WEWANTSOUNDS - Forced Exposure

$31.50 PREORDER RELEASE DATE: 5/5/2023

LP version. Wewantsounds announce an extensive reissue program of Meiko Kaji's first five album 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.

$17.50 PREORDER RELEASE DATE: 5/5/2023

Wewantsounds announce an extensive reissue program of Meiko Kaji's first five album 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.

$31.50 IN STOCK

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).

$31.50 IN STOCK

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.

$31.50 LOW STOCK LEVEL

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.

$31.50 LOW STOCK LEVEL

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).

$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.

$17.50 IN STOCK

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.

$36.50 IN STOCK

Double LP version. Gatefold sleeve with insert. 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.

$31.50 LOW STOCK LEVEL

Repressed. Wewantsounds release Sharayet El Disco a selection of Egyptian '80s disco and boogie tracks curated by Egyptian DJ Disco Arabesquo from his vast collection of cassettes. Most tracks have never been released on any other format and are making their vinyl debut with this set. A journey through the funky sound of '80s Egypt, Sharayet El Disco (which can be translated by "Disco Cassettes") features Simone, Ammar El Sherei, and more obscure names from Cairo's cassette culture. Sharayet El Disco is part of an important mission for Moataz Rageb aka Disco Arabesquo. The Amsterdam-based Egyptian DJ has been collecting cassettes from Arab-speaking countries and its diaspora for many years and has amassed a vast collection of Egyptian music concentrating on the '80s, the sound he grew up listening to. His goal has been to search for these rare sounds and make them known to a new vinyl-hungry audience. During this decade, the rich Egyptian music industry, which had seen such stars as Oum Kalthoum, Abdel Halim Hafez, and Warda take the Arab world by storm in the '60s and '70s, was going through a new phase and the cassette format was the cause. This radical change enabled many young musicians and producers to spread their music directly to consumers duplicating cassettes themselves. A new vibrant music scene erupted in Cairo blending their sound with trends coming from the US and Europe including, of course, disco, soul, and funk. The cream from this scene was soon picked up by the most daring labels, including Mohsen Gaber's Alam El Phan, Sout El Hob, and Americana. Sharayet El Disco gives you a glimpse of these great tracks which -- for most of them -- were only ever released on cassette. The set is a unique insight into the diversity of the Egyptian disco sound, from the pulsating disco of "Hezeny" by Hany Shenouda's Al Massrieen band to the boogie of Simone's "Merci", via Firkit El Asdekaa's tongue-in-cheek "Eklib el Sheriet" ("turn the cassette to the other side"), produced by legendary Egyptian musician Ammar El Sherei. The music is both inventive and funky and played with both Western and Arab instruments proving that quality of Egyptian music. Audio remastered for vinyl by David Hachour/Colorsound Studio in Paris. LP artwork by young Egyptian graphic designer Heba Tarek. Includes two-page insert featuring artwork of the original cassettes plus insightful liner notes by Moataz Rageb. Also features Afaf Rady, Dr. Ezat Abou Ouf & el four M, FIrkIt el Ensan, Eman el Bahr Darwish, Firkit Americana Show, and Lebleba.

$29.50 IN STOCK

2022 repress; LP version. Gatefold sleeve with OBI. Wewantsounds present a first time reissue of Sunrise From West Sea, Stomu Yamash'ta's cult LP originally released in 1971. A deep, cosmic, at time ambient performance recorded live and featuring two other Japanese legends: Takehisa Kosugi from the Taj-Mahal Travellers and jazz pianist Masahiko Satoh. The line-up also included Hideakira Sakurai on electric shamisen. Stomu Yamash'ta has been hailed as one of the best percussionists in the world by John Cage. Yamash'ta and Satoh recorded the landmark album Metempsychosis for Nippon Columbia in 1971. 1971 was also the year Yamash'ta released his highly-acclaimed Red Buddha solo album which was released in Europe and in the US. Inspired by the Metempsychosis experience Yamash'ta set to recreate the flowing energy of the album in a live setting with a smaller line-up. Recorded live at Yamaha Hall in Tokyo on April 18, 1971, just a few days after the end of the Red Buddha recording sessions, the all-night concert was recorded in front of an invite-only audience consisting of friends and musicians. Yamash'ta enrolled Satoh on keyboards together Taj Mahal Travellers leader Takehisa Kosugi, whom he'd met through his mentor, Japanese composer Toru Takemitsu. Hideakira Sakurai on electric shamisen was also added the lineup. Edited down to fit two sides of an album that will become Sunrise From West Sea, the performance is both hypnotic and ethereal. It starts with Kosugi's distinctive electric violin and develops into a deep, spiritual free form conversation between the four musicians, giving them all the space they need to freely improvise and interact with each other, mixing electronics, percussion, electric organ, and shamizen without ever clashing. The interaction alternates between quiet, tranquil Eastern meditations and more paced parts, fuelled by Yamash'ta's extraordinary percussion playing. Later known for his involvement in soundtracks for Robert Altman's 1972 film Images -- collaborating with John Williams -- and Nic Roeg's 1976 classic The Man Who Fell To Earth, and also for his foray into fusion with his group Go, Yamash'ta never reached the creativity heard in Sunrise From West Sea again. The album was recorded during one of the most fertile periods in Japan where such groups as Les Rallizes Denudes and Taj Mahal Travellers and jazz musicians like Masahiko Satoh and Yamash'ta were revolutionizing the Japanese music scene. Includes new introduction by Paul Bowler. Remastered from the master tapes.

$17.50 IN STOCK

Wewantsounds present a first time reissue of Sunrise From West Sea, Stomu Yamash'ta's cult LP originally released in 1971. A deep, cosmic, at time ambient performance recorded live and featuring two other Japanese legends: Takehisa Kosugi from the Taj-Mahal Travellers and jazz pianist Masahiko Satoh. The line-up also included Hideakira Sakurai on electric shamisen. Stomu Yamash'ta has been hailed as one of the best percussionists in the world by John Cage. Yamash'ta and Satoh recorded the landmark album Metempsychosis for Nippon Columbia in 1971. 1971 was also the year Yamash'ta released his highly-acclaimed Red Buddha solo album which was released in Europe and in the US. Inspired by the Metempsychosis experience Yamash'ta set to recreate the flowing energy of the album in a live setting with a smaller line-up. Recorded live at Yamaha Hall in Tokyo on April 18, 1971, just a few days after the end of the Red Buddha recording sessions, the all-night concert was recorded in front of an invite-only audience consisting of friends and musicians. Yamash'ta enrolled Satoh on keyboards together Taj Mahal Travellers leader Takehisa Kosugi, whom he'd met through his mentor, Japanese composer Toru Takemitsu. Hideakira Sakurai on electric shamisen was also added the lineup. Edited down to fit two sides of an album that will become Sunrise From West Sea, the performance is both hypnotic and ethereal. It starts with Kosugi's distinctive electric violin and develops into a deep, spiritual free form conversation between the four musicians, giving them all the space they need to freely improvise and interact with each other, mixing electronics, percussion, electric organ, and shamizen without ever clashing. The interaction alternates between quiet, tranquil Eastern meditations and more paced parts, fuelled by Yamash'ta's extraordinary percussion playing. Later known for his involvement in soundtracks for Robert Altman's 1972 film Images -- collaborating with John Williams -- and Nic Roeg's 1976 classic The Man Who Fell To Earth, and also for his foray into fusion with his group Go, Yamash'ta never reached the creativity heard in Sunrise From West Sea again. The album was recorded during one of the most fertile periods in Japan where such groups as Les Rallizes Denudes and Taj Mahal Travellers and jazz musicians like Masahiko Satoh and Yamash'ta were revolutionizing the Japanese music scene. Includes new introduction by Paul Bowler. Remastered from the master tapes.

$29.50 NOT IN STOCK

2022 repress. Wewantsounds present the first ever vinyl release of Ziad Rahbani's Houdou Nisbi recorded in 1985 and only released on cassette and CD in 1991. One of Rahbani's most praised albums, released on the sought-after Lebanese label Relax-in. Mixing Arabic music with funk, jazz, boogie and a touch of Brazilian music, it is considered a classic among Oriental groove fans, DJs and collectors around the world. Curated by Lebanese DJ and Journalist Ernesto Chahoud. Ziad Rahbani is one of the giants of Arabic music and a cultural icon in the Middle East. The musician, pianist and producer is also a celebrated playwright and a political activist. Coming out of an illustrious artistic dynasty (his father, famous composer and musician Assi Rahbani, was in The Rahbani Brothers and his mother is the legendary Lebanese diva, Fairuz), Ziad Rahbani released a string of key albums in the '70s that have since become cult among DJs and collectors. Heavily influenced by Western music, Rahbani brought these influences to traditional Arabic music early one. 1978 saw the release of two key Rahbani albums, the disco 12" Abu Ali and Bennesbeh Labokra... Chou? (WWSLP 044LP). Serving as musical director to his mother Fairuz, he produced some of her best albums including Maarifti Feek recorded in 1984 at his Beirut studio, By Pass, bringing his blend of modern influences to her traditional sound. At the very same time, Rahbani started recording his own album at By Pass with the cream of Lebanese musicians including saxophonist Tewfic Farroukh, guitarist Paul Dawani, and percussionist Emile Boustani. Bringing funk, boogie, jazz funk fusion and Brazilian music to the mix, Rahbani created a landmark album, Houdou Nisbi now considered one of the best jazz funk albums from the Middle East. Featuring such cult tracks as "Rouh Khabbir", a remake of the Crusaders' "Soul Shadow" sung by Rahbani himself, the modern soul of "Bisaraha" and the Brazilian flavored "For Sure", the album is both effortlessly groovy and steeped in Oriental music. Houdou Nisbi, which means "relatively calm", an expression used by news anchors on Lebanese TV to describe the mood during cease-fire in the civil war that went on between 1975 and 1990. The cassette artwork has faithfully been reproduced for vinyl release. Remastered. New liner notes by Lebanese DJ and curator Ernesto Chahoud in English/French.

$17.50 IN STOCK

Wewantsounds present a CD reissue of Alice Clark's highly sought-after soul jazz classic produced by Mainstream Records' Bob Shad in 1972. Featuring original artwork, remastered sound, Alice Clark is one of the best soul albums ever recorded and is now regarded as an ultimate classic. When it comes to legendary albums, very few can match the cult status achieved on the international jazz and funk scene, by Alice Clark's eponymous album, recorded for Mainstream Records in 1972. The record which went unnoticed when it first came out has become one of the most sought-after albums ever since it became cult on the London jazz and funk scene in the late '80s. It is now being acknowledged as one of the best soul albums of all-times. Recorded live over two days at the Record Plant studios in New York City, the album was produced by Bob Shad and arranged by jazz veteran Ernie Wilkins with a big band setting. The music is a superb mix of jazz and soul blessed by Clark's superb singing and including two all-time favorites, "Don't You Care" and "Never Did I Stop Loving You" plus a selection of heart-wrenching songs beautifully sung by Clark. Hailed as a soul masterpiece alongside Aretha Franklin or Roberta Flack's best albums, Alice Clark's LP took almost fifty years to achieve classic status and Alice Clark is now finally getting the recognition she deserves.

$17.50 IN STOCK

Wewantsounds continues its collaboration with Bob Shad's venerable jazz label Mainstream Records, and present a selection of 12 turntable-friendly tracks recorded between 1971 and 1975 and showcasing the label's superb blend of spiritual jazz, funk, and soul.Mainstream Records is one of the key independent jazz labels of the early 70s, together with Flying Dutchman, Strata East, CTI, and Black Jazz. Founded by legendary label man Bob Shad (who had been head of A&R at Mercury Records and set EmArcy in the '50s), the label concentrated on psychedelia in the '60s before switching back to Shad's jazz roots in the early '70s, signing a new crop of jazzmen fed on John Coltrane and Miles' electric experiments. Thus, was born the cult Mainstream "300 Series" with its distinctive artwork and outstanding music from which this selection is largely drawn. Giving their chance to many young jazz players and a few old friends, Shad recorded some of the most exciting jazz of the early '70s, mixing spiritual influences with funk and soul. It is interesting to note the Mainstream sessions included many of the hottest session players of that time such as Ron Carter, Eddie Henderson, Airto, Mtume, Earl Palmer, Mickey Roker, Merl Saunders, Cedar Walton, to name but a few. Shad also had a long-standing association with jazz divas showcased here with the opening track by Sarah Vaughan, a funkified version of Marvin Gaye's "Inner City Blues" recorded the same year as the original in 1971. Mainstream Funk also includes a selection of superb tracks by young Turks who'd cut their teeth as sidemen for Blue Note and Prestige in the late '60s and were given a chance to record their own music on Mainstream. Buddy Terry's "Quiet Afternoon', Dave Hubbard's "Family Affair", and LaMont Johnson's "M'Bassa" are prime examples showcasing the label's desire to give these talented newcomers a chance to shine. Seasoned musicians from the Bebop scene were also welcome, such as trumpetists Blue Mitchell -- who'd released a string of great albums for Riverside and Blue Note in the late '50s and '60s -- and Johnny Coles who'd played with Gil Evans, Charles Mingus, and Herbie Hancock. Shad also released pure soul music on the label such as Sugar Billy's "Super Duper Love" which was released on his Fast Track sub-label in 1974, arranged by Jimmy Roach and featuring Marcus Belgrave in the line-up. Also features Prophecy, John White, Mike Longo, Barry Miles, and Pete Yellin.

$34.00 NOT IN STOCK

Double LP version. Following the recent success of the Tokyo Dreaming (WWSCD 040CD/WWSLP 040LP), Wewantsounds comes with another compelling set, this time compiled by city pop expert DJ Notoya who has dug the rich Nippon Columbia catalog to bring a breezy selection of funky gems. Nippon has amassed an incredible back catalog over the decades. Particularly strong in the '70s and '80s, the label was one of the main purveyors of great music at a time when Japan was entering its greatest economic boom and labels had budgets at hand to create the highest quality music. As Notoya explains in the liner notes "Back in the day, the record companies had big budgets and could afford to have many great musicians playing on one record, plus strings and horn sections, top drummers and keyboardists. It all made for a very rich sound, which is generally very different to today's music." Keen to emulate the music created in the US by their American counterparts, Japanese musicians came with their own blend of funk, boogie and soul that has come to be known as city pop. The selection on Tokyo Glow is full of such gems and starts with "Kimugare" a relaxed, mid-tempo track by Kumi Nakamura, famous actress who only recorded one album in 1980 for Columbia. The set continues and flows effortlessly with the sunshine grooves of Miyuki Maki, Hatsumi Shibata and cult keyboard player Hiroshi Sato before the pace starts going faster and funkier with New Generation Company, Kengo Kurozumi -- with his superb boogie, "Juggler" -- and one of the queens of the genre, Hitomi "Penny" Tohyama with "Tuxedo Connection". Tokyo-based DJ Notoya is from a new breed of Japanese DJs there focusing on nippon music and is an expert on funk, modern soul, and boogie from the Island. With Tokyo Glow, Notoya says he "focused more on the slightly more underground tracks from the era, rather than the bigger, well-known releases. For me that was a more fun and satisfying approach." Another fine example on the set is the mid-tempo groove of "I Wander All Alone Part III" by New Generation Company, an aggregate group of some of the best Japanese session musicians led by arranger Katz Hoshi and including Hiroyuki Namba, Kazuo Shiina, and Yutaka Uehara. Tokyo Glow showcases the diversity and specificity of Japanese city pop during the late '70s and '80s. Also features Haruyoshi Yamashina, Sumiko Yamagata, Makoto Iwabuchi, Arakawa Band, Kiyohiko Ozaki, Ken Nishizaki, Jadoes, Midori Hara, Mizuki Koyama, Haruo Chikada & Vibra-Tones, and Mitsuko Horie.

$17.50 IN STOCK

Following the recent success of the Tokyo Dreaming (WWSCD 040CD/WWSLP 040LP), Wewantsounds comes with another compelling set, this time compiled by city pop expert DJ Notoya who has dug the rich Nippon Columbia catalog to bring a breezy selection of funky gems. Nippon has amassed an incredible back catalog over the decades. Particularly strong in the '70s and '80s, the label was one of the main purveyors of great music at a time when Japan was entering its greatest economic boom and labels had budgets at hand to create the highest quality music. As Notoya explains in the liner notes "Back in the day, the record companies had big budgets and could afford to have many great musicians playing on one record, plus strings and horn sections, top drummers and keyboardists. It all made for a very rich sound, which is generally very different to today's music." Keen to emulate the music created in the US by their American counterparts, Japanese musicians came with their own blend of funk, boogie and soul that has come to be known as city pop. The selection on Tokyo Glow is full of such gems and starts with "Kimugare" a relaxed, mid-tempo track by Kumi Nakamura, famous actress who only recorded one album in 1980 for Columbia. The set continues and flows effortlessly with the sunshine grooves of Miyuki Maki, Hatsumi Shibata and cult keyboard player Hiroshi Sato before the pace starts going faster and funkier with New Generation Company, Kengo Kurozumi -- with his superb boogie, "Juggler" -- and one of the queens of the genre, Hitomi "Penny" Tohyama with "Tuxedo Connection". Tokyo-based DJ Notoya is from a new breed of Japanese DJs there focusing on nippon music and is an expert on funk, modern soul, and boogie from the Island. With Tokyo Glow, Notoya says he "focused more on the slightly more underground tracks from the era, rather than the bigger, well-known releases. For me that was a more fun and satisfying approach." Another fine example on the set is the mid-tempo groove of "I Wander All Alone Part III" by New Generation Company, an aggregate group of some of the best Japanese session musicians led by arranger Katz Hoshi and including Hiroyuki Namba, Kazuo Shiina, and Yutaka Uehara. Tokyo Glow showcases the diversity and specificity of Japanese city pop during the late '70s and '80s. Also features Haruyoshi Yamashina, Sumiko Yamagata, Makoto Iwabuchi, Arakawa Band, Kiyohiko Ozaki, Ken Nishizaki, Jadoes, Midori Hara, Mizuki Koyama, Haruo Chikada & Vibra-Tones, and Mitsuko Horie.

$36.50 IN STOCK

2022 repress; double LP version. Gatefold sleeve featuring never-seen photos from the Mainstream vaults and new liner notes by UK journalist Paul Bowler. Wewantsounds continues its collaboration with Bob Shad's venerable jazz label Mainstream Records, and present a selection of 12 turntable-friendly tracks recorded between 1971 and 1975 and showcasing the label's superb blend of spiritual jazz, funk, and soul.Mainstream Records is one of the key independent jazz labels of the early 70s, together with Flying Dutchman, Strata East, CTI, and Black Jazz. Founded by legendary label man Bob Shad (who had been head of A&R at Mercury Records and set EmArcy in the '50s), the label concentrated on psychedelia in the '60s before switching back to Shad's jazz roots in the early '70s, signing a new crop of jazzmen fed on John Coltrane and Miles' electric experiments. Thus, was born the cult Mainstream "300 Series" with its distinctive artwork and outstanding music from which this selection is largely drawn. Giving their chance to many young jazz players and a few old friends, Shad recorded some of the most exciting jazz of the early '70s, mixing spiritual influences with funk and soul. It is interesting to note the Mainstream sessions included many of the hottest session players of that time such as Ron Carter, Eddie Henderson, Airto, Mtume, Earl Palmer, Mickey Roker, Merl Saunders, Cedar Walton, to name but a few. Shad also had a long-standing association with jazz divas showcased here with the opening track by Sarah Vaughan, a funkified version of Marvin Gaye's "Inner City Blues" recorded the same year as the original in 1971. Mainstream Funk also includes a selection of superb tracks by young Turks who'd cut their teeth as sidemen for Blue Note and Prestige in the late '60s and were given a chance to record their own music on Mainstream. Buddy Terry's "Quiet Afternoon', Dave Hubbard's "Family Affair", and LaMont Johnson's "M'Bassa" are prime examples showcasing the label's desire to give these talented newcomers a chance to shine. Seasoned musicians from the Bebop scene were also welcome, such as trumpetists Blue Mitchell -- who'd released a string of great albums for Riverside and Blue Note in the late '50s and '60s -- and Johnny Coles who'd played with Gil Evans, Charles Mingus, and Herbie Hancock. Shad also released pure soul music on the label such as Sugar Billy's "Super Duper Love" which was released on his Fast Track sub-label in 1974, arranged by Jimmy Roach and featuring Marcus Belgrave in the line-up. Also features Prophecy, John White, Mike Longo, Barry Miles, and Pete Yellin.

$29.50 IN STOCK

Repressed. Wewantsounds reissue Omar Khorshid's highly sought-after instrumental album Giant + Guitar originally released in 1974 in Lebanon and recorded at Polysound Studio by famed Lebanese engineer Nabil Moumtaz. The album features Khorshid's unique electric guitar sound mixed with Arabic melodies over superb psych arrangements. Omar Khorshid's life, if short (he died age 36 in a road accident), was extraordinary. Blessed with a great talent for music, the Egyptian musician and actor became one of the best guitarists of the Arab World accompanying the greatest stars of the '60s and '70s, including Oum Kalthoum, Abdel Halim Hafez and Farid El Atrache. To avoid the political troubles of the time in Egypt, and to fulfil his artistic ambitions, Khorshid moved to Beirut in Lebanon in 1973 and started recording a string of superb albums experimenting with oriental music. He recorded for several labels including Voice of Lebanon, one of the key Lebanese labels of the time. He released his first album Giant + Guitar for the label in 1974 and it was an instantly popular in the Arab world. The front cover sees Khorshid on his motorcycle in the busy street of Hamra, one of the most vibrant Beirut neighborhoods where he was playing most nights in residence. (The album was also released internationally as Rhythms from the Orient with a different artwork focusing on belly dance). The sound is both bold and accessible, displaying Khorshid's unique guitar sound, accompanied by a small band mixing traditional and modern fuzzed-up arrangements. The mesmerizing opening track, "Rakset El Fadaa", composed by Lebanese musician Nour Al Mallah, is a perfect example of Khorshid's artistry. Starting with a long, hypnotic guitar intro, it then speeds up with the backing of a groovy organ, Oriental percussion and the psych sound of an early synthesizer to great effect. The album continues on the same mode blending traditional oriental music with inventive arrangements as showcased by the Mohamed Abdel Wahab standard "Leilet Hob" popularized by Oum Kalthoum, which sees Khorshid and his musicians shifting pace several times over eight minutes. One of the peaks of the album in terms of sonic experiments is undoubtedly Korshid's own composition, "Taqassim Sanat Alfein", with Khorshid's superb guitar in full bloom accompanied by a few touches of synth. Wewantsounds' series of Arabic music reissues are curated by Mario Choueiry from Institut du Monde Arabe in Paris. Newly remastered; includes original Voice of Lebanon artwork and a two-page insert featuring liner notes by DJ Ernesto Chahoud.

$17.50 IN STOCK

Wewantsounds continues their Ryuichi Sakamoto reissue series with the release of the 1985 album Esperanto, composed for a performance by New York avant-garde choreographer Molissa Fenley. Produced and performed by Sakamoto with contribution by Arto Lindsay and Japanese percussionist Yas-Kaz, Esperanto is a fascinating instrumental work mixing electronica, ambient and synth pop. Released in Japan in 1985 on Midi Inc.s' School label, the album has never been released outside of Japan until now. Esperanto originally came out in 1985 and was Ryuichi Sakamoto's sixth solo album. Coming after his stint with the influential Yellow Magic Orchestra, and also the worldwide success of Sakamoto's 1984 soundtrack for the film Merry Christmas Mr. Lawrence (in which he starred alongside David Bowie), Esperanto was a return to Sakamoto's leftfield roots. Composed as the soundtrack to a performance by New York choreographer Molissa Fenley (a show commissioned by Japanese producer Shozo Tsurumoto), the album was masterminded by Sakamoto with the help of the cutting-edge electronic technology of the time (the only external contributions are by Arto Lindsay on guitar and Japanese composer Yas-Kaz on percussion). Indeed, the album is a fascinating soundscape experimenting with the new sampler technology -- which, according to Ryuichi Sakamoto from a conversation with journalist Andy Beta mentioned in the liner notes, needed a computer that was huge at the time. Esperanto is composed of eight tracks displaying a varied mix of influences. "A Wongga Dance Song" is pulsating with rhythms while "A Rain Song" adopts a minimalist mode with its distinctive repetitive pattern. "Dolphins" and "A Carved Stone" are captivating ambient pieces showcasing Sakamoto's talent for setting beautiful abstract melodic ornaments over atmospheric tones. One of the highlights of the album is "Adelic Penguins", a fascinating proto techno piece with a funky twist stretching over six minutes which echoes the electro funk of 1981's album Hidari Ude No Yume (WWSCD 033CD/WWSLP 033LP/WWSLP 034LP). "Ulu Watu", a collage-like piece featuring bird motives and a tropical soundscape closes the album with an experimental note. It's interesting to note that, a year later, the tracks from Esperanto would be turned into an experimental video project by New York visual artists Kit Fitzgerald and Nam June Paik collaborator Paul Garrin. A unique album in Ryuichi Sakamoto's rich discography, Esperanto is a groundbreaking work worth rediscovering in its full glory. Original artwork; includes two-page insert with a new introduction by journalist Andy Beta. Audio remastered in Tokyo by Seigen Ono.

$29.50 IN STOCK

2022 repress; LP version. Wewantsounds continues their Ryuichi Sakamoto reissue series with the release of the 1985 album Esperanto, composed for a performance by New York avant-garde choreographer Molissa Fenley. Produced and performed by Sakamoto with contribution by Arto Lindsay and Japanese percussionist Yas-Kaz, Esperanto is a fascinating instrumental work mixing electronica, ambient and synth pop. Released in Japan in 1985 on Midi Inc.s' School label, the album has never been released outside of Japan until now. Esperanto originally came out in 1985 and was Ryuichi Sakamoto's sixth solo album. Coming after his stint with the influential Yellow Magic Orchestra, and also the worldwide success of Sakamoto's 1984 soundtrack for the film Merry Christmas Mr. Lawrence (in which he starred alongside David Bowie), Esperanto was a return to Sakamoto's leftfield roots. Composed as the soundtrack to a performance by New York choreographer Molissa Fenley (a show commissioned by Japanese producer Shozo Tsurumoto), the album was masterminded by Sakamoto with the help of the cutting-edge electronic technology of the time (the only external contributions are by Arto Lindsay on guitar and Japanese composer Yas-Kaz on percussion). Indeed, the album is a fascinating soundscape experimenting with the new sampler technology -- which, according to Ryuichi Sakamoto from a conversation with journalist Andy Beta mentioned in the liner notes, needed a computer that was huge at the time. Esperanto is composed of eight tracks displaying a varied mix of influences. "A Wongga Dance Song" is pulsating with rhythms while "A Rain Song" adopts a minimalist mode with its distinctive repetitive pattern. "Dolphins" and "A Carved Stone" are captivating ambient pieces showcasing Sakamoto's talent for setting beautiful abstract melodic ornaments over atmospheric tones. One of the highlights of the album is "Adelic Penguins", a fascinating proto techno piece with a funky twist stretching over six minutes which echoes the electro funk of 1981's album Hidari Ude No Yume (WWSCD 033CD/WWSLP 033LP/WWSLP 034LP). "Ulu Watu", a collage-like piece featuring bird motives and a tropical soundscape closes the album with an experimental note. It's interesting to note that, a year later, the tracks from Esperanto would be turned into an experimental video project by New York visual artists Kit Fitzgerald and Nam June Paik collaborator Paul Garrin. A unique album in Ryuichi Sakamoto's rich discography, Esperanto is a groundbreaking work worth rediscovering in its full glory. Original artwork; includes two-page insert with a new introduction by journalist Andy Beta. Audio remastered in Tokyo by Seigen Ono.