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discogs.com

discover music on discogs, the largest online music database. buy and sell music with collectors in the marketplace.

valueyourmusic.com

Looking for the value or searching a Vinyl Record, CD, Cassette or any other music format? Use our archive of 34.3 Million sold auctions as a Music Price Guide

music.apple.com

Listen to millions of songs all ad-free on Apple Music.

auctions.yahoo.co.jp

yahoo!オークションは、お店にないものも見つかる買える　日本最大級のネットオークション・フリマアプリです。圧倒的人気のオークションに加え、フリマ出品ですぐ売れる、買える商品もたくさん！

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cashforrecords.co.uk

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mostlyvinylmicky.com

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vinyl-wanted.com

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mixeduprecords.com

Release Date 05/07/2024 Format 2LP Black Label Brownswood Catalogue Number BWOOD179REB Brownswood Recordings are proud to present the reissue of Toshio Matsuura’s 2018 cult classic LOVEPLAYDANCE, issued for the first time as a complete album on limited edition red and white double vinyl. The project focuses on covers, presenting classics & influential tracks in a new context. This new edition includes a cover of the Rotary Connection’s classic "Black Gold of the Sun'' featuring Afro-Cuban singer Daymé Arocena and her prodigious Havana-based players, as well as the high energy re-lick of Byron Morris and Unity’s ‘Kitty Bey’, a classic from Gilles Peterson’s seminal afternoon session at Dingwalls in the 1990s; neither included on the original vinyl LP. On ‘LOVEPLAYDANCE’, legendary Tokyo DJ and producer Toshio Matsuura charted a new direction by casting musical cornerstones in a fresh light. The TOSHIO MATSUURA GROUP features Tom Skinner (drummer for Smile, Sons of Kemet, amongst others) as its musical director, as well as some of the UK’s most exciting jazz-influenced musicians. Drawing on years of surveying and curating different corners of music, Matsuura deftly combined this talented pool of players into one singular, wide-ranging album. A co-founder of Japan’s United Future Organisation (aka U.F.O.), this record sees Matsuura reconnect with longstanding friend and collaborator Gilles Peterson. Releasing the album via Brownswood Recordings in the UK, it’s a continuation of a relationship which started as a bridge between London’s then-blossoming jazz scene and Tokyo’s new musical vanguard of the early ‘90s. This album continues that two-way dialogue between Japan and the UK. The scope of the music reflects the breadth of Matsuura’s interests; It ranges from Bugges Wesseltoft’s Detroit-influenced, dancefloor-minded jazz, stretched out into a more meditative contemplation, to Flying Lotus’ LA-rooted, Brainfeeder beatmaking, translated from laptop-to-li