1970s

Here is another Babyman-Babic German pop classic.

Space Art the French electronic duo of Dominique Perrier (keyboards, vocoder) and Roger Rizzitelli (drums, percussion). Between 1977 and 1981, they released three albums of comsic synth pop, in which they laid much groundwork for French electronic music to follow. After their third album in 1981, they toured around the world with Jean Michel Jarre in support for his Concerts in China album. Space Art's third single “Nous Savons Tout” was released in 1978 on IF Records. Their sound was similar to Jarre's early analog albums, but with the addition of real drums. Dominique plays an ARP Odyssey, Clavinet, Eminent, and Minimoog, maximizing their warm textures. Roger plays the drums in an intricate fashion, influenced subtly by jazz fusion. “Nous Savons Tout” features an early prototype of the Vocoder, which the band used to create the chorus. On the flip is the slower "Melodie Moderne", an electronic take on classical rock songs of the 1970s. Both tracks were recorded at Studio Ferber Paris in June 1978. Like Richard Pinhas/Heldon and Yellow Magic Orchestra, Space Art created their own brand of dark space disco, paving the way for bands like Air and Mellow. All songs have been remastered for vinyl by GEORGE HORN at Fantasy Studios in Berkeley. The record comes in a sleeve featuring the original cover art of a firefighter in a knight-like pose, painted by GILLES LACOMBE. Each LP includes a postcard with liner notes by surviving member Dominique Perrier. The sounds here evoke a Parisian noir thriller set in a discotheque circa '78 - steamy and dark, equal parts erotic and existentialist.

arguably the greatest album of all time as limited 180 gram vinyl reissue!

Bursting into the 1980s on a new label (the then-upstart, now-legendary Rough Trade) and with an augmented, audibly panicked lineup, The Fall's Grotesque is the true pure-bred Fall release from the Marc Riley era. Released in the immediate wake of The Fall's most beloved single (Totally Wired), the album carries over that righteously famed teeth-chattering, bolstered in no small part by the drumming of new addition Paul Hanley, brother of bassist Steve Hanley and aged only 15 at the time of recording. "Pay Your Rates" negates the notion of easing into things, opening the album with pure jitter, guided by hornet-buzz guitars and Mark E. Smith's commanding shout, allowing for breath only during the brief, lumbering waltzes that appear at unexpected intervals. "New Face In Hell" is an entirely alien take on dancehall post-punk – a kazoo-driven rave-up that holds an unshakable position in the band's canon. Many significant firsts surround Grotesque, including The Fall's inaugural production partnership with Mayo Thompson and the debut of Suzanne Smith's wonderful artwork, both of which would play key roles in the band's following phase. Superior Viaduct's edition is the first time that Grotesque has been available on vinyl domestically since its initial release in 1980. Liner notes by Brian Turner.

/ why do fools fall in love

/ blue suede shoes

180 gram vinyl

/ surfin safari

/ little deuce coupe

Presented on seven LP's is a comprehensive overview of Australian underground music, originally released on cassettes or vinyl between the late '70s and early-mid '80s. The first two platters contain Andrew Lonsdale's (Browning Mummery) selection of rare and essential tracks representing the vast diversity of sounds found in Australia's underground scene of the era. LP #3 features artists from the Lymph Products catalogue (The Horse He's Sick, Cerebral Haemorrhage, Kurt Volentine and Cut With The Kitchen Knife) and Browning Mummery's Boxmusik Tapes. LP #4, compiled by Garry Bradbury (former member of Severed Heads), focuses on bands, projects and collaborations such as Wet Taxis, Rhino Rhino, and Pissy Relay Switches, that released music on the famous Terse Tapes label. The fifth disc contains the split LP of Hiroshima Chair and a selection of M-Squared label related bands such as Systematics, Scattered Order, Ya Ya Choral, and The Makers Of The Dead Travel Fast. LP's 6 and 7 are fully dedicated to the earliest recordings by Tom Ellard's Severed Heads, containing the highly collectable albums 'Clean', 'Ear Bitten' and the 'Side 2' tape. The set also includes a large and extensive 48-page LP-sized booklet with lots of valuable information, insights and photos/scans compiled and written by David Courtney.

Konstruktivists are a UK Industrial group formed by Glenn Michael Wallis in 1982 out of the ashes of Heute. In the late '70s/early '80s Wallis was heavily involved with Throbbing Gristle and the Industrial Records crew. Influenced by Krautrock bands like Can, NEU!, Cluster/Harmonia as well as Tuxedomoon, Yello, Chrome, SPK, and early Clock DVA, Glenn began to record his own material. After several cassette releases through Flowmotion under his own name, Konstruktivists’ first LP A Dissembly was released in 1982. To record A Dissembly, Glenn went into IPS Studio in Shepherds Bush, London. Glenn played synthesziers, percussion and vocals, with help from Dave Rouse (guitar), Adrian Grover (piano, tape loops) and Dave Kenny (engineer, treatments, tapes). The equipment used for this album includes a Korg MS-20, Casio MT-40, Roland TR-606 and TB-303, Korg Space Echo 555 and an Eventide Harmonizer previously used by Throbbing Gristle. In the studio was an old broken piano which was recorded with two microphones onto an 18 foot tape loop. Chris Carter of Throbbing Gristle modified Glenn’s TR-606 with separate outputs for snare and bass drums to help create the slap back snare sound heard through the album. Konstruktivists create their own brand of Industrial using tape loops and lurching rhythms arched by droning melodies. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket, featuring a black and white photograph of a church by Dave Byatt and hand lettering and line drawing by Lorna M. Each copy includes a 2-page double-sided 8×11 insert with liner notes by Glenn Wallis, press clippings, and photos, plus a bonus flexi-disc containing the song “Smack,” which was recorded during the same session as A Dissembly.

A bit like a Roman candle, the Boomtown Rats burned brightly for a short period, spewing out several excellent albums before just as quickly fading and fizzling out.This particular ‘gig’ was for the TV cameras of the German music show "Der Musikladen" presumably around July/August 1978 as The Rats finished up promoting their eponymous debut album and released the follow up "A Tonic For The Troops." The setlist therefore majors on their first album featuring eight of the ten tracks, supplemented by ‘She’s So Modern’ (the lead single from TFTT), ‘Don’t Believe What You Read’ from the same album and a number of B-sides.

YMO's second album Solid State Survivor was released in 1979, and represented numerous crossover tracks from Techno to New Wave. Solid State Survivor is probably the most sampled YMO album, as over the years several artists performed numerous covers of "Behind The Mask". This extremely popular album peaked at # 1 in several charts all over the world.180g vinyl.

Shooting at the Moon (1970) is the second solo album of Kevin Ayers. Shooting At The Moon is a solid, unique Pop record. However, Ayers has presented the material in the guise of progressive, arty Rock. No songs in Ayers' discography are more representative of his amiable musical nature than these.180g vinyl.

The box contains all 15 hit studio albums sourced from the original master tapes mastered by Bob Ludwig, half-speed lacquers cut at Abbey Road Studios pressed on heavyweight 180 gram coloured vinyl. It also includes a lavishly illustrated 108 page hardback book and a download voucher to access 320kbps MP3s of all albums.

A landmark live album from Iggy Pop and his band, that also features a certain Mr. Bowie on keyboards. Sister Midnight Live was recorded at the Agora Ballroom in Cleveland, Ohio, on March 21st, 1977, part of Iggy Pop's three night stand at this venue. It captured an important moment in the history of popular music and will not only appeal to determined collectors of all things Iggy and Ziggy, but to all fans of electrifying in-your-face Rock 'n' Roll.

A musical legacy that began in Hawthorne, California and went on to conquer the world. Analogue Productions presents the ultimate pressings of 14 essential Beach Boys albums! Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in 'old school' Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!Worth noting on "Surf's Up" is Stephen Desper's engineering work — the entire album was mixed to a center channel quad matrix that he was developing at the time."Surf's Up" hit the Top 30 on its first release, reaching No. 29 on the Billboard LP charts — the highest chart placement the group had had since 1967. At the time of its release, "Surf's Up" was hailed by many as a comeback for The Beach Boys, who were beginning to attract raves for their live performances, including highly acclaimed sets at New York's legendary Carnegie Hall.Carl Wilson makes solid contributions on Surf's Up with "Long Promised Road" and "Feel Flows", and the album also features stellar tracks by Al Jardine and Mike Love, as well as Bruce Johnston's most enduring composition, the gently nostalgic "Disney Girls (1957)", but the album's twin jewels are both from Brian Wilson — "Til I Die" and the title track — one of the centerpieces of the then-unreleased "Smile" (cowritten by lyricist Van Dyke Parks and here given that album's "Child Is Father to the Man" as a glorious coda.) "Surf's Up" track "A Day in the Life of a Tree" is the first in a series of Brian's songs that close the album. It's simultaneously one of Brian Wilson's most deeply touching and unusual compositions; he is the narrator and object of the song (though not the vocalist; co-writer Jack Rieley lends a hand), lamenting his long life amid the pollution and grime of a city park while the somber tones of a pipe organ build atmosphere. "Til I Die", isn't the love song the title suggests; it's a haunting, fatalistic piece of pop surrealism that appeared to signal Brian's retirement from active life.

A musical legacy that began in Hawthorne, California and went on to conquer the world. Analogue Productions presents the ultimate pressings of 14 essential Beach Boys albums! Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in 'old school' Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!Worth noting on "Surf's Up" is Stephen Desper's engineering work — the entire album was mixed to a center channel quad matrix that he was developing at the time."Surf's Up" hit the Top 30 on its first release, reaching No. 29 on the Billboard LP charts — the highest chart placement the group had had since 1967. At the time of its release, "Surf's Up" was hailed by many as a comeback for The Beach Boys, who were beginning to attract raves for their live performances, including highly acclaimed sets at New York's legendary Carnegie Hall.Carl Wilson makes solid contributions on Surf's Up with "Long Promised Road" and "Feel Flows", and the album also features stellar tracks by Al Jardine and Mike Love, as well as Bruce Johnston's most enduring composition, the gently nostalgic "Disney Girls (1957)", but the album's twin jewels are both from Brian Wilson — "Til I Die" and the title track — one of the centerpieces of the then-unreleased "Smile" (cowritten by lyricist Van Dyke Parks and here given that album's "Child Is Father to the Man" as a glorious coda.) "Surf's Up" track "A Day in the Life of a Tree" is the first in a series of Brian's songs that close the album. It's simultaneously one of Brian Wilson's most deeply touching and unusual compositions; he is the narrator and object of the song (though not the vocalist; co-writer Jack Rieley lends a hand), lamenting his long life amid the pollution and grime of a city park while the somber tones of a pipe organ build atmosphere. "Til I Die", isn't the love song the title suggests; it's a haunting, fatalistic piece of pop surrealism that appeared to signal Brian's retirement from active life.

Thomas Leer is an innovative electronic musician who was born in Port Glasgow, Scotland. He began singing for a local band at age 13, and was writing his own music by 18. By 1977, he had moved to London, where he fronted Pressure, a Clash­-esque punk group with fellow experimental Scottish musician Robert Rental. After hearing Kraftwerk, Leer became interested in synthesizers – not long after, he was exploring the experimental techniques of Eno, Zappa, Beefheart, Faust, and Can.In 1978, Thomas released his first single, “Private Plane”/“International”, on his own Oblique Records. Both songs were recorded in his small Finsbury Park flat over three days, using a TEAC A3440 4-­track recorder and an ALICE mixing board. The only effects used were a Watkins Copicat tape echo unit, Electo Harmonix DrQ filter, an old Roland drum machine, and a Stylophone. So as to not wake his sleeping girlfriend, Leer’s vocals were nearly whispered, which lends them a textural, psychedelic quality. NME named “Private Plane” Single of the Week, and the hand-stamped first edition of 650 promptly sold out. For this expanded reissue, we’ve added 2 bonus tracks. “Kings of Sham”, from the 1981 Cherry Red Records sampler “Business As Usual”, is perfect motorik trance, echoing Conny Plank’s 1970?s productions. “Saving Grace” is the extended instrumental version of Leer’s second single “All About You” from 1982, a slow­-burning cosmic work-out chock-full of anthemic synth riffs.All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the 1978 handmade edition enlarged for the 12” format, featuring a cut and paste collage by Thomas. Each copy includes a two­-sided newsprint insert with never­-before­-seen photos, an interview, and liner notes by Professor Keith R. Laws. 37 years later this is fresh UK D.I.Y. post­-punk, compelling pop with a dark heart, vacillating between the pretty disturbing and the disturbingly pretty.

This release comprises of an excellent radio broadcast from Talking Heads in August 1979 when, back on home turf in Boston, Massachusetts, the band played a rip roaring set to those smart enough to have bought a ticket and those lucky enough to have been living in the greater Boston vicinity to whom local FM radio transmitted the entire proceedings.

Limited edition for Black Friday RSD 2013.

180g Vinyl im Gatefold Sleeve. Für Musikkenner ist TIM HARDIN der Mann, mit dessen Songs andere Künstler große Erfolge feierten.BOBBY DARIN wurde mit ,If I Were A Carpenter" berühmt und ROD STEWART machte mit seiner Version von HARDINs ,Reason To Believe" von sich reden.Seine eigene Aufnahmekarriere ist ein der bestgehütesten Geheimnisse des Musikbusiness.Der Singer/Songwriter lieferte in den späten Sechziger Jahren einige fantastischen Alben ab.Aufgrund von Drogenproblemen verringerte sich sein Output, bis er langsam in der Versenkung verschwand und 1980 schließlich starb.Aber wir können uns äußerst glücklich schätzen, dass seine Art, bluesige, tiefgründige Songs zu schreiben, ewig weiterleben wird.Auf seinem vierten Studioalbum ,Bird On A Wire", das ursprünglich 1971 erschein, vermischt er Eigenkompositionen ("Soft Summer Breeze", "Moonshiner", "Southern Butterfly") mit Coverversionen wie dem Titeltrack (der aus der Feder von LEONARD COHEN stammt) und der wunderbaren Version des Klassikers ,Georgia On My Mind".Wichtiges Material für Fans von TIM BUCKLEY und LEONARD COHEN.

To mark Finders Keepers Record's 50th release labelheads Andy Votel, Dom Thomas and Doug Shiptonreturn to where it all began in 2005 with a long overduereturn to JeanClaude Vannier's vaults!

5LP heavy box set incl. reproductions of 5 top-charting LPs pressed on 180 gram coloured vinyl plus bonus poster!!!

180g vinyl

with contributions by Antony of Antony & The Jonsons, Jarvis Cocker, Rufus Wainwright, Nick Cave, Sean Lennon and others!

/ free

180 gram vinyl reissue of this rock classic!

... classic produced by Brian Eno ... 180 gram vinyl!

21 tracks incl. i want you back, abc, ben, rockin robin ...

Blondie's second album „Plastic Letters “ from 1979 made it to the top ten UK charts back in the days. Now it’s available again in an official picture disc edition for collectors.

Simon and Garfunkel's Greatest Hits (1972) is the first compilation album from Simon & Garfunkel. The album was a mix of original studio recordings and four previously unreleased live recordings. The remaining ten studio songs comprise nine singles released between 1965 and 1972, "America" being issued as a single several years after its appearance as a track on the Bookends album, and one album track, "Bookends".

Bridge over Troubled Water is the fifth and final studio album by American folk rock duo Simon & Garfunkel, originally released in January 1970. Both critically and commercially successful, the album topped the charts in over ten countries and received two Grammy Awards, plus four more for the title song. It sold around 25 million records and was ranked on several lists, including at number 51 on Rolling Stone's 500 Greatest Albums of All Time.

One of the most successful albums of Linda Ronstadt's career, "Simple Dreams" spent five successive weeks at No. 1 on the Billboard album chart in late 1977, displacing Fleetwood Mac's "Rumours" at No. 1 after 29 record-breaking weeks in the pole position. It also knocked Elvis Presley out of No. 1 on Billboard's Country Albums chart after 'The King' held the gridlock for 15 consecutive weeks after his death in August. It won the Grammy Award for Best Recording Package (in addition to several other high profile Grammy nominations)."Simple Dreams" was Ronstadt's fifth consecutive million-selling platinum album and sold more than 3½ million copies in less than a year in the United States alone — a record for a female artist. Simply put, Ronstadt just couldn't lose. "Simple Dreams" continued a creative streak that found the singer turning out album after album of incredible material at an astonishing one-per-year rate until she finally began to come back down to earth in the early 1980s.Now hear "Simple Dreams" as never before. Remastered by the late, great Doug Sax at the Mastering Lab, together with Robert Hadley, and pressed on 45 RPM super-silent 200-gram vinyl by Quality Record Pressings, this revered recording truly is a sonic treasure. And it comes in a Stoughton Printing tip-on gatefold jacket with meticulously reproduced original artwork. Stunning.Featuring an expanded palette of styles and cutting-edge narratives, "Simple Dreams" may go down in history as Ronstadt's greatest work. Considering the achievements: Grammy nominations for Record of the Year and Best Pop Vocal Performance, Female; Five consecutive weeks as the No. 1 record on the Billboard Album Chart, Two Top 10 singles.

Edward Joseph Mahoney, a Brooklyn-born second-generation cop who eventually ditched his badge and gun to pursue his rock star dreams as Eddie Money — struck gold right off the bat with his 1977 self-titled debut album.The record's leadoff single, "Baby Hold On", was actually its biggest hit, but the follow-up single "Two Tickets To Paradise", was a sort of spiritual cousin to Bruce Springsteen‘s "Rosalita (Come Out Tonight)". It's written from the perspective of a young guy who's desperately trying to convince his girlfriend to ignore her disapproving parents and come away with him »on a trip so far away from here.« With its smooth production, urgent uptempo chorus, and insistent melodic hook, "Tickets" was a natural for late '70s FM radio — where it found an immediate home, eventually working its way all the way up to No. 22 on the Billboard Hot 100.Although Money might have written "Two Tickets To Paradise" to convince a specific girl to leave town with him, its title became shorthand for that end-of-the-work-week feeling you get when you've fulfilled all of your responsibilities to the Man and you're free to relax without obligations for a little while — like, say, at an Eddie Money concert, where "Tickets" has remained a constant fixture of the set list for more than 30 years.We've done this Analogue Productions issue up right with top-of-the-line remastering from Ryan Smith at Sterling Sound — for phenomenal sonic quality — and a richly detailed, silent-background Quality Record Pressings 200 gram LP. None better.

Astonishingly released within months of Jackson's 1979 debut album "Look Sharp!“, "I’m The Man“ is another tight and inspired set of power-pop that features some of Jackson’s best and most timeless tunes. Many of the songs here like “On Your Radio”, “Kinda Kute”, and the title track “I’m The Man” fall right in line with the punchy guitar riffs and pounding bass that made "Look Sharp!" such a driving force. Jackson followed "I’m The Man" with only one more album featuring the tight ensemble featured here and creatively restless soul that he is didn’t return to this brand of power pop until reuniting that lineup for 2003’s underrated "Volume 4". I doubt it was possible to listen to "I’m The Man" in 1979, and predict the subsequent ska-inspired "Beat Crazy" or 1982’s ode to jazz, "Night And Day". But we do hear the songwriter growing into his powers with “It’s Different For Girls”, one of his strongest and most lyrically perceptive songs, and one with decades of staying power; one of Jackson’s great live set pieces today is a solo piano arrangement of that song that’s as arresting as the original in some ways. Jackson would famously broaden his influences in later albums and his catalog is nothing if not diverse. While Jackson’s greatest commercial success was "Night And Day", "Look Sharp!" and "I’m The Man" are new-wave classics that improve with every listen!"I'm The Man" is sourced from the best analog tape currently available, a beautifully preserved ½” 'safety copy' of the original stereo master. When mastering this LP we compared what we were getting off the tape to an original A&M UK LP. While great sounding overall, the original LP is of course a very edgy sounding New Wave, post-punk record with a brashness that borders on being outright bright sounding. Where the aggressive top-end energy is concerned, the tapes showed no discenible age! We were able to maintain that grungy edge, but also restore the driving bass lines and bottom-end foundation that were on these tapes. The result is the best-sounding "I'm The Man" anyone's ever heard, with all the drive and pop of the original UK release, but with superb tonal balance, imaging and clarity. The definitive issue of this iconic New Wave classic!

Introducing the ground breaking performance by Ian Dury & The Blockheads live at Rockpalast 1978, now finally available on Deluxe vinyl. Rockpalast (Rock Palace) is a German music television show that broadcasts live on German television. The eclectic punk band played many fan favourites including 'Sex and Drugs and Rock 'n' Roll', 'I'm Partial to Your Abracadabra' and 'If I Was With a Woman'.

Reissue of a synth/punk/wave classic from 1981. Only five copies of the original pressing still exist, because the complete edition had to be destroyed under the threat of a lawsuit from the Valium brand. This reissue is limited to 300 copies. The band was also known as A 3 Dans Les WC.

A musical legacy that began in Hawthorne, California and went on to conquer the world. Analogue Productions presents the ultimate pressings of 14 essential Beach Boys albums! Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in 'old school' Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!The Beach Boy's "Holland", the group's 19th studio album, was recorded in Baambrugge, Netherlands in the summer of 1972 and released in January 1973. Our Analogue Productions reissue also includes a bonus 12-inch EP: "Mount Vernon" and "Fairway (A Fairy Tale)". Plus the restoration of "We Got Love," eliminated from original U.S. copies of the album!By mid-1972, with Wilson's focus waning from the Beach Boys to other creative outlets, and his personal and health-related issues mounting, Wilson was producing less music for the band than ever before. They decamped for the Netherlands hoping to jump-start Brian's creative energies.Wilson contributed little to the album, concentrating his musical efforts on "Mount Vernon" and "Fairway", a 10-minute long 'musical fairy tale' eventually included with the album as a bonus EP.The title of the bonus EP was named after the intersection where the Love family lived in Los Angeles, and where the Wilsons and Loves would gather for family celebrations back in the 1940s and '50s when Brian, Mike, Carl and Dennis were all growing up. As a concept for a Beach Boys track, "Mount Vernon and Fairway" initially received a less than enthusiastic response from the other band members when Brian first presented the idea to the group, and this only fueled Brian's steadily worsening depression. Eventually, Carl stepped in to produce the recording for Brian, and the decision was made to include the fairy tale in the album package as a separate EP. Brian himself designed the EP's picture sleeve.Although "Mount Vernon and Fairway (A Fairy Tale)" was narrated by Jack Rieley, the voice of the Pied Piper was supplied by Brian in a slightly grainier-sounding 'cartoon' voice. The instrumental tracks for "Mount Vernon and Fairway (A Fairy Tale)" were later released on "Good Vibrations": Thirty years of The Beach Boys as "Fairy Tale Music".Upon the band's return from the Netherlands in the fall, "Holland" was rejected by Reprise Records for not having a potential hit single. Added to the track list was an unfinished Brian Wilson song "Sail On, Sailor", that he'd originally co-written with Ray Kennedy, and finally completed with the help of Van Dyke Parks, Jack Reiley and Tandyn Almer. It would ultimately become "Holland's" most famous track. A casualty of the album's tracklist reshuffling was another Fataar/Chaplin tune, written with Mike Love, called "We Got Love". A live version was included on the group's 1973 release "The Beach Boys In Concert".Early test pressings of "Holland", made in the U.S. and U.K. featured "We Got Love", as did a few hundred copies pressed and sold in Germany. Early French and Canadian pressings of Holland mention "We Got Love" on the jacket, but the song is not on those albums. For this Holland reissue Acoustic Sounds/Analogue Productions has brought back "We Got Love" as a bonus track!

This is a reissue of the seventh album by David Bowie, containing cover versions of songs, released originally in 1973 on RCA Records.

Secondhand Daylight is the second studio album by English post-Punk band Magazine, released in 1979. One single, "Rhythm of Cruelty", was released from the album. The album was produced and engineered by Colin Thurston, his first production job; significantly, he had worked as an engineer for David Bowie's Heroes and Iggy Pop's The Idiot and would later produce The Party's Over by Talk Talk.180g vinyl.3

This superb live broadcast from renowned East Coast club, The Paradise in Boston, in July 1983, captures the original 4-piece R.E.M. at a creative peak. R.E.M. had a traditional rock quartet format, incorporating Michael Stipe’s engaging but often indecipherable vocals, Mike Mills’ superb backing vocals and highly melodic bass playing, Peter Buck’s cascading 6 and 12-string arpeggios and Bill Berry’s rock solid backbeat. What set them apart from their peers during this formative period was how they managed to infuse their fresh and idiosyncratic post-punk sound with a rich vein of melody and classic pop-oriented song writing - subtly yet undoubtedly indebted to the 1960s without becoming slavish copyists. The only overt reference to that earlier decade during this show is a rare but lovingly crafted cover of The Mamas and the Papas irresistible sunshine-pop masterpiece, California Dreamin’.

This first YMO album was released in 1978 in Japan ('79 in Europe) and set a precedent in the music industry like never before. By releasing this daring album, YMO shook the world with their 'Synthpop', at the time a revelation as well as a revolution. Featuring the hit "Firecracker", an infectious and exotic Martin Denny cover, which became a staple in the early Hip Hop scene in New York.180g vinyl.

This reissue was remastered in 2015.