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Jacks meets Makoto Kubota & The Sunset Gang! Yokohama Rock guru Daisaku Yoshino's early masterpiece "Lamp Factory" (self-produced in 1974) is being released on LP for the first time in 48 years! Produced by Makoto Otowa, this album is known as a brother album to "Wasagetami".

Daisaku Yoshino has been performing live mainly in Yokohama since the early 70's. His musical style is diverse and elusive, from the folk rock period of the 70's to the post-punk/free form period of the 80's. Although he has never received a solid reputation, his early work "Daisaku Yoshino Lamp Manufacturing Factory" ( Although his music has never been well received, his early work, "Yoshino Daisaku Lamp Factory" (released in 1974), is well known and popular in later years, mainly in Europe, as a masterpiece of acid folk. The band's philosophical and modern poetry was expressed in straight American rock, dynamic and thirsty country rock, and acid folk style, and was regarded as "Jacks meets the Sunset Band". The band was praised by Makoto Kubota for their performance at the Hibiya Nohe rock festival, where they outclassed Tokyo bands. The bluesy, weeping electric guitar sounds are reminiscent of Neil Young's "After the Gold Rush," a superb world. The hidden masterpiece that will remain in the history of Japanese rock music is now being released in its original format for the first time in 48 years. The strength of the music is so pure that it has not wavered at all, and it is an album that must be listened to now more than ever.

Hereby a classic japanese acid folk tale, also credited by the wizard master Julian Cope in his ‘Japrocksampler’ top 50 list. Tokedashita Garasu Bako, or Melting Glass Box, was a studio-only project of Nishiokai Takashi (Itsutsu No Akai Fusen), “Singing Philosopher” Tetsuo Saito and Takasuke Kida (of influential psychedelic freaks Jacks). Guest musicians included Kazuhiko Kato (Folk Crusaders, Sadistic Mika Band), Kazuo Takeda (Blues Creation) and mastermind Haruomi Hosono (Apryl Fool, Happy End, YMO).

Their sole release licensed in 1970 on URC (Japanese independent record label specializing in folk, co-founded in February 1969 by Hayakawa Yoshio, guitarist for the psychedelic band Jacks) became soon after a cult record leading the way for the eastern psychedelic renaissance. An authentic lysergic trip filled with mind-blowing electric guitar leads and many studio tricks thrown in! Get lost, now or never !
 

Chie Mukai & Yonju Miyaoka 'Song of trees' Comes in jewel case, with 8 page booklet and English translation kraft sheet. artwork by Yonju Miyaoka Lyrics translation by Alan Cummings Long notes by Takuya Sakaguchi, Short notes by Alan Cummings and Yu Hirayama. Mix & Mastered by Ippei Suda All lyrics and text has English translation Edition of 500

An official re-issue of the 1996 album, Beyond the Circle, from Dr. Osamu Kitajima presented by Forest Jams on vinyl for the first time. As the title suggests, Japanese music explorer Osamu Kitajima takes the listener beyond the known on a musical voyage into new territory where his compositions are a synthesis of Western electronics and ambient dance rhythms, tempered by the wisdom of ancient Japanese traditions. “Beyond the Circle” is music that is as energizing as it is spiritual and melodic.

Shoukichi Kina, who was born in Koza City (now Okinawa City) in 1948, grew up listening to the sound of sanshin played by his father, Shoei, a master of Okinawan music. While in senior high school, Shoukichi Kina composed “Hai Sai Ojisan,” which later became one of the greatest hit tunes ever to originate in Okinawa. After he entered university in Okinawa in 1966, Shoukichi Kina formed Champloose and, finding it difficult to take his studies seriously, devoted much of his time to music, eventually leaving school entirely. It was around this time that various stories began to emerge — some true, some not quite — of his being a kind of nocturnal “King of Koza,” that he managed the folk music club Mikado, and that he made quite a lot of money as a dealer in a gambling casino. In any case, perhaps because his first efforts at forming a band were not too successful, it wasn’t until ten years later, in 1976, that he reformed the band around his father’s folk music group. It was from then that the distinctive “Champloose Sound” began to emerge — a unique combination of rock and Okinawan folk that was exactly right for those times, and these times, too. Before long, the “sound” found avid listeners among musicians and fans on the Japanese main islands, and such was its power that an album was quickly planned and, in 1977, recorded (at the Mikado, as it happened.) That album, Shoukichi Kina and Champloose, today considered a seminal chapter in the annals of Japanese rock, received overwhelming public attention, particularly as Makoto Yano, Akiko Yano and other famed musical innovators participated in the sessions as guests. Thanks to its nearly instant popularity — and to some adroit timing — the first Champloose concert outside Okinawa, in December 1977, was also a crowning success, with round after round of standing ovations from the sell-out crowd at Tokyo’s Nakano Sun Plaza. The second Champloose album, Blood Line, released in 1980, was not as quick in coming. But the wait was worth it, for the sessions, recorded in Hawaii with guests including Ry Cooder, Haruomi Hosono, and Makoto Kubota resulted in numbers such as “Jing Jing” (which rose to the Number Two spot on the British disco charts), “Hana…” which was sung by Tomoko Kina, covered by many others and is now a standard in Thailand, and other memorable cuts. The third and fourth albums, Matsuri, recorded in 1982 in collaboration with Makoto Yano, and Celebration Live, a live album released in 1983, did not disappoint the many fans Champloose had gathered during these busy and fruitful years. Unfortunately, those fans had to wait another seven years for the next album. Again the wait paid off: in August 1990, a 32-track digital recording machine was “imported” into Okinawa for the sole purpose of capturing the latest Champloose sound — a sound that by then had evolved and expanded to include, in addition to contemporary rock and Okinawan folk, a number of other musical factors ranging from reggae to jazz to Ainu melodies and more. Furthermore, both as a symbol of the wide scope of the group’s musical concepts and as a tribute to the inspiration they had received from Shoukichi Kina’s father, the latter also participated in the recordings. After the release of that fifth album, fittingly called Nirai Kanai — Paradise, the group returned to active performance, and from May 1991, began work on their sixth and latest album, Earth Spirit. Five of the 11 numbers on Earth Spirit are traditional Okinawan songs, and while such music normally has no choruses, Kina — joined by his fellow band members and by some outstanding guests from the fertile ethno-pop world of Paris — managed to weave some in, along with (not surprisingly) the irresistible flavors of Africa and the Caribbean as well.

180g weight vinyl. Hidefumi Toki's debut album features a hot soprano solo in "Lullaby for the Girl" and a melancholy alto solo in "Darkness," and he shows his presence in both performance and composition.

SIDE-A
01. That Was Illegal
02. You Still OK?
03. Like A Fable
04. You Have Time But I Don’t
05. Sad Errand
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SIDE-B
01. Star
02. Floating Weeds
03. Thickness of Love
04. One Day
05. The Whereabouts Of Romance

Written & Produced by Shintaro Sakamoto

Exclusive Mesh-Key release of Sakamoto's brilliant third solo album, with completely different art from the Japanese release. Comes with full-color inserts with lyric translations, and digital download cards.

After 20+ years with psych legends Yura Yura Teikoku, Shintaro Sakamoto’s third solo album is a bonafide masterpiece of warped steel guitar, ambient disco and AOR soul.

“Like a language of Sakamoto’s own…made with a ship-in-the-bottle-like focus.” Pitchfork (7.8)

“Love If Possible is the pay-attention-moment. Not enough know. More should know.” Under The Radar

“Perfectionist pop for the extraterrestrial bachelor pad.” Spin

This collaboration by Tokyo producers/musicians Shintaro Sakamoto and VIDEOTAPEMUSIC is the first of two EM Records 12-inch vinyl-only “tribute releases” in support of the film “Bangkok Nites”, produced by Kuzoku. Based on samples from Dao Bandon, Hongthong Dao-udon, Phairin Phonphibun, Thailand and Tokyo dreamworlds meet in these songs.

12" is Ryuichi Sakamoto's first original album in about 6 years, since "async" released in 2017. This is a collection of 12 songs selected from musical sketches he created as if he were writing a diary, and compiled them into a single album. The jacket was drawn by Lee Ufan, an international artist representing the "Mono-ha" school.

A solo album released in 2017. It is an ambitious work that breaks new ground after more than a year of recuperation from illness, and several concerts have been held overseas, mainly featuring material from this album. While the previous album "out of noise" was an organic acoustic work, this album makes extensive use of analog synthesizers, including vintage ones. Since one of the original production ideas was the soundtrack to a fictional Tarkovsky film, each song strongly evokes the listener's own image of the film. In fact, after the album's release, Shiro Takatani, Apichatpong Weerasethakul, Zakkubalan, and others made a film of the album and its songs, which was also presented as an installation. The album includes "andata," a new signature song that has been performed at every concert in recent years. Also, "fullmoon" and "Life, Life" featured readings by Paul Bowles and David Sylvian, respectively, from the film "Sheltering Sky".

FIRST EVER INTERNATIONAL RELEASE OF RYUICHI SAKAMOTO'S LANDMARK 1983 ALBUM "CODA," HIS RENDITION FOR SOLO PIANO OF THE 'MERRY CHRISTMAS MR. LAWRENCE' SOUNDTRACK. FEATURING REMASTERED AUDIO AND NEW LINER NOTES BY ANDY BETA.

Wewantsounds is delighted to announce the release of Ryuichi Sakamoto's classic LP "Coda”, issued in Japan in 1983 as a solo piano version of the "Merry Christmas Mr. Lawrence" soundtrack. The album, which was never been released outside of Japan until now, sees Sakamoto on acoustic piano reinterpreting fascinating versions of his famous soundtrack including the classic theme and "Germination," which was later used in the "Call Me By Your Name" soundtrack. This reissue has been remastered by Seigen Ono's Saidera Mastering studio in Tokyo and boasts the original artwork plus a 4-page insert with new liner notes by Andy Beta.

- First international release of the album
- Audio remastered by Saidera Mastering in Tokyo
- Original artwork with OBI and 4 page colour insert
- New liner notes by Andy Beta

Tracklist
SIDE 1
1. Merry Christmas Mr. Lawrence 4:49
2. Batavia 0:50
3. Germination 2:09
4. A Hearty Breakfast 1:18
5. Before The War 1:44
6. The Seed And The Sower 3:55
7. A Brief Encounter 2:27

SIDE 2
1. Ride Ride Ride 1:02
2. The Fight 1:20
3. Dismissed! / Assembly 1:50
4. Beyond Reason 1:26
5. Sowing The Seed 1:31
6. Last Regrets 2:05
7. The Seed 1:06
8. Japan 2:58
9. Coda 5:32

Ryuichi Sakamoto's seventh solo album, "Neo Geo," co-produced with Bill Laswell for global release, showcases a fusion of top musicians across various genres, including Sly Dunbar and Bootsy Collins. Infused with electronic tones intertwined with organic and ethnic flavors like traditional Okinawan and Balinese music, the album was meticulously crafted in both Tokyo and New York, reaching audiences in over 20 countries and marking a significant milestone in Sakamoto's solo journey.

Heavy weight vinyl. Remastered version of “out of noise”, his first solo album with commmons, released in 2009. The album was remastered under his supervision, adding previously unreleased tracks.

Ryuichi Sakamoto held a no-attendance online solo piano concert "Ryuichi Sakamoto: Playing the Piano 12122020" on December 12, 2020. The live performance was directed by Rhizomatiks and filmed by Zakkubalan, and was simultaneously broadcast worldwide from a studio in Tokyo. The live performance was a one-night-only event with no archive, making it a rare and precious event that will never be seen again.

This is Sakamoto's world music, expanding on the world view of his previous work, "NEO GEO". [Released in 1989.]

The first release under contract with Virgin Records in the U.S.
The album featured Brian Wilson (Beach Boys), Robbie Robertson (ex-The Band), Robert Wyatt (ex-Soft Machine), Youssou N'Dour, Art Lindsay, and many other guests.
The songs on the Japanese version differ from those on the international version, and this time the Japanese version has been chosen at the artist's own request.
About half of the songs on the album are covers, including two Okinawan folk songs and "We Love You" by The Rolling Stones.
The cover photo was taken by Albert Watson.

"The origin of techno. The original crystallization of the artists who created the era as big names, immortal monuments beyond the masterpieces." Limited vinyl version reissued in heavy vinyl. The heavy-duty vinyl version in the original jacket supervised by Ryuichi Sakamoto is available in a completely limited edition.

Ryuichi Sakamoto's third solo work, released in 1981.
This work features Ryuichi Sakamoto's vocals extensively, as he believes that "singing is not about how good you are, but about your voice, and even if you are not very good at it, it is the best self-expression in music". Cutting by Bernie Grundman Mastering in the U.S. Domestic pressing, limited edition of complete production.
Produced by Ryuichi Sakamoto and Robin Scott Participating musicians: Adrian Breaux, Kiyohiko Senba, Yukihiro Takahashi, Haruomi Hosono, and others

The soundtrack of the film "Monster," directed by Hirokazu Kore-eda and written by Yuji Sakamoto, with music by Ryuichi Sakamoto.

The soundtrack to “Merry Christmas Mr. Lawrence” (winner of the 1983 British Academy Award for Best Original Score), one of Ryuichi Sakamoto's first film scores and masterpieces, is finally being reissued on 180-gram vinyl for the first time in 41 years since its initial release in 1983. The new cutting master has been remastered in 2024 by Heba Cardley, an engineer who has worked on reissues of Ryuichi Sakamoto's works as well as Bjork's. The booklet includes liner notes by Peter Barakan and Junichi Onuma.

Wewantsounds is delighted to announce the release of Ryuichi Sakamoto's classic LP "Ongaku Zukan”, originally issued in Japan on his own School label in 1984. The reissue will replicate the original Japanese release which offered a bonus 7" EP featuring two bonus tracks "Replica" and "Ma Mère l’Oye". Remastered by Saidera Mastering in Tokyo, the reissue boasts the original gatefold artwork plus an extra 2-page insert with new liner notes by Andy Beta

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.

Experience the captivating and hypnotic sounds of Joyama no Narazumono – a rare gem of Japan’s 70’s folk scene! A genre-bending album by duo Shigeki Kobayashi and Yasuo Yamada, who drew inspiration from songs by local boatmen and British folk like Fairport Convention and The Albion Band to craft a minimalist, intimate approach to both traditional and original compositions. Locally released in 1979 in an edition of just 100 copies, this highly sought-after album is now available worldwide for the first time. Printed on Stoughton “tip-on” jackets. 300 copies on black vinyl, and 200 on Translucent “Root beer” vinyl.

One of the deepest and ideal forms of "Bon Odori", which is innumerable all over Japan, is considered by Minyo Mountains x M Records. The non-bouncing drums and hammer beats of krautrock reminiscent of German rock, the whistle that is blown all at once at an overwhelming volume, and the pole of minimal dance music that repeats thoroughly! Its too stoic and sharp sound image makes me want to call it "rural industrial music" or "richie hawtin in the field" that is played without using electricity. This is the "Boundary Stone Throwing Dance" that still remains in northern Saitama Prefecture. Here, the songs and dances that retain this old form have not been turned into tourism, and have continued to this day as the activities of the Bon festival.

This time, we remastered the song contained in the record "Saitama Bon Odori" produced by the Saitama Folk Culture Center in 1983, and recorded / mixed the latest version by the preservation society as of 2017. Recorded in. Please listen to the Japanese dance classics, where the stone Buddha begins to dance. The binding is Shinsuke Takagi (Soi48) following "Yumi Kagura".