…..news letter # 976 – saled…..

Finally, the new releases are starting to slow down! That said, there are still a few things coming out, and we are currently waiting on a few boxes… apparently we have a delivery driver in quarantine right now, and he’s the only one who knows where our store is or something. So if you are looking for the new Sturgill Simpson, or Boris, or Beyonce, or… a few other things, they are all sitting in a warehouse, but I’m told they’ll be delivered next week… plenty of time for Christmas.

As always, big thanks to everyone who’s been hitting up our webstore and placing orders! It’s getting competitive around 5pm when we post up fresh used stock. If you haven’t hit up the WEBSTORE, MAYBE YOU SHOULD! If you can’t figure out the site, or don’t like to use computers, you can always call the store and we can do an order over the phone. We’ll be at the shop 11-5 Tuesday – Friday & Saturday 11-4. Stay safe!

Oh ya… if you don’t follow us on Instagram, WHY NOT?! And now you know.

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…..pick of the week…..

Vince Guaraldi Trio: A Charlie Brown Christmas (Fantasy) LP
This is a classic, and you need it. Vince Guaraldi A Charlie Brown Christmas on Green Colored LP. Original Soundtrack Recording from the Famous CBS Television Special. Originally broadcast in 1965, A Charlie Brown Christmas is hands down one of the most beloved specials in TV history. Commissioned by Peanuts creator Charles M. Schulz, Vince Guaraldi and his trio rounded out by Monty Budwig (bass) and Colin Bailey (drums), composed and performed the timeless contemporary jazz score which wonderfully reflects both the spirit of the legendary Peanuts characters and the Christmas season. A Grammy Hall of Fame inductee in 2007, A Charlie Brown Christmas was inducted into the Library of Congress in May of 2012 with the accompanying statement, “A Charlie Brown Christmas introduced jazz to millions of listeners,” and 45 plus years on it’s still doing just that. Peanuts and Vince Guaraldi historian Derrick Bang even goes so far as to say, “Back people into a corner and limit them to just one holiday album for the rest of their lives, and I suspect that an impressive number of folks, jazz fans or not, would select this one!” Reissued here on green colored vinyl by Fantasy Records

File Under: Jazz, Christmas
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…..new arrivals……

Monty Alexander: I Love You Madly – Live at Bubba’s (Resonance) LP
Late Black Friday release! Live at Bubba’s is a previously unissued recording of the Jamaican jazz piano icon Monty Alexander captured live in Fort Lauderdale, Florida at Bubba’s Jazz Restaurant on August 6, 1982. Recorded by legendary engineer Mack Emerman, who founded Criteria Recording Studios (Aretha Franklin, James Brown, Eric Clapton), Live at Bubba’s features bassist Paul Berner (Lionel Hampton Orchestra), drummer Duffy Jackson (Milt Jackson, Benny Carter) and the acclaimed percussionist Robert Thomas, Jr. (Weather Report, Jaco Pastorius, Carlos Santana). The deluxe limited edition 2LP set includes an extensive booklet with photos by Jan Persson, Raymond Ross and Brian McMillen; essays by veteran jazz writer Willard Jenkins, pianist Benny Green, and producer George Klabin; plus interviews with NEA Jazz Master Kenny Barron and others. The vinyl edition is mastered by Bernie Grundman and pressed at 33 1/3 RPM by RTI.

File Under: Jazz
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Belle & Sebastian: What to Look for in Summer (Matador) LP
Matador Records presents Belle and Sebastian’s What to Look for in Summer, a new live double album gathering choice selections from the band’s 2019 world tour, including last summer’s epic “Boaty Weekender” cruise. All live records are a time capsule to some extent, but Belle and Sebastian’s What To Look For In Summer is perhaps a bit more evocative than originally planned. Neither a retrospective nor a back-door greatest-hits, What To Look For In Summer is the sound of a band that’s always moving forward, a picture of Belle and Sebastian in 2019 that gives equal weight to early days (“My Wandering Days Are Over,” “Seeing Other People”) and recent years (“Poor Boy,” “We Were Beautiful”), with a track selection Murdoch says was almost random. Also included are three songs from 2000’s Fold Your Hands Child, You Walk Like a Peasant (which the band played in full at the Boaty Weekender). You get a full picture of a group that’s always been built around Murdoch’s songs, but has three other writers in Jackson, Martin and guitarist Bobby Kildea (with all songwriting credits shared by the entire band). Martin, in particular, has become more and more prolific as a songwriter and lead vocalist over the past decade – her “I Didn’t See It Coming,” with its indelible refrain (“make me dance/I want to surrender”) is always a highlight, as is her show stopping vocal on “Little Lou, Ugly Jack, Prophet John,” originally sung by Norah Jones on 2010’s Write About Love. Once a more introspective live group (Stuart’s staying in and he thinks it’s a sin/That he has to leave the house at all,” they sang on 1998’s “This is Not a Modern Rock Song”) Belle and Sebastian’s live shows for the past two decades have featured both an incredibly high level of musicality and a bit of a variety-show vibe. At one point on the album, Murdoch wonders why the band stopped its tradition of having someone bring gin cocktails to the stage mid-set. “It just feels like you’re having your friends around for dinner and you want everything to be right,” he says. “No matter how miserable your songs are ‑ maybe most of the fans have learned to love these songs in a bedroom or a kitchen – when you come out to a show, it’s a different thing. You just want everybody to feel good.” Never is that more true than towards the end of every show. “The Boy With The Arab Strap” is both Belle and Sebastian’s “Born To Run” – they’re never not gonna play it – and their “Dancing in the Dark” to the nth degree, as scores of fans end up on stage for a bit of participatory dancing. It’s a once-in-a-lifetime highlight for the kids, an occasional nightmare for the band’s production manager, and the greatest bit of fun for everybody else. Sometimes Jackson has to fight his way through the dancers to get back to the mic for his harmony vocals, while Martin gets a close-up view of people surrounding Murdoch on stage, or sometimes even hijacking the song. “I kind of enjoy it when people overstep the line,” Martin admits. “But not with me!” Murdoch never gets tired of playing it “I genuinely look forward to it,” he says. “If the concert’s going great, it just feels like a natural vibe. And if the concert’s going okay – maybe it’s a Sunday night and everybody’s a little bit flat, or still in their seats – it’s definitely the time to send it home.” He also never gets tired of playing, period. “Touring the band is something that I never thought we’d do. It’s turned into the thrill of a lifetime, really, in a manifest, physical way. It’s just the nicest experience that I think I’ve had in my life.”

File Under: Indie Rock
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Bill Evans: Live at Ronnie Scott’s (Resonance) LP
Late Black Friday arrival! Live at Ronnie Scott’s (1968) is the third official Resonance release of previously unissued recordings of the Bill Evans trio with Eddie Gomez and Jack DeJohnette. The recordings that comprise this release come from the personal archives of drummer Jack DeJohnette, who has had them in storage for over 50 years, and the nearly 2 hours of music have been meticulously remastered from the original tape reels. Live at Ronnie Scott’s was captured in December of 1968, six months after their legendary performance at the Montreux Jazz Festival and Resonance’s long-lost studio session Some Other Time from the Black Forest. The deluxe limited-edition 2LP set will include never-before-published original artwork by David Stone Martin on the album cover, plus an extensive booklet with rare photos, essay by the esteemed British writer Brian Priestly, a conversation between Chick Corea and Jack DeJohnette, interview with Eddie Gomez, and more. Mastered by Bernie Grundman and pressed at 33 1/3 RPM by RTI.

File Under: Jazz
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Kelly Finnigan: A Joyful Sound (Colemine) LP
Green wax! A Joyful Sound is a future soul classic with all the elements of a classic R&B record, but simply with a joyful holiday lean. With an all-star supporting cast of who’s who from the contemporary soul scene this record is truly a family affair with Kelly Finnigan at the wheel. Featuring members of Durand Jones & The Indications, The Dap-Kings, Ghost Funk Orchestra, Monophonics, Thee Sinseers, Orgone, Ikebe Shakedown, Jason Joshua & The Beholders, The True Loves, Neal Francis, Jungle Fire, Delvon Lamarr Organ Trio, Ben Pirani, The Jive Turkeys, The Ironsides, The Harlem Gospel Travelers, Rudy De Anda, Alanna Royale, and more! Inspired by records like Atlantic’s Soul Christmas, Phil Spector’s A Christmas Gift For You and Rotary Connection’s Peace this album will be a record that will appeal not only to lovers of holiday music, but lovers of soul music in general! This is Kelly Finnigan’s third full-album production in just under two years, including his debut LP The Tales People Tell and Monophonics’ most recent effort It’s Only Us. He is rapidly establishing himself as a key producer, songwriter, and performer in the current soul scene.

File Under: Funk, Soul, Christmas
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Four Tet: There is Love in You: Expanded Edition (Text) LP
On his 2010 album There Is Love In You, Kieran Hebden (aka Four Tet) presented a selection of songs that are as close to dance music as we will ever see from this phenomenal artist, hinting at fellow electronic experimentalists Burial and Aphex Twin in the scope of his work. Lead single “Love Cry,” is a lush, sprawling house jam that builds upon a jazzy drum loop over the course of its nine minute run time. The remainder of There is Love in You’s eight tracks go a long way in demonstrating why Four Tet is one of the most dynamic electronic acts on the scene today. Four Tet’s most celebrated album is reissued here on vinyl as a deluxe 3LP-set that includes remixes by Caribou, Jon Hopkins, Floating Points, Joy Orbison, and Roska. This special expanded edition of There Is Love In You has been remastered for vinyl by Matt Colton at Metropolis Mastering.

File Under: Electronic
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Beverly Glenn-Copeland: Live at Le Guess Who (Transgressive) LP
Recorded live at Le Guess Who? 2018 in Utrecht, The Netherlands. Audio recorded & mixed by Marc Broer and Philip ten Brink. Thanks to the LGW team: Bob van Heur, Johan Gijsen, and Barry Spooren. Performing musicians are Beverly Glenn-Copeland, Bianca Palmer, Carlie Howell, Jeremy Costello, Kurt Inder and Nick Dourado.

File Under: Indie Rock, New Age
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Interpol: Our Love to Admire (Matador) LP
Blue vinyl! Defined by their post-punk starkness coupled with new wave grooves, Interpol helped reinvigorate New York City’s flagging music scene and birthed a whole decade’s worth of bands that followed in their flamboyant footsteps. After their grand debut, Turn On The Bright Lights and the amplified follow-up, Antics, the indie rock outfit was primed for a grand comeback on their major label release, Our Love to Admire. Released in July 2007 on Capitol Records, Our Love to Admire marked a departure from their indie beginnings. Armed with sleeker production (courtesy of producer Rich Costey) and more ambitious instrumentation featuring strings, horns and extended keyboard arrangements, this album was the fruition of all of Interpol’s earliest efforts. It would also become one of the group’s biggest selling albums, debuting in the Top Five charts both in the US and the UK thanks to compelling singles like “The Heinrich Maneuver” and “Mammoth.” Despite being synonymous with New York nightlife, this was actually the first album to be recorded in New York, at the famed The Magic Shop and Electric Lady Studios. While the band explores new territory in the studio, the album’s themes returned to the seedy streets and back alleys of the band’s stomping grounds: the Lower East Side of Manhattan and all the shifty characters who occupy it.

File Under: Indie Rock
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Jamie XX: In Colour (XL) LP
2020 remaster on coloured vinyl! In Colour is the Young Turks/XL Recordings debut album from Jaimie xx. The eleven track LP includes previous releases “Girl” and “Sleep Sound” as well as forthcoming single “Loud Places,” which features vocals from Romy Madley Croft. The release of In Colour comes on the back of an incredible six year creative period, which has seen him alternate effortlessly between his role as founding member and producer of The xx, and creator of more electronic and club orientated music as Jamie xx. A string of acclaimed productions in recent years including debut solo single “Far Nearer,” remixes for the likes of Adele, Radiohead and Florence & The Machine, production work for Drake and Alicia Keys plus We’re New Here – Jamie’s seminal reworking of Gil Scott-Heron’s final studio album – hinted at what was to come. With In Colour – a bold, celebratory, emotional record that features collaborations with The xx band mates Romy Madley Croft (“Seesaw” and “Loud Places”) and Oliver Sim (“Stranger In A Room”), Young Thug and Popcaan (“Good Times”) and Four Tet (“Seesaw”) – Jamie delivers his definitive artistic statement. “In Colour doesn’t feel like my first album because it’s the end of six years’ work. It’s about all of the music I’ve been inspired by in that time; the people I’ve met, the places I’ve been. I’ve gone from being a fan of electronic music, admiring great artists and producers, to feeling like I’m a part of their world. In Colour is about transition and transformation – going away, coming home, going away again, coming home again – and how that journey changes me every time. I love touring, and the places I’ve visited, but when I’m on my laptop I’m always thinking about home or music. I love being in a band, being a producer, being a DJ. This album is about all of that. In Colour isn’t the end of an era, it’s the start of what’s next.” – Jamie xx

File Under: Electronic, Indie Rock
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OBGMs: The Ends (Black Box) LP
This album is about death, wanting to die, and fighting for something to live for — it’s the end of all things. I feel this is the one of the most important cross-genre albums this century. We are Nirvana, we are The Beatles, and The Stones. We are really changing the dimensions of which the game is played like the Steph Curry of this rock shit. We all have feelings of doubt, uncertainty, and I used to live there. I’m trying not to die there. If I’m going out, I’m going out shooting.

File Under: Indie Rock
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Trent Reznor & Atticus Ross: Watchmen Vol. 2 (Null) LP
Nine Inch Nails’ Trent Reznor and Atticus Ross release their score for the new HBO drama, Watchmen, across three 180g vinyl LP albums. Created in collaboration with the show’s writers, each LP features the score from the Academy Award-winning composers plus artwork and packaging – exclusive to the vinyl release – that explores the culture of the show, revealing insights into the series’ mythology. The albums will be released throughout the duration of the first season of Watchmen in 2019, with Volume 1 arriving at the beginning of November, Volume 2 at the end of November and Volume 3 in mid-December. Set in an alternate history where masked vigilantes are treated as outlaws, Watchmen embraces the nostalgia of the original groundbreaking graphic novel of the same name while attempting to break new ground of its own. While a film adaptation of the novel was made back in 2009, the TV adaption helmed by Damon Lindelof (Lost, The Leftovers) offers a daring follow-up to the novel, set 30 years after Rorschach’s manifesto hits the media and imagines an alternate American reality, where costume-avengers square off against white supremacists.

File Under: Nine Inch Nails, OST
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Sonny Rollins: Rollins in Holland (Resonance) LP
Late Black Friday release! Rollins in Holland: The 1967 Studio & Live Recordings is Resonance Records’ first archival release from the Saxophone Colossus himself, Sonny Rollins. Released in partnership with the Nederlands Jazz Archief, this deluxe limited-edition 180g 3LP set is officially sanctioned by Rollins and is comprised of three different previously unissued performances with bassist Ruud Jacobs and drummer Han Bennink in May of 1967 at Vara Studio in Hilversum, the Arnhem Academy of Visual Arts, and a televised performance at the Go-Go Club in Loosdrecht. Rollins in Holland will include an extensive booklet with never-before-published photos from each venue; essays by Aidan Levy (currently writing a biography of Sonny Rollins for Da Capo Press) and Dutch jazz journalist/producer Frank Jochemsen; plus interviews with Sonny Rollins, Han Bennink, a remembrance of Ruud Jacobs, and more. Mastered by Bernie Grundman and pressed at 33 1/3 RPM by RTI.

File Under: Jazz
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Buffy Sainte-Marie: Illuminations (Craft) LP
Killer RSD restock! 50th anniversary release of this seminal electronic album, featuring the psychedelic classic “God is Alive, Magic is Afoot.” Cut from the analog master, pressed on 180-gram opaque yellow vinyl at QRP and housed in a tip-on jacket.

File Under: Folk, Electronic, Experimental, Psych
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Ryuichi Sakamoto: Hidari Ude No Yume (Wewantsounds) LP
Single LP version. Obi strip; four-page insert. Wewantsounds present the reissue of Ryuichi Sakamoto’s third solo album Hidari Ude No Yume (Left Handed Dream), originally released in 1981 on the Alfa label. Save for a small-scale Dutch vinyl release in 1981, it is the first time the album’s original Japanese edition is released outside of Japan (the European release on Epic Records included significantly different tracks and mixes). Hidari Ude No Yume was recorded at the legendary Alfa Studio “A” in Tokyo during the Summer of 1981. it came after B-2 Unit in 1980 and his debut album Thousand Knives Of… in 1978 (WWSCD 024CD/WWSLP 024LP), the very year Sakamoto was invited by Haruomi Hosono to join Yellow Magic Orchestra alongside Yukihiro Takahashi. In 1981, Sakamoto decided to record an album rooted in pop, following the more experimental B-2 Unit and his landmark electro debut. Sakamoto invited British producer Robin Scott to co-produce. They entered the Alfa studio in July 1981 with his fellow YMO musicians Haruomi Hosono and Yukihiro Takahashi, keyboard programmer extraordinaire Hideki Matsutake who’d been on Sakamoto’s first two albums and became YMO’s unofficial fourth member, violinist Kaoru Sato, saxophonist Satoshi Nakamura, and American guitarist Adrian Belew (David Bowie, The Talking Heads, Tom Tom Club). Together, they created a fascinating mix of pop, ambient and electronic music with elements of avant-garde and traditional Japanese music, the whole firmly rooted in a solid groove. From the funk of “Relâché” to the new wave feel of “Venezia” and the ambient minimalism of “Slat Dance,” the album is remarkably consistent while displaying a wealth of global influences. The album was released in Japan in 1981 and Epic Records picked it up for Europe a year later but decided to release it in a significantly altered version. The sequencing was completely reshuffled and two tracks, “Saru No Ie” and “Living In The Dark” were completely dropped while three others, “Relâché”, “Tell ’em To Me”, “Venezia” were heavily remodeled with English lyrics and different names. Last but not least, a new English-sung track, “The Arrangement,” was added, making the album nine tracks instead of ten for the Japanese edition. Newly remastered from the original tapes by renowned engineer Bernie Grundman. Comes with original artwork featuring cover shot by famous photographer Masayoshi Sukita. Four-page insert with new introduction by journalist Anton Spice.

File Under: Japan, Electronic, Pop
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Ryuichi Sakamoto: Hidari Ude No Yume (Wewantsounds) DLX LP
Double LP version. Gatefold sleeve. Includes the album’s full instrumental version. Wewantsounds present the reissue of Ryuichi Sakamoto’s third solo album Hidari Ude No Yume (Left Handed Dream), originally released in 1981 on the Alfa label. Save for a small-scale Dutch vinyl release in 1981, it is the first time the album’s original Japanese edition is released outside of Japan (the European release on Epic Records included significantly different tracks and mixes). Hidari Ude No Yume was recorded at the legendary Alfa Studio “A” in Tokyo during the Summer of 1981. it came after B-2 Unit in 1980 and his debut album Thousand Knives Of… in 1978 (WWSCD 024CD/WWSLP 024LP), the very year Sakamoto was invited by Haruomi Hosono to join Yellow Magic Orchestra alongside Yukihiro Takahashi. In 1981, Sakamoto decided to record an album rooted in pop, following the more experimental B-2 Unit and his landmark electro debut. Sakamoto invited British producer Robin Scott to co-produce. They entered the Alfa studio in July 1981 with his fellow YMO musicians Haruomi Hosono and Yukihiro Takahashi, keyboard programmer extraordinaire Hideki Matsutake who’d been on Sakamoto’s first two albums and became YMO’s unofficial fourth member, violinist Kaoru Sato, saxophonist Satoshi Nakamura, and American guitarist Adrian Belew (David Bowie, The Talking Heads, Tom Tom Club). Together, they created a fascinating mix of pop, ambient and electronic music with elements of avant-garde and traditional Japanese music, the whole firmly rooted in a solid groove. From the funk of “Relâché” to the new wave feel of “Venezia” and the ambient minimalism of “Slat Dance,” the album is remarkably consistent while displaying a wealth of global influences. The album was released in Japan in 1981 and Epic Records picked it up for Europe a year later but decided to release it in a significantly altered version. The sequencing was completely reshuffled and two tracks, “Saru No Ie” and “Living In The Dark” were completely dropped while three others, “Relâché”, “Tell ’em To Me”, “Venezia” were heavily remodeled with English lyrics and different names. Last but not least, a new English-sung track, “The Arrangement,” was added, making the album nine tracks instead of ten for the Japanese edition. Newly remastered from the original tapes by renowned engineer Bernie Grundman. Comes with original artwork featuring cover shot by famous photographer Masayoshi Sukita. Four-page insert with new introduction by journalist Anton Spice.

File Under: Japan, Electronic, Pop
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Nina Simone: I Put A Spell On You (Acoustic Sounds Series) (Verve) LP
In 1964, Nina Simone embarked on new stage of her career. Her rejection by the Philadelphia-based Curtis Institute Of Music; time spent as a pianist in an Atlantic City nightclub; her jazz, gospel, pop and classical influences – all these had fused to make her one of the most complex, fascinating and talented artists of the decade. Simone released her debut album in 1958, but when she signed to Philips, in 1964, her creative output was about to dovetail with the Civil Rights movement – notably coinciding with the Civil Rights Act Of 1964, which outlawed discrimination based on race, color, gender, religious affiliation or nationality. In Simone’s hands, “Don’t Let Me Be Misunderstood” was as much a demand as it was a plea, and on 1965’s I Put A Spell On You she continued to record songs with a deep personal resonance. Her version of the title track remains as mesmerizing as its name suggests, while covers of Charles Aznavour’s “Tomorrow Is My Turn” and Jacques Brel’s “Ne Me Quitte Pas” are equally strong declarations. Meanwhile, Simone once again turned to musical theatre for “Feeling Good” (lifted from the 1964 stage show The Roar Of The Greasepaint – The Smell Of The Crowd), instantly owning the song with her definitive version. Artists as varied as Billy Paul, Muse and Michael Bublé have since covered it, but none with as much dedication – and spine-tingling effect – as Simone. This all-analog 180g vinyl LP reissue was mastered from the original analog tapes by Ryan K. Smith at Sterling Sound, pressed at QRP, and comes housed in a Stoughton tip-on gatefold jacket.

File Under: Jazz, Vocal, Audiophile
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Kamasi Washington: Becoming (OST) (Young Turks) LP
Kamasi Washington composed and produced the original score for Becoming, the four time Emmy-nominated film that provided an intimate glimpse into the life of Michelle Obama. Produced by Netflix Originals, Becoming documented a moment of profound change for the former First Lady, not only for her personally but for the country she and her husband served over eight impactful years in the White House. Washington, who joined the project in its embryonic stages, provides the powerful musical backdrop.

File Under: Jazz, Ost
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Various: Tokyo Dreaming (Wewantsounds) LP
Tokyo Dreaming is a superb selection picked from the highly collectible Nippon Columbia label and its Better Days sub-label. Wewantsounds have teamed up with journalist and Japanese music expert Nick Luscombe. The selection mixes electro, synth-pop, funk, and ambient and includes many sought-after rarities and hidden gems which have never been released outside of Japan and the set has been newly remastered by Nippon Columbia. Nippon Columbia, one of Japan’s oldest music labels is also one of its most collectible thanks to its sub-label Better Days which, in the late ’70s, became a hotbed for Tokyo’s new generation of pop artists eager to experiment with ambient, electro, and funk. Armed with a string of new Japanese-made synthesizers and drum machines that would soon take the world by storm, they made cutting-edge music, which has since become highly sought-after by a new generation of Japanese music lovers. Nick Luscombe, who has long been a leading advocate of Japanese music from this era, has handpicked a selection of some of the sharpest music released on these labels at the time. Tokyo Dreaming starts with “The End of Asia” by Ryuichi Sakamoto from his 1978 ground-breaking debut Thousand Knives Of… (WWSCD 024CD/WWSLP 024LP, 2019). The track became a staple of Sakamoto and Yellow Magic Orchestra’s live shows and was even re-recorded by the group for their 1980 album X Multiplies. The track is followed by Mariah’s cult Armenian folk flavored synth pop classic “Shinzo No Tobira” (1983). Chika Asamoto’s “Self Control” (1988) and Jun Fukamachi’s “Treasure Hunter” (1985) are perfect songs in the synth-pop canon, while Yumi Murata’s rendition of Akiko Yano’s “Watashi No Bus” and Hitomi “Penny” Tohyama’s “Rainy Driver” both from 1981, move closer towards the slicker, funkier sound of city pop. Tokyo Dreaming superbly showcases the breadth of ’80s Japanese music and the way electro pop was a playing ground for musicians to experiment with many styles, as showcased by Akira Sakata’s dub-infused “Room” from 1980, Kazumi Watanabe’s discoid “Tokyo Joe” (1980) and Juicy Fruits’ techno pop song “Jenie Gets Angry”. The selection flows effortlessly between many shades of synth and ends with two cult classics in the form of Yasuaki Shimizu’s “Semi Tori No Hi” and Shigeo Sekito’s ambient-jazz masterpiece “The Word II” from his highly sought-after album Kareinaru Electone (The Word) Vol.2 (1975). Tokyo Dreaming showcases the groundbreaking sounds of a city turned giant sonic lab which was restlessly inventing the music of the future. Album designed by famed London-based designer Optigram. Also features Yumi Seino, Kyoko Furuya, Kazue Itoh, Haruo Chikada & Vibra-Tones, and Colored Music.

File Under: Japan, Electronic, Ambient, Pop, Jazz
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