008LP). Awareness was Buddy Terry's first album for Mainstream Records, one of the three he recorded for Bob Shad's label. This is pure, undiluted spiritual jazz that is both deep and funky. Prior to the release of Awareness, Terry had recorded a couple of soul jazz albums for Prestige Record, Electric Soul in 1967 and Natural Soul in 1968. Terry then went under-the-radar until the recording of Awareness, an undisputed buried treasure. 1971 saw him picked up by the ever active Bob Shad who had just decided to produce a new crop of young jazzmen in tune with the sonic revolution of the time, think John Coltrane's Eastern influences and Miles Davis's experiments that took from the music Jimi Hendrix and Sly Stone. Awareness is a pure result of this incredible blend of influences, which saw labels like Black Jazz or Strata East transform jazz into a hip and cool genre adorned by the Woodstock generation. Featuring a glittering line-up composed of Strata East co-founder Stanley Cowell on piano and Rhodes, Cecil Bridgewater on trumpet, Buster Williams and Victor Gaskin on bass, Roland Prince on guitar, Mickey Roker on drums, and a young Mtume on percussion. Together they play a superb mix of deep and funky jazz in the best tradition of the genre. Both hypnotic ("Kamili") and funky (check Cowell's signature tune "Abscretions"), Awareness is a pure delight graced by Shad's tight production values. It will ravish all lovers of early '70s spiritual jazz. Buddy Terry recorded another two great albums for Mainstream Records and played on Art Blakey's superb Child's Dance (1972), gracing the record with his wonderful soprano sax playing. Awareness proves that Buddy Terry is a great player worth (re)discovering. Includes never-before-seen session photos by Raymond Ross and new liner notes by French journalist Jacques Denis (Liberation, Superfly). CD version includes two bonus tracks, single versions of "Babylon" and "Stealin' Gold".

$18.00 IN STOCK

Wewantsounds are back with a superb selection of spiritual jazz and funk grooves from legendary producer Bob Shad's Mainstream Records catalogue. Bob Shad was one of the greatest music producers of the 20th century, having worked with all the music giants, from Charlie Parker and Dizzy Gillespie to Sarah Vaughan, Lightnin' Hopkins, The Platters, and Janis Joplin to name just a few. "Bobby Shad was a legend in our family" says his grandson Judd Apatow who, together with his sister Mia, looks after Shad's back catalogue, Mainstream Records. Like his peers, jazz producers Creed Taylor and Bob Thiele, Shad went independent in the '60s, and by the early '70s, he was producing a string of superb albums mixing spiritual jazz with funk and soul. These albums are now being rediscovered by new generation of soul and jazz lovers hooked on the music of Kamasi Washington and Shabaka Hutchings. Recorded between 1971 and '73, the Fender-Rhodes-drenched tracks on Inner Peace showcase Shad's unique deep jazz sound. They feature such revered musicians as Harold Land, Roy Haynes, and Frank Foster, together with a younger generation of talented musicians led by Buddy Terry, Dave Hubbard, and LaMont Johnson. Here they are accompanied by the cream of '70s jazz session musicians including Bernard Purdie, Buster Williams, Eddie Henderson, James Mtume, Stanley Clarke, and Cecil Bridgewater. The Mainstream catalogue has been sampled by a long list of revered DJs and hip hop producers over the years. Roy Haynes's "Senyah" was sampled by De La Soul on "Pony Ride" and Shelly Manne's short outro "Infinity" forms the unmissable backbone of Jeru The Damaja's all-time hip hop classic, "Come Clean". A fitting tribute to the supreme sound of producer Bob Shad. Wewantsounds will start a reissue program of original Mainstream albums with bonus material and rare photos from the vaults. Also features: Charles Williams, Hadley Caliman, Pete Yellin, and Sonny Red.

$18.00 IN STOCK

A superbly crafted Bob Marley set, compiled and annotated by French journalist Vincent Tarrière, chronicles the story behind this legendary article "The Wild Side of Paradise" published by Rolling Stone Magazine in 1973. Features a handpicked selection of Bob Marley's best songs, recorded at his creative peak, during the late '60s and early '70s, when he was working with producers Bunny Lee, Leslie Kong, and Lee Perry. 1973 was a turning point for Jamaican music. Perry Henzell's highly-acclaimed film The Harder They Come had come out the year before and Bob Marley had just signed with Island Records and was about to take the world by storm. In July 1973, Rolling Stone Magazine published "The Wild Side of Paradise", a major story about Jamaica and its vibrant musical scene written by Michael Thomas with striking photos by Arthur Gorson. The pair had travelled to the island to soak up the atmosphere and immerse themselves in the local music scene. There they met a 28 year old Marley who was about to tour Europe. "The Wild Side of Paradise" was a bold move for the magazine. Jamaican music was essentially unknown in the western world up to that point. "Revolution was in the air and, ten years into independence, Jamaica was on fire," remembers Gorson. Through connections with Island Records' Chris Blackwell, Thomas and Gorson managed to spend time with Marley and a series of iconic photos of the artist was taken by Gorson, one of which is on the cover of this album. "Wild Side" was the first major feature focusing on Jamaican music and would help put reggae on the international map. The article was also the seed of Thomas's book Babylon On A Thin Wire in collaboration with Adrian Boot (1976). In 1973, Bob Marley was indeed no newcomer on the Jamaican scene. He'd been active since the early '60s and had recorded some of his most creative output accompanied by his group, The Wailers. The music is fresh and undiluted, catchy and inspired, and shows Marley's genius at crafting beautiful melodies. The set features several of his early classics such as "Duppy Conqueror" and "Caution", as well as lesser-known gems such as "Wisdom" and "Long Long Winter", and songs that would find a second life on his Island albums, such as "Trench Town Rock" or "Concrete Jungle".

$18.00 IN STOCK

From Paris to Melbourne, Berlin or Athens, a new blend of '70s inspired disco sound is currently taking the dancefloors by storm with artists like Monika, L'Impératrice, or Leon X Leon creating a stir on the international scene. Paying their dues to the pure form of disco, these new artists, far from mimicking the clichés, are adding an unmistakable millennium twist to the genre. This is Disco 2.0. It's all down to a few men in New York with a love for Philly Soul and hypnotic grooves. In the early '70s, they defined the club culture from scratch: DJs David Mancuso, Nicky Siano, Larry Levan, and Frankie Knuckles, label bosses Mel Sheren and Neil Bogart, and remixer extraordinaire, Tom Moulton, were instrumental in shaping a new sound that changed music forever and paved the way for house music and its many sub-genres decades later. Today, a new scene is shaping up, updating the classic sound of disco. Young artists like Marvin & Guy in Italy, L'Imperatrice and Leon X Leon in France, or Monika in Athens and the US are producing a fresh blend of disco-inspired music which is neither a copy of the past glory, nor totally in line of the popular nu-disco genre that has flourished primarily in Northern Europe. The Wewantsounds crew has carefully selected here the cream of this new disco wave with the coolest tracks around and added a little nod to the heydays in the form of a rare 1976 instrumental by Sounds Of Inner City from the cult West End Records label and mixed by the legendary Tom Moulton. This tasteful selection will give you a fresh insight into the disco rebirth, pouring into the mix a huge dose of sensuality, rhythms and an irresistible craving for love. That's Disco 2.0! Features: L'Impératrice, Bon Voyage Organisation, Marvin & Guy, Monika, Juan MacLean, Joakim, Todd Terje, No Zu, Sounds Of Inner City, Leon X Leon, Tensnake, Tiger & Woods, Bufiman, and S3A.

$29.00 NOT IN STOCK

Double LP version. Wewantsounds are back with a superb selection of spiritual jazz and funk grooves from legendary producer Bob Shad's Mainstream Records catalogue. Bob Shad was one of the greatest music producers of the 20th century, having worked with all the music giants, from Charlie Parker and Dizzy Gillespie to Sarah Vaughan, Lightnin' Hopkins, The Platters, and Janis Joplin to name just a few. "Bobby Shad was a legend in our family" says his grandson Judd Apatow who, together with his sister Mia, looks after Shad's back catalogue, Mainstream Records. Like his peers, jazz producers Creed Taylor and Bob Thiele, Shad went independent in the '60s, and by the early '70s, he was producing a string of superb albums mixing spiritual jazz with funk and soul. These albums are now being rediscovered by new generation of soul and jazz lovers hooked on the music of Kamasi Washington and Shabaka Hutchings. Recorded between 1971 and '73, the Fender-Rhodes-drenched tracks on Inner Peace showcase Shad's unique deep jazz sound. They feature such revered musicians as Harold Land, Roy Haynes, and Frank Foster, together with a younger generation of talented musicians led by Buddy Terry, Dave Hubbard, and LaMont Johnson. Here they are accompanied by the cream of '70s jazz session musicians including Bernard Purdie, Buster Williams, Eddie Henderson, James Mtume, Stanley Clarke, and Cecil Bridgewater. The Mainstream catalogue has been sampled by a long list of revered DJs and hip hop producers over the years. Roy Haynes's "Senyah" was sampled by De La Soul on "Pony Ride" and Shelly Manne's short outro "Infinity" forms the unmissable backbone of Jeru The Damaja's all-time hip hop classic, "Come Clean". A fitting tribute to the supreme sound of producer Bob Shad. Wewantsounds will start a reissue program of original Mainstream albums with bonus material and rare photos from the vaults. Also features: Charles Williams, Hadley Caliman, Pete Yellin, and Sonny Red.