BRIGITTE FONTAINE'S LANDMARK 1968 LP, ARRANGED BY JEAN-CLAUDE VANNIER REDEFINED FRENCH POP THREE YEARS BEFORE GAINSBOURG’S HISTOIRE DE MELODY NELSON. THE ALBUM IS REISSUED HERE IN A DELUXE EDITION FEATURING THE ORIGINAL ALBUM PLUS A WEALTH OF BONUS MATERIAL - THE 2-LP EDITION FEATURES A 20-PAGE BOOKLET WITH RARE PHOTOS AND CONTRIBUTIONS BY STEREOLAB’S LAETITIA SADIER, JEREMY ALLEN, BENOÎT MOUCHART AND BENJAMIN BAROUH “Brigitte Fontaine is not crazy, she talks about the complex, unhinged world we still live in” Lætitia Sadier. Wewantsounds is delighted to reissue French pop icon Brigitte Fontaine’s landmark 1968 album Brigitte Fontaine Est Folle, originally released on the cult label Saravah and arranged by Jean-Claude Vannier. approved by the artist, this reissue features the original album, newly remastered from the original tapes, along with demos, instrumentals, and a live rendition of “Il Pleut” recorded for France Inter/ORTF. The LP and CD editions also includes a bilingual booklet with introductions by journalist Jeremy Allen and Stereolab’s Laetitia Sadier, essays by Brigitte Fontaine’s biographer Benoît Mouchart and Benjamin Barouh, plus full lyrics and rare archival photos.

The only album by the group managed by Marley Wilson, the father of the Beach Boys! Marley Wilson, the father of the Wilson brothers of the Beach Boys and the manager of his sons, reissued the only album by The Sunrays, the group that debuted in Southern California, with the addition of rare single recordings. The Sunrays are often regarded as a "subgroup of the Beach Boys" because of the relationship between the Beach Boys and Marley Wilson, but Rick Henn, who played drums and sang lead vocals and wrote some hit songs, later became a songwriter, arranger, etc., and is a talented member of the Sunrays. The members of the group are also very talented, and I hope you will take this opportunity to pay attention to their talents. Commentary: Toru Ueshiba

Nippon no Yo-Gaku Series] Brenda Lee's rare Japan-only album that made the hit parade in Japan! The long-awaited reissue of the original Japanese original album (1965), which includes "One Rainy Night in Tokyo," a big hit sung in Japanese by popular American singer Brenda Lee! The album also includes the chanson classic "Rose Colored Life," the Beatles song "He Loves You," and Burt Bacharach's "My Wish" and "Eternal Memories. This album is an unforgettable symbolic album of 1965 for Western music fans. Five bonus tracks have been added, including Japanese versions of "Rose Colored Life" and "Memories Only Tears"! Commentary: Yutaka Kimura

This is the third collection of singles by Brenda Halloway, the early Motown diva known for "Every Little Bit Hurts"! Her only original album released in the 1960s was an album featuring the single "Every Little Bit Hurts," which was a #13 hit in the United States. This CD is a must-have for fans of the singer, and includes all of her singles from her heyday. Commentary: Toru Ueshiba

Lawrence Archer is back in action with the reunited GRAND SLAM! His solo album, previously only released in Japan, is now officially reissued as a two-disc set! GRAND SLAM's leader, composer, and guitarist, Lawrence Archer, released his latest album, "Wheel of Fortune," in 2024. At the same time, a revised version of his 2019 debut album, "Hit the Ground - Revisited," was also released in Japan (both on Rubicon Music). GRAND SLAM was formed in 1984 by Phil Lynott and Lawrence (formerly of Stampede) after the breakup of Thin Lizzy. Despite their active live performances, the band was unable to secure a record deal within the scene at the time, leading to their disbandment. Phil passed away in 1986. Grief-stricken, Lawrence embarked on this solo album, "LA."

With the release of MERGE, Karla Harris’ fifth album, the celebrated jazz vocalist offers up a multifaceted landscape where varied musical and cultural influences shimmer with original approach. Within MERGE, Harris stays rooted in jazz as she gives a loving nod to the diverse musical styles she grew up with. The album artfully melds swing, Latin, blues, reggae, funk, hip-hop, and ballads as Harris and co-producer/pianist Tyrone Jackson arrange Great American Songbook standards with a respectful contemporary approach and color old-school R&B classics with a jazz-infused brush. The album’s 13 tracks breathe with an honest and sophisticated sound that leans modern, reads soulful, and draws on Harris’ innate ability to convey deep emotion. “This album is about convergence – the intersection of stories, sounds and styles that flowed into my world early on and gave shape to a lifelong stream of joy,” Harris says.

Mixed At Basin Street Studios London W11. Recorded on July 8th and 9th 1977 at Ronnie Scott's Club 47 Frith St. London W1 by Island Mobile Recording Studios.

Fantastic live recording from WDR Rockpalast, recorded on Feb. 14, 1978, at the Audiomax in Hamburg, incl. the hit single "I Think We're Alone Now." 2 disc set: CD+DVD. Alongside Greg Kihn, the Tyla Gang, Earth Quake, and Jonathan Richman, the Rubinoos were among the musical figureheads of the successful US label Beserkley Records (1973-1986) from Berkeley, California. The label was founded by former A&M Records in-house producer Matthews King Kaufmann "to have fun and produce some great records."

When the Blasters released their self-titled album in 1981, Slash Records was an ambitious indie label on the rise, and by the time the group cut their second LP for the label, 1983's Non-Fiction, Slash had signed a distribution deal with Warner Bros. that gave the upstart roots rockers a major-label recording budget for the first time. Non-Fiction sounds bigger and more polished than The Blasters, which doesn't really work in its favor; the tight, lean sound of their previous album suited their music, and the broader, echoey tone of this record somehow makes the band sound littler, like a small combo playing on a huge stage for the first time. But if the production and engineering isn't the best match for this music, it isn't intrusive, and the Blasters sound as strong and focused here as ever.

Régulièrement invité dans les festivals de jazz, Michel Jonasz avoue volontiers ne pas être féru de jazz et, même, lui préférer le blues et la soul. La confusion vient sans doute du succès de sa chanson, La Boîte de jazz, dans laquelle il fait rimer Lionel Hampton avec Duke Ellington et Scott Hamilton. Il est vrai que dans ce registre swing, blues et soul, Michel Jonasz nous régale : Lucille, Super Nana, Une Prière, Dites moi, Du Blues, du blues, du blues, Les Fourmis rouges, Joueurs de blues, etc.

This should not be confused with the Voodoo Lounge Uncut concert released in November 2018, since that concert was filmed in Florida on November 25th, 1994. This is a different concert from the same tour, but filmed in Japan at the Tokyo Dome on March 12th, 1995.
By the time the Rolling Stones began calling themselves the World's Greatest Rock & Roll Band in the late '60s, they had already staked out an impressive claim on the title. As the self-consciously dangerous alternative to the bouncy Merseybeat of the Beatles in the British Invasion, the Stones had pioneered the gritty, hard-driving blues-based rock & roll that came to define hard rock…

Filled with multi-layered harmonies and complex arrangements, this unfortunately underlooked album of beautiful, flowing, and wonderfully recorded British folk-rock (originally released in 1972) has been a favorite of record collectors for years. Luckily, the strength of the music holds up beyond its scarcity. Not merely electric updates of lost traditional numbers, the album works because it establishes a voice and a sound that is truly compelling. The arrangements range from the zigzagging light progressive bent of the opener, "Heaven Heath," to the more storming tempo changes of "Dan the Wing." Strewn across the record is some truly remarkable guitar work, with the blanks filled in with lush violin and piano fills…

“Soul Revival – The Groove Collective” is a 95-track digital compilation by James Brown, released on October 2, 2025 by DMG, showcasing his foundational soul and funk recordings.

A few decades ago, when the release of a George Benson album was an event for either jazz guitar or R&B vocal enthusiasts, his projects indeed lived up to the album title he employs here. While this collection probably won't be an essential part of the Benson enthusiast's library, it's fun to see him trying to stay in the post-millennial urban groove hip with some of the younger generation's top songwriter/producers like Joshua Thompson (who's produced for O-Town, Aretha Franklin, and Babyface) and Joe. Those who wish he'd remember his prowess as a jazz guitarist have to content themselves with its general background capacity behind pleasant romantic vocal textures and easy grooving hip-hop shuffle grooves. Fortunately, Benson's in particularly fine voice, and most of the hooks are catchy from the get go…

J.J. Malone is a soulful vocalist, adept on both piano and guitar and equally convincing whether turning his hand to straight blues, rocking R&B, or funk-influenced material.
The backing on this CD is from a select group of musicians who have played with and know J.J. personally. Bobby Logan plays the tenor saxophone on five of the tunes adds a deep ambiance to his section work, as well as to his solos. Clarence Walker plays guitar, both rhythm and lead, and is real talent. Just listen to his solo on "Old Fashioned Blues," among other cuts, for an example of subtlety combined with power. Jeff Levine on piano and organ is from Brooklyn, New York, and is in demand for his fine touch on Blues and Rock styles alike. Jeff Henry is the bassist, and is considered one of the best on the West Coast Blues scene.