Jazz / Soul / Funk

Recommended for fans of modern classical music like Another Timbre and Elsewhere! Okkyung Lee is a Korean cellist and improviser who has collaborated with Christian Marclay, Steve Beresford, Phil Minton and many other big names. is out now on Shelter Press! It's from a rather unexpected label. A dreamy chamber music ensemble featuring Okkyung Lee (cello), Eivind Opsvik (bass), Maeve Gilchrist (harp) and Jacob Sacks (piano). The avalanche of sentimental melodies and gentle, melancholic touches, wrapped in a myriad of aspects from chamber to spiritual jazz and folk music, also evoke the beauty of the pull and the aesthetics of "pause" that are common to Japanese environmental music/ambient music by Satoshi Ashikawa and Hiroshi Yoshimura. Mastered and cut by Rashad Becker at Dubplates & Mastering.

The last chapter of Lou Ragland’s Cleveland career was perhaps the most monumental. By its completion, Understand Each Other—more often referred to as The ConVeyor, with that uppercase V intentional but unexplained—featured generations of Cleveland luminaries, and representation from most scenes, both sexes, and several ethnicities. The album’s credits read like the guest list for a Lou Ragland episode of This Is Your Life. Kathy Grant was brought in to arrange the massive Cleveland Orchestra, inviting her father Frank in as first chair cello. A pre-O’Jays Dunn Pearson handled keys, and Richard Shann, the man who Pearson would replace in the O’Jays, got an arranger’s credit as well. The horn section was rounded out by Mother Brain Tree trombonist Ulysses Young, Bell Telefunk trumpeter Watson Vaughn, and future Dazz Band trumpeter Pierre Demudd. Lou’s live-in girlfriend Elaine Hines and her First Light singing mate Joyce Jenkins, both on break from stints with Terry Knight’s Grand Funk Railroad project, contributed backing vocals. One-time Co-Co co-owner Leonard Jackson brought his Temps knock-off the True Movement in as a male counter to First Light. In the middle of his stumbling career on the Miystic Insight label, Sonny Lovall adds another voice. Hot Chocolateers past and Seven Miles Highers present Tony Roberson, Herbert Pruitt, R. C. Johnson, Tom Tichar, James Johnson III, Joe Jenkins, and Pam Hamilton are all accounted for. Understand Each Other opens with the socially conscious title track, gutting out a second place finish to Marvin Gaye's "What's Going On?" in both its mission and its mix. Like Gaye's own conceptual title track, there is not a dull moment in Ragland’s, as strings, horns, percussion, and vocal motifs rise and fall organically through the monumental piece. Lou testifies throughout, matching the complicated terrain of the dynamic opener. Two songs later, “Since You Said You’d Be Mine” gets its 30-second intro back and looks all the stronger for it. On Side B, Ragland revisits Love For Dollars And Cents’ “Into The Next World”—issued on Co-Co in 1972—stretching the song out toward the five-minute mark but truncating its title. The album closes with an instrumental “Understand Each Other,” reminding the listener to flip the record over and begin again. The album’s jacket must be the most curious element of the package. The cover drawing, from the pen of Remus Peterson, depicts Lou Ragland as peacemaker, standing between a sabre-toothed tiger and a dove, asking them literally to “Understand Each Other.” On the reverse, that message is taken to the spiritual extreme. Sometime in 1977, Lou had taken on Lateef Mahmud as his spiritual guru in a brief flirtation with Islam (the Arabic on the sleeve translates to “God Is The Greatest”). Mahmud somehow snagged a producer credit, but he was also called on to pen an album preface. His notes conceive of music as a cosmic language, with this very LP itself compiled as a tribute to the “ghetto masters—those who master the ghetto and have become among those who help shape the destiny of this land.” Lou Ragland is deemed The Conveyor: “…the conveyor of harmony thru the ethers manifested in words, songs, and deeds to bring into focus the universal, educational, and inspirational plane of consciousness.” So Mahmud wasn’t all that far off, it turns out.

Combined with the planet’s leading Afrocentric confectionary and its derivative beverage, more than a few light bulbs were set to go off in newly christened practice spaces globally upon Hot Chocolate’s inevitable suggestion. Little did Ragland know, an interracial band of musical Englishmen were eyeballing the same nom de chanson in their native Brixton. They approached John Lennon for clearance for their reggae cover of “Give Peace a Chance,” but the powerful Beatle liked their interpretation so much, he added them to the band’s Apple Records roster, thrusting the Brits ahead in the race to make Hot Chocolate a household name for something other than dark, sweet beverages. Despite the potential confusion—and perhaps in hope of capitalizing on it—Lou Ragland began filling his mug with a host of recordings that would make up his Hot Chocolate’s eponymous debut. The album would be released on the oh-so-cleverly-named Co-Co label in 1971 and bankrolled by a five-pointed council that included Ragland, Lyman Moffat, Loretta Walker, Tom Threat, and Leonard Jackson. Executed at Agency Recording and engineered by longtime Ragland associate Don White, the seven-song affair is a team of vocal numbers and instrumentals in search of a leader. Volcanic Eruption’s James McClain showed up to provide vocals for the chorus to “Ain’t That A Groove,” but the rest of the record is all Hot Chocolate. After a solid year on stage, the group had many originals in their repertoire, but they chose to mint songs that Trina’s patrons had indicated, by ballot, they’d like to hear on the LP. Designed to capture the impulsive nature of the live show, most of the material ignores the industry-standard three-minute mark, a feature that might’ve appealed to disc jockeys craving a cigarette or sandwich—had the record been serviced to anyone outside of Cleveland. Dick Dugan, the Cleveland Plain Dealer sports illustrator who’d later conceive iconic mascots for the pro baseball Indians and pro football Browns during his career, was commissioned to sketch out the Hot Chocolate cover for a paltry $100. Working from a photograph, Dugan penned an imaginative rendering of the group, performing in a mugfull of their namesake dessert drink. The album was intended primarily as a keepsake for Trina’s patrons, who scooped up the 1000-copy pressing before slamming down another round.

The ninth installment in Numero’s Cabinet of Curiosities is 100% chart smashes. Culled from the depths of the private press, Super Hits gathers 12 magical adaptations from the Me Decade’s introspective songbook. Pop this oversized 8-Track into your Fleetwood Weltron and enjoy a motley crew of lounge singers, wedding bands, synth enthusiasts, trailer park dreamers, accountants, gym teachers, and more as they bring their own unique energy to classics by Steely Dan, War, Boz Scaggs, Neil Diamond, John Denver, Smokey Robinson, The Carpenters, Redbone, The Box Tops, Fleetwood Mac, and more. Tape warble not included.

In his book Powershift, published in 1990, writer and businessman Alvin Toffler predicted that the century ahead would be defined by speed and that time itself is destined to become our most valuable commodity. When Joshua Abrams recorded Natural Information, originally released by Eremite in 2010, he was reacting against such commodification of time and the diminishing attention span that accompanies it by offering music with an irresistible groove, rooted in the sinuous rhythms of the human body and the full play of our senses.

At the heart of this music is the sound of the guimbri, a North African three-stringed bass lute, which Abrams started to play following a visit to Morocco during the late 90s. Traditionally the instrument has a key role in mystical healing ceremonies. Abrams, already a well-established figure in Chicago’s vibrant musical communities, had no desire to repackage tradition. He recognized however that the involving, springy and percussive sound of the guimbri was just the right voice to communicate vital data, to relay the natural information we all need in order to get back in touch with the pulsating continuities of a world we all share.

With Natural Information Abrams entered a new phase of his musical life, extending an invitation to the trance, where time intersects with timelessness. He carried with him a wealth of playing and listening experience. As a bass player he had worked with a host of notable musicians including guitarist Jeff Parker and percussionist Hamid Drake, and had been a member of back porch minimalism outfit Town And Country and the improvising trio Sticks And Stones.

The guimbri is a shaping presence on this remarkable recording, but Abrams also plays bass, bells, kora, sampler and synthesizer. Sympathetic friends including guitarist Emmett Kelly, vibraphonist Jason Adasiewicz and drummers Frank Rosaly and Nori Tanaka join him  for the project. They set out not to contrive some neat hybrid but to enable coordinated energies and enriching influences to pulse and flow through living, breathing music. Ten years further into a century seemingly dedicated, as Toffler foresaw, to the survival of the fastest, the deep involving groove of Natural Information seems still more relevant, more illuminating, more vital.

Long-awaited world premiere LP of the legendary second album by Mono Fontana. Jazz, ambient, field recordings, sound collage, ethnic music, electronic music, post-classical. The complex intertwining of various musical elements and the unfathomable musicality of the band has evolved even further in this album. The collage of various sounds around us, such as people's conversations, the bustle in the distance, the sound of running water from a faucet, the second hand of a clock, and the shutter of a camera, and the flexible Mono piano lead listeners on a supreme sound trip to "somewhere other than here". Although born in Argentina's underground scene, this is a magical piece of music that still fascinates many musicians.

London based Caribbean-Belgian composer, producer, and musician Nala Sinephro steps out on her own with a deeply personal debut album and her first release with Warp Records.

The Chakachas were a Belgian based group of Latin soul studio musicians. Also known as Les Chakachas or Los Chakachas. They started out in the late 50s, recording a playful mixture of Latin music, jazz, and European-style exotica. This same titled album is a much sought after album amongst the connoisseurs.The song "Stories" on this album was featured on the soundtrack of the very popular game Grand Theft Auto V. This song was also covered by the band CAKE.Get your latin groove on.

Vertigo is album number 18 for Australian jazz trio, The Necks. They like to take a simple idea and allow it to develop organically through improvisation. They don’t know where they’re going when they set off but they always seem to get there. Their music is very human, it allows room for space, it’s ambiguous allowing the listener to interpret it in their own way.

Sonor Music Editions proudly announces the first ever reissue of another Italian Library holy grail, fruit of the union between two of the most brilliant composers of Italian panorama: Alessandro Alessandroni and Rino De Filippi. "VACANZE" album (in English 'holidays'), was originally released in early/mid 70s on Sermi output, and is one of the most elusive records from the label out there. From refined Lounge music to stunning Jazz-Funk and groovy vibes, this album features an unbelievable set of the coolest themed music from the whole Library scene, with maestro Rino De Filippi's harpsichord on evidence in many tracks and soaring, loungy and dreamy moods throughout the entire album. A superlative recording, with an incredible sleeve design that has obssessed Library collectors for years, and for sure among the best releases from the gold Sermi label along with "Nel Mondo Del Lavoro" release just announced. iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/614156976&color=%239a8d5e&auto_play=false&hide_related=true&show_comments=false&show_user=true&show_artwork=false&show_reposts=false&show_teaser=false" allow="autoplay" scrolling="no" width="100%" height="166" frameborder="no">

We proudly announce the first ever reissue of this quintessential, oustanding Italian Library grail, originally released on Sermi label in 1972. Highly-regarded album and considered a masterpiece of the genre, "Nel Mondo Del Lavoro" (also released at the time with the title "World At Work" on Conroy) is one of the most precious and beatiful works conceived by the Italian maestro Rino De Filippi, and originally used for the soundtrack of the Rai-TV documentary series "SAPERE: IL PETROLIO". Music is written and composed by the maestro backed by the great I MARC 4 studio ensemble and accompained by I Cantori Moderni di A.Alessandroni with breathless scats, insane arrangements and unbelievable, unique and complex mood music from Jazz to Lounge, Bossa Nova and more. A real monster of record that best catches the library music job in adding music to films and documentaries.

Woke rhythms and high-spirited grooves from the vaults of two seminal Italian jazz labels, between the 70s and 80s. Intensely curated by Khalab. Hyperituals is part of the new research path undertaken by Hyperjazz Records. Entirely curated by Khalab - Raffaele Costantino, HJ’s founder and head of A&R - Hyperituals is a philological investigation that delves deeply into the musical influences and cultural roots of the young Italian label. The theme that runs through Hyperituals is the exploration of the possibilities of sound, rhythm, remix, and endless sampling. Inspiring listening, interpretation, and insight. Is it an exercise in crate-digging that explores the past of some of the most important yet sometimes forgotten record labels and aims to bring to light music that is contemporary both in its sound and its message. The first stage of this journey is represented by Black Saint/Soul Note, an Italian ‘double’ label based in Milan that, since the 1970s and throughout the 1980s, established itself as one of the most important imprints for international jazz. Founded respectively in 1975 by Giacomo Pellicciotti and in 1979 by Giovanni Bonandrini (to whom Pellicciotti sold Black Saint in 1977), Black Saint and Soul Note have represented a safe haven for incredible and brilliant artists who were unable to find their space elsewhere. By combining jazz tradition with the political vanguard sentiment of the time, the two sister labels were able to press and produce more than five hundred records (still available today - the catalogue is now owned by CAM Jazz), many of which are by some of the brightest names in creative jazz or the ‘avant-garde’ of the era. Black Saint and Soul Note always placed the artists, their visions, and their music at the center, giving them total freedom of creative expression. It is thanks to this constant, cutting-edge and meticulous commitment that today we have some of the shiniest musical gems by Sun Ra, Archie Shepp, Don Cherry, Max Roach, Anthony Braxton, David Murray, and many others. And it is this long list of jazz gods and idols that led the two labels to be recognized as the best in the world by critics, winning the DownBeat Critics Poll for Best Record Label for six years in a row, from 1984 to 1990, conquering the American market. This first double gatefold vinyl volume is entirely dedicated to the Soul Note catalogue. Khalab’s selection - focused on rhythms, grooves and Afrocentric traditions - demonstrates how this music, through its sensibility, can renew our connection to the present in unexpected ways. As the curator and music critic Enrico Bettinello writes in the compilation’s liner notes, in this volume “we find moments of ecstasy, irresistible percussive webs, fiery solos, poetic awareness, and magical ritual lyricism.” A second volume focused on the Black Saint catalogue is already in the works.

未発表デモ音源も収録したUKポストパンク・バンド、MEDIUM MEDIUMの決定的コンピが2LPリリース!! UKポストパンク・バンド、MEDIUM MEDIUMの決定的コンピレーション・アルバムが2LPがRECORD STORE DAY 2022に登場! オープニングナンバーにして代表曲"HUNGRY, SO ANGRY"は、数々のコンピにセレクト、言わずもがなのホワイト・ファンク金字塔的名曲。イントロのサックス、腰にビシビシとクるベース、鋭角的なギターと完璧! 1981年、UKレーベルCHERRY REDよりリリースされたスタジオ・アルバム唯一作『THE GLITTERHOUSE』収録曲に加え、ライブ音源、そして1982年10月のデモ・テープからの未発表曲を含む、NW / ポストパンク・フリークはスルー厳禁の内容! 完全リマスター / 180グラム重量盤 / 500枚限定プレス

Sade’s “The Best of Sade” album was released on 31st October 1994. It is a compilation of her greatest hits and includes “Jesebel”, “Like a Tattoo” and “Pearls”.

The original is a $$$BIG$$$ ultra-rare record sought after by collectors all over the world! Indian fusion disco jazz masterpiece released in 1982 by Rupa Biswas on a local label in Kolkata, West Bengal, India, featuring traditional instruments such as sarod and tabla. A superb record that falls somewhere between Bollywood and Balearic! The funky and psychedelic sound is dynamically surged by sarod and synthesizer, and the ethnic and bewitching vocal work is excellent. The funky and psychedelic sound with dynamic surges of sarod and synthesizers and the ethnic and bewitching vocal work are excellent. It's no exaggeration to say that this is the pinnacle of frontier grooves. The fact that it was produced by Aashish Khan, a sarod player who is a master of Indian classical music, should not be overlooked. A must-have for prog and psychedelic lovers as well as DJs!

As the rift between academic jazz, new age, and pop narrowed in the 1980s, DI.Y. practitioners of metronome driven riffs found new growth in a burgeoning managerial middle class, a commercial audience held captive in dentist offices and waiting rooms across America. Session players took to midi-banks stocked with every instrument imaginable and delivered on a road rage-induced demand to stay cool, relaxed, and focused all at once. The extra-wide cuts packaged here will be mint for years to come. Go ahead, break the seal on a fresh pack of Nuleafs. There’s only one sensation this smooth.
About the Cabinet of Curiosities:

For Numero, taking time to explore the more esoteric possibilities of our creative practice provides a deeper understanding of the resulting piece of work. This curatorial exercise, usually relegated to mix tapes and oddball DJ nights, has allowed us to see the connections between our most far reaching corners.

After years of whittling away at the art of compilation, this part of the practice came to the foreground, and an alternate view began to emerge. The outlines of a context beyond time and place, individual and scene. Threads sewn through the fabric of music history that tell a story primarily concerned with intentionality, psychic connections, and vibe.

To tell these stories an equally symbolic medium is required.

In order to create an object that can emote the value of the like minded yet distant relationships therein we looked to the world of commercial production running parallel to these musical subcultures. The treasure chest of artifacts made during the 20th century’s post-industrial free-for-all may be the only conceptually appropriate talisman for this music, the ability to bring the studio home was after all made by the same mechanism that brought on the consumer gold rush.

The consumer experience embodied by the secondary market, dog eared, footnoted, taken apart and tinkered with. The cabinet is a simulacrum of the lost and found. Our commercially nostalgic spirit-animal, redressed to be a more accurate representation of our emotional experiences with these objects. Less concerned with function than with the memories we associate with them.

The Cabinet of Curiosities is Numero’s tribute to the origin of the DIY museum, with our curatorial focus as always on the heroically home-made, the expanding fan universe, the suburban studio sublime.

Limited Colored Vinyl. "Mulatu Astatqé (also sometimes spelled Mulatu Astatke, as he is on the liner notes to this release) might be most known to international audiences through his tracks on the excellent Ethiopiques CD anthology series of Ethiopian music. Long before those tracks were compiled for that series, however, he had an American release with this 1972 instrumental album, on which he's billed as 'Mulatu of Ethiopia.' Like much of the best of the circa-early-'70s contemporary Ethiopian music on Ethiopiques, it's a fine, at times captivating blend of late-'60s American soul and jazz with Ethiopian music, resulting in something not quite comparable to anything else." -- Richie Unterberger, All Music Guide.

The masterpiece by Pharoah Sanders, "You've Got To Freedom" is a sampling favorite. A vinyl reissue of this great album from 1980. The groove and rich colors of this gem will appeal not only to jazz fans but also to all music lovers.

Minnie Riperton's first album was released in 1971 while she was still a member of Rotary Connection, and was produced by Charles Stepney, who later worked with EW&F and Terry Callier. The album was produced by Charles Stepney, who was also a member of Rotary Connection and later worked on the albums of EW&F and Terry Callier.

A reissue of the classic 1977 vocal fusion album that has been the source of many hip-hop samples. It features Narada Michael Walden (Whitney Houston, Herbie Hancock, George Benson) on drums. Long out of print, and coveted by collectors, Chiaroscuro provides an official faithful reissue.

Originally released on Prestige in 1957, this is the third LP from NYC street performer and avant-garde/minimalist composer Moondog. Perhaps the least accessible of his early releases, this album is made up of percussive jams, usually on instruments of his own creation, street sounds, poetry, and Far East melodies, despite opening with a swinging number that is, oddly, the most bizarre thing on the album. Another classic from Moondog reissued with its original Andy Warhol artwork. Limited edition of 1,000 on purple and green starburst vinyl.

Sublime Frequencies finally unleashes it’s ESSENTIAL compilation from 1970’s Egypt. Modal instrumental tracks from Baligh Hamdi - one of the most important Arabic composers of the 20th Century (writing for legends Umm Kalthum, Abdel Halim Hafez, Sabah, Warda, and many others). Features his legendary group the “Diamond Orchestra” with Omar Khorshid on guitar, Magdi al-Husseini on organ, Samir Sourour on saxophone, and Faruq Salama on accordion. All of these musicians were discovered and recruited by Hamdi to interpret his vision of a modernized, hybrid Arabic music. Under Hamdi’s direction, this orchestra charted a new melodic direction and created a new musical language. This compilation is culled from a specific era of Hamdi’s long career, a decade where he fully realized an international music which incorporated beat driven Eastern tinged jazz, theremin draped orchestral noir, tracks that feature searing guitar solos from none other than Omar Khorshid, and a selection of buzzing, sitar driven, Indo-Arabic tracks establishing a meeting of mid-east and eastern psychedelic exotica, and a vision that created some of the hippest music coming out of the Middle East from the late 1960’s and throughout the 1970’s.

Masayuki Takayanagi was one of the truly iconoclastic musicians to emerge from Japan, or anywhere else, in the 20th Century. Though he won acclaim in the 1950s and '60s as a master of the electric guitar and jazz improvisation, Takayanagi was a restless spirit, deeply engaged with the era's new movements in contemporary art, music, literature, and philosophy. His work, beginning in the late 1960s placed him on the leading edge of these developments; he began expanding on the most radical elements of American and European free jazz, infusing them with the raw feedback and dissonance of electronic and avant-garde music. With his various New Direction groups, Takayanagi broke free of traditional structures and developed a new theory of music that embraced an aggressive and unrelenting style of playing that has remained almost completely unparalleled in its ferocity. Of all the albums to be released during Takayanagi's lifetime, 1975's Eclipse was perhaps the most enigmatic and sought after. Released in an edition of only 100, it almost immediately disappeared and became a holy grail for Japanese connoisseurs of adventurous music, and rightly so. It's first side contained a two-part realization of Takayanagi's "Gradually Projection" modality -- a searching interplay between instruments -- slowly emerging from a sparse open field and building with the tension of a looming thunder storm. The second side contains an epic performance of a "Mass Projection", a high energy, densely layered barrage of sound that in its 25 minutes, never once slackens its intensity. It would be another 31 years before this key album in Takayangi's oeuvre would finally have a (slightly) wider audience through a CD release by Japan's P.S.F. Records. Black Editions present a deluxe vinyl edition of this masterwork, revealingly remastered from the original tapes by Elysian Masters. The album is packaged in a heavy double tip-on gatefold jacket that pays tribute to the original handmade packaging and features a previously unseen studio photograph of Takayanagi by Tatsuo Minami. Recorded in Tokyo, March 14, 1975. Engineer: Mikio Aoki. Cover, photographs and design by Kazuharu Fujitani. Gatefold photograph by Tatsuo Minami. Insert Notes by Yasunori Saito. Produced by Satoru Obara, Yoshiaki Kamei, Nihon Gendai Jazz Ongaku Kenkyukai. Originally released in an edition of 100 by ISKRA Records, Japan in 1975. Remastered from the original master tapes by Dave Cooley, Elysian Masters, and produced by Peter Kolovos. Deluxe heavy tip-on gatefold LP with matte black paper, second tipped-on metallic gold wrap and insert.

In August 1969, Masayuki Takayanagi formed his first New Direction group and embarked on an unparalleled musical journey that over the final 22 years of his life would define him as an uncompromising artist who would forge a visionary new musical language. Comprised of himself on acoustic and electric guitar and joined by Motoharu Yoshizawa on bass and Yoshisaburo 'Sabu' Toyozumi on drums, Takayanagi's group created a new unconstrained form of music; It expanded on the most radical, fiery elements of American and European Free Jazz, while refracting them through an avant garde prism. Harmonic and melodic development were rejected in favor of feedback and complete spontaneity. With New Direction, Takayanagi had achieved a "decisive break" from the past and created his own revolutionary music - a ferocious, often violent sound that paradoxically took both musical movement and stillness to their extremes. Takayanagi's New Direction soon recorded one of the landmark albums of free jazz and the avant garde, Independence: Tread on Sure Ground (1970). It was Takayanagi's first album as a group leader and nothing short of groundbreaking. However, it would be 25 years before a wider audience would finally able to hear Takayanagi's vision with the group in its most explosive and unmitigated realization; Japan's P.S.F. records released two CD's, Call in Question (1994) and Live Independence (1995) which featured unearthed, previously unheard 1970 recordings made by the group at the legendary Shibuya Tokyo venue, Station '70. The recordings were revelatory; They presented nascent, jarring versions of Takayanagi's "Gradually Projection" and "Mass Projection" modalities in uncut, unvarnished long form. Joined on some tracks by renowned saxophonist Mototeru Takagi, the performances are intensely physical and visceral - each player creating a vivid self contained sound that at the same time merges with the overall group imperative to create something entirely new and beautiful. Yoshizawa, Toyozumi as well as Takagi would, in their own right, go on to join Takayanagi as iconic players in the world of Japanese free jazz and avant garde. It is these performances, in a crucial moment of societal and cultural upheaval, that would help lay the groundwork for the rich world of free improvisation, free jazz and, to a large degree, underground music in Japan for decades to come. Later Takayanagi would write "It is improvisation alone that transcends genre and academicism to become music as raw, independent existence, the most unique living organism within a yet-to-be unknown". It is in these recordings that that "yet-to-be unknown" can begin to be heard. Black Editions is proud to present the entirety of the recordings presented on both P.S.F. albums as well as a previously unreleased side-long Mass Projection in a deluxe, remastered 3LP box set. The set features the stark photography of the late Yuji Itsumi and presents the original liner notes by key Japanese music critics and historians Yoshiyuki Kitazato and Toshihiko Shimizu newly translated into English as well as in the original Japanese.