• 01. The Moomins Theme
    02. Travelling Theme
    03. Hobgoblin’s Hat
    04. Leaving Moomin Valley
    05. Partytime
    06. Hattyfatteners Row
    07. Woodland Band
    08. Most Unusual
    09. Midwinter Rites
    10. Piano Waltz
    11. Creepers
    12. Woodland Band Far Away
    13. Comet Shadow
    14. Comet Theme
    15. The Moomins Theme (End)


    The Moomins

    [engl] Imagine, if you will, a foreboding homemade electro-acoustic, new age, synth driven, proto-techno, imaginary world music Portastudio soundtrack for a Polish-made animated fantasy based on a Finnish modern folk tale and created for German and Austrian TV, composed in 1982 by two politically driven post-punk theatre performers from a shared house in Leeds! To even the most perspicacious and adventurous of alternative music fans the genuine bloodline of this previously unreleased record already begins to sound like an entire record collection in one sitting. It would be surprising if this project’s ambitious and exotic credentials didn’t tick at least one box on your musical matrix and without one drop of unnecessary nostalgic hyperbole this project already sounds like the perfect fantasy record that you’ve never heard. Alternatively we could just say The Moomins and, for many, things would instantly begin to make perfect sense. From the same social landscape as Gang Of Four, The Mekons and Impact Theatre Co-operative – armed with a Wasp synthesiser, an ocarina and a cassette of the Robinson Crusoe music taped off the TV, Graeme Miller and Steve Shill used minimum means for maximum mayhem, instilling over 35 years of dreamlike illusory fuzziness and freakiness into the memories of a generation of school age TV addicts waiting for the next 5 minute fix of outernational fuzzy felt folklore. Collected here, all in one place for the first time, Finders Keepers in close collaboration with the original composers finally bring the original homemade micro-melodies and reintroduce them to a musical landscape where fans of vintage electronics, concrète tape effects, pocket percussion and domestic synths are finally ready to be reunited with the magnetic music of Moominvalley.
    EAN 5060099506529
  • 01. John Malcolm Brinnin
    02. Set Fire To The Stars
    03. After Hours/Panic
    04. Tremble (Down)
    05. Tremble To The Light
    06. Tremble (Up)
    07. After Hours/Tension
    08. Log Cabin 1
    09. Log Cabin 2
    10. Log Cabin 3
    11. John Adoring At Yale
    12. Set Fire To The Strings
    13. After Hours/Tender
    14. John & The Poem
    15. B Chop Shop
    16. Atom Bomb
    17. After Hours/Contentment
    18. Ticking Clock
    19. Military Madness
    20. Caitlin’s Theme
    21. Tremble (Joy)
    22. Dylan’s Demons
    23. It Was Hot That Summer feat. Elijah Wood


    Set fire to the stars

    [engl] Gruff Rhys presents the soundtrack to the film Set Fire To The Stars. Although recorded around the same time as Gruff’s last LP (2014’s hugely acclaimed American Interior), Set Fire To The Stars paints a very different picture to that of the Welsh explorer John Evans. Equal parts cocktail jazz, hazy Americana and Atomic Age bop, it’s a love letter to New York in all its hopeful, post war glory – a gorgeous diversion of a record to add to Gruff’s increasingly brilliant solo catalogue. Gruff on Set Fire To The Stars: “This is an album of music written for a film directed by Andy Goddard concerning the poet Dylan Thomas’s first week in the USA in 1950 and his uneven friendship with fellow poet – and agent of sorts - John Malcolm Brinnin. As the film is shot in black and white and set in the Jazz age, I decided not to use any instruments unavailable in that era. I also keep the recordings as live takes. Beyond that – I didn’t try and ape the style of that era in particular apart from the song Atom Bomb which on screen, plays on a jukebox in a cafe and needed to be true to the year sonically and lyrically in some way. “Playing the guitar, I formed a short lived Agro-Jazz quartet (you got a problem with that?) called Video Loss with Chris Walmsley on drums, Jim Barr on double bass and Osian Gwynedd on piano. I wrote a bunch of songs and instrumentals. Some other bits were improvised to picture by Osian Gwynedd and myself. Chop Shop features Video Loss on max Moon-Ra improvisational setting. Gruff ab Arwel arranged all the strings and Gavin Fitzjohn played and scored the brass. It was recorded and mixed at Toybox, Bristol by the incredible Ali Chant – apart from the strings which were recorded at Metropolis, London.”
    EAN 5060099506420
  • 01. Goodnight Ram Baba
    02. Elise On The Run
    03. Elise & Tusk Reunited
    04. Poo Lorn 1
    05. Crossing The River
    06. Elise Liberates Tusk
    07. Poo Lorn 2
    08. Poo Lorn 3



    [engl] From Guy Skornik, the composer and arranger behind Popera Cosmic and Pour Pauwels, comes the enigmatic instrumental cues that provided fellow existentialist and notorious auteur director Alejandro Jodorowsky (The Holy Mountain) with the soundtrack music to what is now considered his rarest and most overlooked feature film, Tusk. As part as Finders Keepers ongoing dedicated Jodorowsky soundtrack series we present the original film edits from the 1979 studio sessions featuring Steve Hillage (Gong) and members of Cossi Anatz. Following his mind melting masterpieces Fando & Lis, El Topo and The Holy Mountain, Jodorowsky’s “disowned” attempt at a family film retains the director’s ongoing demand for intense, experimental film music resulting in what is undeniably one the best kept sonic secrets from the darker corners of this coveted filmography. Cherry-picked from pre-recorded synthesiser fuelled cosmic pop sessions by Skornik, these compositions provided Tusk with arabesque new age synthesis alongside full-blown ambitious electro rock, as well as classic French Fender Rhodes driven romanticism during some of this lesser-spotted movie’s most memorable moments. Presented here in isolation, Guy Skornik’s multifarious futurist-pop evokes worthy comparisons to Ash Ra Tempel, Eno’s Bowie and Suzanne Ciani, mapping an unlikely journey between Magma and 10cc in the process. Don’t ignore Jodorowsky’s “elephant in the room” – you never know what is hidden in the trunk. As part of Finders Keepers’ ongoing commitment and adoration for the cinematic work of Alejandro Jodorowsky the label now follows-up on the soundtrack releases of The Holy Mountain, El Topo and The Dance Of Reality with a record that not only unearths a lesser-known Jodographic gem but forms another spiritual circle in the label’s alternative pop universe, forming new twines in the Finders Keepers family tree.
    EAN 5060099507090
  • 01. The Inquisition
    02. Les Demons
    03. Kathleen Writhing “Kathleen”
    04. The Weakness Of Rosalinda “Melodious Modulation“
    05. The Visit / Margaret’s Hallucination
    06. Three Serpents To Karen’s Dwelling
    07. The Second Inquisition
    08. A Witch’s Daughter
    09. The Seduction Of Winter “The Last Frolic”
    10. Kathleen & The Horses
    11. The Stake
    12. Kathleen & The Serpents


    Les Demons

    [engl] The unreleased Euro pysch score to the French/Portuguese X-rated version of The Devils meets The Witchfinder General! Synchronised by Spanish anti-establishmentarian, sexual liberator, die-hard independent filmmaker and unrepentant voyeur Jess Franco (Vampyros Lesbos/De Sade). Composed entirely by French composer Jean-Bernard Raiteux aka Jean-Michel Lorgere (Sinner/Harlem Pop Trotters) and presented here in full soundtrack form for the first time. Proudly claiming the dubious accolade of the Spanish sexploitation version of The Devils as the distributor’s most bankable asset, this previously banned 1973 European witch flick would rip the art house facade from Ken Russell’s well polished box office smash and push the envelope way beyond the closet titillation of the gentrified new wave controversy seekers. Delivered on a comparable shoestring budget as the 55th feature in Jess Franco’s filmography of approximately 203 completed movies, The Demons (Les Démons), directed under the Anglicised pseudonym Clifford Brown, took many of the Franco’s sexually stylistic watermarks (epitomised in his Vampyros Lesbos trilogy) adding witchcraft, possession and nunsploitation against a rural Mediterranean backdrop before disappearing into the woods. Whilst clearly taking inspirational plot cues from Michael Reeve’s The Witchfinder General (UK 1968) and drawing comparisons with scenes from Eiichi Yamamoto’s Belladonna Of Sadness (Japan 1973) this B-Movie reduction of Franco’s wide palette of colourful ingredients has in recent years provided enthusiasts/champions/defenders of the workaholic horrotica bastion with a rare and treasured addition. Future-proofed by an essential component, omnipresent in Franco’s films, it is the mysterious commercially unobtainable soundtrack music that cements the unwaning interest in his risqué brand of unconventional shock/schlock sinema (not hindered my the enigmatic title card misinformation that often surrounds the original composers) and the music herein that has given Franco’s harshest critics a second chance/reason to reevaluate this man’s unapologetic art. Following on from Finders Keepers previous expanded release of Bruno Nicolai’s score for Franco’s 1970 adaptation of De Sade (FKR069) this record stands as another tribute to Franco’s life which he lived through the mechanisms of a camera with relentless zeal and a passion to challenge every aspect of movie making along the way. UNDERground, OVERambitious, RIGHT on, LEFTfield, BELOW the radar but ABOVE criticism. INdulgent and OUTrageous, but never middle of the road, Jess Franco was many things but he wasn’t pretentious and never delivered art for art’s sake and I feel honoured to have spent time with him. Franco was in fact a realist, he kept both feet firmly on the ground and a keen eye behind the right side of the lens and if Jess did have any demons his films were his exorcisms, the critics were the bloody judges and his legacy (through the medium of X-rated cinema of variable quality) is immortal.
    EAN 5060099506222
  • 01. Asfalto Selvagem
    02. Assanhadinha (samba)
    03. Tema 1
    04. Por Que Brigamos
    05. Tema 2
    06. Café Samba
    07. Tema 3
    08. Chá-Chá-Chá Prá Dois (chá-chá-chá)
    09. Engraçadinha (samba)
    10. Suicidio (fantasia)
    11. Meu Rio Maravilhoso (samba)
    12. Tema 4
    13. Letícia (chá-chá-chá)
    14. Tema 5
    15. Um Olhar Assim (fox)
    16. Tema 6


    Asfalto Selvagem

    [engl] "ASFALTO SELVAGEM" LP is one of the rarest soundtracks ever made in Brazil, arranged by João Negrão. Truly a hard to find item! Asfalto Selvagem is a 1964 Brazilian film directed by J.B. Tanko, a drama based on the first part of the novel "Asfalto Selvagem: Engraçadinha, Seus Pecados e Seus Amores", by writer Nélson Rodrigues. Imagine Les Baxter meets Ennio Morricone and Armando Trovajoli on Jazz Bossa Nova. Ed Motta’s Favorite 1964 Jazz Bossa Nova
    EAN 4040824089818
  • 01. Kishore Kumar - Rote Hue Aate Hain Sab
    02. Asha Bhosle - O Saathi Re
    03. Lata Mangeshkar & Kishore Kumar - Salam-e-Ishq
    04. Mohd. Rafi* & Chorus - Zindagi To Bewafa Hai
    05. Lata Mangeshkar, Asha Bhosle & Mahendra Kapoor - Pyar Zindagi Hai
    06. Lata Mangeshkar - Dil To Hai Dil
    07. Kishore Kumar - O Saathi Re
    08. Hemlata - Wafa Jo Na Ki


    Muqaddar Ka Sikandar

    [engl] An Original Motion Picture Soundtrack Album from the 1978 Hindi film 'Muqaddar Ka Sikandar'. Music by Kalyanji Anandji.
    EAN 6038152913637
  • 01. Dust To Dust
    02. Matching Mirrors/Morgiana's Prowl 03. Swan Steps
    04. Klara & Viktorie
    05. Prospective Suitor Marek
    06. Red Ghost
    07. Quinine
    08. I Don't Want Any Flowers
    09. Viktorie's Darkest Moment
    10. Message From Marek
    11. Klara's Thirst
    12. Lost In The Tavern
    13. The Cards
    14. Blood Red Roses
    15. Crimson Elixir
    16. Alžbeta behind The Curtain
    17. Kučera Steps
    18. Dust Settles
    19. Morgiana (Opening Titles)



    [engl] Galvanising our ongoing commitment to the lost music of the Czech New Wave cinema movement from the late 1960s and 1970s, Finders Keepers Records follow up our series of previously unreleased music to Valerie And Her Week Of Wonders, Daisies, Saxana and The Little Mermaid with a short series of soundtracks for films by the country’s master of the macabre and the nation’s first point of call for freakish fairytales and hallucinogenic horror, Mr. Juraj Herz. Regarded as the final ever film of the Czech New Wave, Juraj Herz's Morgiana (alongside Valerie And Her Week Of Wonders) was made after the Prague Spring during Czech cinema’s most scrutinised censorship era, deep in the throws of communism. Spearheading a micro-cosmic sub-genre of hor- ror fantasy or scary/fairytales alongside Karel Kachyňa's Malá Mořská Víla (The Little Mermaid), these directors built a handful of subversive, flamboyant and experimental new films based around classical communist approved sur- realist literature; sidestepping creative compromise and uniting some of the leading lights of the FAMU founded film movement for the last time. Both musical scores courtesy of Luboš Fišer unite Valerie and Morgiana; sharing doppelgänger production and compositional ideas presented by Finders Keepers Records for the first time ever outside of the original context of the film. It is easy to hear why the music for both films could easily be confused as part of the same score, or as very close twin sisters, having been recorded just 18 months apart in 1970 and 1972. Revealing tiny shards of identical melodic phrasing, the Morgiana score visits darker hallucinogenic corners for this tale of two sisters seen through the perspective of giallo-esque “cat’s eye” cam- era work (filmed by Jaroslav Kučera) revealing poison induced hysteria fuelled by sibling rivalry and desperately twisted jealousy. Adopting his mys- teriously macabre musical persona, the versatile Fišer interweaves chimes, harps and harpsichord with echoing flutes, lutes and piano, applying his sig- nature orchestral tension and experimental percussion traits in the form of treated pianos, vibra-slaps, tape samples of striking matches and spring reverbs to this oblique heady selection. Revered in similar esteem to that of Czech film legend Zdeněk Liška, Fišer’s unreleased filmography of forward-thinking Czech scores is slowly reaching a wider global audience through his first-ever dedicated commercial soundtrack releases which should, in time, win him the same votes of confidence that we now award the likes of Komeda, Korzyński, Roubaix and Nicolai, amongst other European soundtrack luminaries.
    EAN 5060099504501
  • 01. The Magic Yard
    02. Talk With Grandmother
    03. The Letter
    04. The Sermon
    05. Losing The Way
    06. The Visit
    07. The Work Of Death
    08. Dinner
    09. Dense Smoke
    10. The Contract / The Wedding
    11. The Punishment
    12. Disquiet
    13. Awakening
    14. Brother And Sister
    15. Sacrice
    16. The Letter 2 / Friends
    17. In Flames
    18. Puppets
    19. Homeless
    20. Questions And Answers
    21. Confession
    22. Forgiveness
    23. And The Last


    Valerie And Her Week Of Wonders

    [engl] It has been exactly ten years since Finders Keepers Records first liberated Luboš Fišer’s immaculate soundtrack music for Valerie And Her Week Of Wonders (Valerie A Týden Divu) from the vaults of the Barrandov Studio in Prague. As the inaugural release of an ongoing discography of previously unreleased scores from the hugely creative “Film Miracle” that occurred during and after the Czech New Wave (CNW), this score will always retain a special place in the heart of the label as well as our listeners who consistently request an updated repress of this significant vinyl milestone. Having grown in status from an obscure and misunderstood socialist-era art house oddity, via the hands of risqué foreign fluff merchants, to finally find its rightful audience as a bonafide surrealist cinematic masterpiece of world class standards, this 1970 film adaptation of Vítezslav Nezval’s 1935 avant-garde novella (a film that literally cross-pollinated Max Ernst’s A Week Of Kindness and Lewis Carols Alice In Wonderland) has garnered widespread critical acclaim. Inspiring ongoing generations of visual artists, musicians, writers and filmmakers – all of whom regard this truly individualistic and inimitable surrealist film poem to be an indelible influence – Valerie continues to impregnate their daily artistic referential fabric. Commonly considered to be the swansong of the CNW, following a huge paranoia fuelled government lm cull in 1969, owing to the fact it is last government approved feature film of the post-Prague Spring era to combine the efforts of controversial filmmakers from the FAMU (Filmová A Televizní Fakulta Akademie Múzických Umení) film school, Valerie would also be the first of an exciting and essential new fertile strain of Czech made cinema fantastique. Successfully condensing the final drops of CNW lifeblood through a series of presumed apolitical scary/fairy tales, directors like Jaromil Jireš and Juraj Herz used surrealism, traditionalism and fantasy to rejuvenate the creative energy of apathetic fillmmakers evading government scrutiny via creatively coded artistic allegories. By strategically choosing to adapt a pre-war surrealist melodrama written by a communist convert author called Vítezslav Nezval and based in a non-specific traditional era, the previously censored filmmaker Jaromil Jireš was able to craft what many consider his nest filmic hour and what would later become his most universally received achievement. Enlisting the individual talent of some of the CNW’s most formidable stalwarts, in what might have been their most creatively challenging roles, Jireš managed to unintentionally establish a new genre format that was both stylistically and sonically tuned to the trends of the impending decade thus future-proofing his career and providing a woozy gateway drug to an otherwise time-locked lost movement.
    EAN 5060099506604
  • 01. Andy Warhol
    02. Belladoona
    03. Valle Incantata
    04. The Notice Is Notice
    05. Mr. London
    06. Little Flower
    07. Funny Feeling
    08. TBSF
    09. Take It Easy



    [engl] An unholy grail of near mythical status finally joins the Finders Keepers Records discography in the form of this first-ever reissue of Masahiko Sato’s elusive sensual psychedelic free jazz score to the stunning Japanese witchcraft animation Belladonna Of Sadness (Kanashimi no Belladonna) directed by anime screenwriter Eiichi Yamamoto in 1973. An early feature-length example of a micro-genre in which Japanese anime producers collaborated with the “pink” film genre, Belladonna’s challenging occult, sexual and political subject matter was the cause of the film’s notoriety for many years, earning Yamamoto’s work a critical platform amongst some of the best counterculture animation films of the era such as La Planète Sauvage ( René Laloux/Roland T poor, France 1973), Marie Mathématique (Jean-Claude Forest, France 1967), Wizards (Ralph Bakshi, US 1977), Heavy Metal (Gerald Potterton, Canada 1980) and Time Masters (René Laloux/Moebius, France 1982). Drawing further stylistic similarities with Shuji Terayama/Tenjo Sajiki associated poster artist Aquirax Uno and the Hara-Kiri magazine cartoon strips Pravda/Jodelle by French artist Guy Peellaert, as well as the early flamboyant Klimtesque imagery of Jean Rollin collaborators Philippe Druillet and Nicolas Devil, Belladonna Of Sadness brought a strong European flavour to its sophisticated and stylish Japanese application which accentuated the French origins of the plot loosely based on accounts taken from the 1862 book La Sorcière (The Witch) by French historian Jules Michelet. Over the last decade Belladonna Of Sadness has risen from the ashes and now shines brighter than ever. Now on the eve of its third or fourth global DVD release, fans no longer have to wait four months for third generation VHS telecine rubs from “that guy” in the States, or stuff their ambitious wish lists into the hands of any lucky friends visiting Tokyo in the summer. Belladonna has been used as nightclub projections by clued-up VJs and been restored by discerning feminist folk singers and improv bands while influencing illustrators, fashion designers and other creative types along the way. Original copies of the soundtrack, however, are much less likely to rear their heads on a weekly basis, with prices literally doubling each time the original stock copies swap hands amongst the same Italian dealers at central European record fairs. Italian soundtracks are expensive anyway, but this one, as I’m sure you’ll agree, has got extra credentials. Finders Keepers Records, in direct collaboration with Sato himself, agree that this record should finally be liberated amongst those who know the magic words. With our decision to keep this album “strictly Sato” we removed a track – the main orchestral love theme by Asei Kobayashi and Mayumi Tachibana, which in all honesty is very much detached from Sato’s psychedelic soundtrack. Kept intact, however, are the songs sung and penned by Sato’s then wife Chinatsu Nakayama, including the track entitled TBFS (answers on a postcard?) that only appears on the master tapes and never actually made it to the theatrical cut of the film (although the theme is briefly alluded to, in different instrumentation, in a cut-scene available on the German DVD). This reissue project also marks the beginning of a longer intended relationship between Finders Keepers and Masahiko Sato, exploring his recorded work in both film music, jazz and avant garde composition.
  • 01. Aao Na
    02. Disco Deewane Part I
    03. Lekin Mera Dil
    04. Mujhe Chahe
    05. Komal
    06. Tere Kadmon Ko
    07. Dil Mera
    08. Dhundhli Raat
    09. Gayen Milkar
    10. Disco Deewane Part II


    Disco Deewane

    [engl] Disco Deewane is the 14 million copies best-seller 1981 Pakistani pop/disco album by the duo Nazia and Zoheb, consisting of Nazia Hassan and her brother Zoheb Hassan, with composition and production by Indian synth-pop producer Biddu. It charted in fourteen countries worldwide and became the best-selling Asian pop record to-date. It changed trends in music across South Asia, where it broke sales records. In India, it sold 100,000 records within a day of its release in Mumbai alone, and achieved Platinum status in three weeks.
    EAN 6038152913644
  • cover



    [engl] KILLER JAZZ FUNK OST BY PIERRE VASSILIU ( MAN BEHIND LES MASQUES, and tons of other cool project) of Jean-Daniel Simon Movie A great soundtrack to tidy next your « Mariage collectif » , « un homme est mort », or « L’homme orchestre » record. A must have
  • 01. Together
    02. Sexopolis
    03. Tivoli Garden
    04. Ulla Et Georgie
    05. Karin On The Ryke
    06. Lovers Party
    07. Tivoli By Night
    08. Scène Du Port
    09. Tandoori Dance


    Le Mariage Collectif / Jean-Pierre Mirouze

    Die Geschichte zu dieser Platte ist absurd und deswegen will ich sie auch nicht zu lange ausweiten, Schaut nach im Netz und ihr werdet erstaunt sein. Nur soviel das Acetat zu dieser Platte wurde 2010 auf einer Müllhalde gefunden und jetzt keinen wir von Glück sagen, das Born Bad uns dieses Stück Kultur erhält. Ein großes Stück Soundtrack aus den 60er Jahren, mehr gibt es da eigentlich nicht zu sagen, außer vielleicht kaufen und glücklich sein!
  • cover


    Bruce Lee: The Big Boss

    The Big Boss war Bruce Lees erster großer Film und verschaffte ihm den internationalen Durchbruch. Seine Premiere feierte Regisseur Lo Weis Film 1971 in Hongkong, seinen internationalen Siegeszug trat er aber erst 1973 an. Da man glaubte, die originäre chinesische Filmmusik wäre zu weit von den hiesigen Hörgewohnheiten entfernt, wurde Peter Thomas vom deutschen Verleih beauftragt, einen eigenen Soundtrack zu komponieren. Dies gelang ihm mit Bravour. Das Resultat war, dass dieser von nun an in der ganzen Welt, mit Ausnahme von China, eingesetzt und somit zur "eigentlichen" Filmmusik von The Big Boss wurde.
    EAN 4015698067507
  • 01. Thème De Myriam
    02. The Truth/The Locket


    Maléfices/The Bad Seed

    [engl] For the third installment in our Finders Kreepers dedicated vin- tage horror soundtrack series we begin with an obscure French witch flick which pulls together stylistic echoes of both Bell Book And Candle and Czech gothic thriller Morgiana then feeds them through the musical mind of one the true pioneers of electronic composition for this little known OST by a well known sonic mav- erick. Often evading the composer’s discography lists Pierre Henry’s rare score to Malefices (aka The Hex or Where The Truth Lies) hears our bonefide musique concrète originator at what is perhaps his most melodic and fragile (especially for the formative era) layering vocal tape loops and gossamer feminine voice treat- ments with plucked strings, white noise wind and brooding indus- trial piano textures for this intoxicated poison peon which stands as the perfect opener to an intense soundtrack for those lucky enough to find the original record (or film for that matter). The second cut on this limited edition 45 is a classic piece of unnerving horror composition that adopts the same child-like vocal/brooding undercurrent that has earned scores like The Innocents, Night Of The Hunter and Profondo Rosso an indelible place in our nostalgic nervous systems. Creating a major stir as a novel and stage play before benefitting a celluloid adaptation The Bad Seed shocked audiences with the first cinematic killer kid in mainstream cinema following a did she/didn't she plot set to innocent nursery rhymes played in fragile minor keys against paranoid orchestral restraint. Mirroring the theatrical mother’s worst fears and accentuating the lead roles split personality The Bad Seed earned composer Alex North continued plaudits for his classy, conceptual realisation of this milestone in horror cinema soundtracking.
    EAN 5060099504860
  • 01. Gilda And Gunshots
    02. Jeunes Filles Impudiques
    03. An Intimate Relationship
    04. Jewel Thieves
    05. Schoolgirl Hitchhikers


    Jeunes Filles Impudiques

    [engl] This long lost Parisian skin flick Jeunes Filles Impudiques (aka Schoolgirl Hitchhikers) marks a particularly vulnerable period in the career of one of the most underrated and misunderstood directors to emerge from the rising smoke of the 1968 Parisian social explosion. From a director with early links with the Paris underground, The Letterists, The surrealists, improv theatre and the free-press comes the reclaimed audio tracks from one of his rarest celluloid moments – but lets not confuse this for high-art. Finders Keepers make no bones, this is Jean Rollin’s maiden voyage into adult entertainment, dIrected under the pseudonym of Miche Gentil with a flimsy plot, questionable acting skills and an awesome little schizophrenic soundtrack. The Brutus Drums percussion workout, the acidic folk pastoral movements, the Cul-De-Sac-esque jazz theme and the UK library sound-alike tile-tune all make up this 5 track veritable banquet of Gallic sleaze and second-class sound providing fans of cult cinema and b-music with an unexpected glimpse into the No-No generation at its most candid. The interests of good taste have ensured that this long-lost movie has been buried for some 40 odd years with a musical score bursting to jump out of the can and down your tone arm which has now been made possible by a recently renovated negative print and new source material. These original Pierre Raph (of Requiem For A Vampire infamy) compositions from the publishing Library of Paris’ Musicale Editions Dellamarre (of Acanthus/Unity fame) come straight from Rollin himself as an introduction to Finders Keepers’ long-running Rollinade series documenting some of the finest musical moments of the director’s career as an avant-gardener, counter-culture vulture and Gallic vamp-tramp all housed in their original hand-painted promotional artwork.
  • 01. Dum Maro Dum
    02. I Love You
    03. Kanchi Re Kanchi
    04. Ghunghroo Kya Bole
    05. Dance Music (I)
    06. Phoolon Ka Taron Ka
    07. Dum Maro Dum
    08. Ram Ka Naam Badnam Na Karo
    09. Phoolon Ka Taron Ka
    10. Dance Music (II)

    R. D. BURMAN

    Hare Rama Hare Krishna

    “Hare Rama, hare Krishna”ist ein indischer Film aus dem Jahr 1977 und der Soundtrack wurde von einem der bekanntesten Filmmusikkomponisten Indiens kreiert : Rahul Dev Burman (1939 – 1994).Wir finden den für die damalige Zeit typischen Acid Rock ebenso wie Hindu-Pop mit atemberaubenden Vocals über traditionellen akustischen Instrumenten. Definitiv ein Album, wie man es nicht alle Tage zu Ohren bekommt.
    EAN 5291103811463
    LP lim
    EAN 5291103811470
  • Mohd. Rafi - Pvar Hai Ik Nishan Qadmon Ka Part I
    Asha Bhosle - Dil Sajan Jalta Hai
    Mukesh - Lalla Lalla Lori, Doodh Ki Katori
    Mohd. Rafi - Pvar Hai Ik Nishan Qadmon Ka Part II
    Mukesh - Suhani Chandni Raten
    Lata Mangeshkar - Lalla Lalla Lori, Doodh Ki Katori
    Asha Bhosle & Kishore Kumar - Main Jo Chala Pee Kar
    Rahul Dev Burman - Dance Music

    R. D. BURMAN


    [engl] An Original Motion Picture Soundtrack Album from the 1976 Hindi film 'Mukti'. Music by Rahul Dev Burman.
    EAN 6038152913606
  • 01. Les Chemins De Katmandou (Opening Titles)
    02. The Pleasure Pit
    03. Colin-Maillard
    04. Le Roi Des Phlébotomes
    05. Flower Child
    06. Cache Cache
    07. Opium Den
    08. Overdose
    09. Oliver
    10. Fallen Rainbow
    11. Colin Maillard (Vocal Version)
    12. Les Chemins De Katmandou


    Les Chemins De Katmandou

    [engl] After decades in the making Finders Keepers Records are proud to present the first-ever pressing of Serge Gainsbourg’s most elusive and coveted soundtrack studio recordings – co-written, arranged and orchestrated by the genius Jean-Claude Vannier (Histoire De Melody Nelson) during what many consider to be the dynamic duo’s most definitive creative period. Believed to have been lost in a studio fire by Gainsbourg enthusiasts for over forty years (a myth that also shrouds Morricone’s lost Danger Diabolik soundtrack) the misplaced master-tapes for the drug-fuelled/Mai 68 cash-in/road-movie Les Chemins De Katmandou have been widely considered the final audio jigsaw piece in an immaculate discography/filmography thus earning this soundtrack bone-fide Holy Grail status amongst the most avid disc detectives. Featuring the original crack team of Paris based players now recognised as French library music royalty, this LP epitomises the inimitable musical direction and expert psychedelic pop musicianship that graced classic Gainsbourg/Vannier soundtracks like La Horse, Cannabis and Sex Shop. Laying the stylistic, future-proof foundations for subsequent decades of forward-thinking Gallic funk mastery. Comprising Vannier’s signature recipe of thick plucked bass lines, close-micced drums, biting Clavinet and Eastern influenced strings and percussion (and a sprinkling of subtle traditional French instrumentation) the soundtrack to Les Chemins De Katmandou (aka The Road To Katmandu or The Pleasure Pit) captures Vannier and Gainsbourg in the first year of their creative partnership capturing their unique embryonic energy.
    EAN 5060099506642
  • 01. Artifice Percussion
    02. Cha Tatch Ka
    03. Asiatic Dream
    04. Pussy Ring
    05. Implacable ring
    06. Super Angoisse
    07. Phasing Round
    08. Sexy Soxy
    09. Gang Train
    10. Rallye Du Diable
    11. Percussionnistement Votre
    12. Emeute à Tokyo
    13. Coeur Polaire
    14. Pussy Cacatoes
    15. Angoisse au Coeur
    16. Marionnettes Club



    EAN 3521381544046
    EAN 3521383444030
  • cover



    [engl] During the 60s and 70s, three distinguished old gentlemen who had built their careers playing “made in France” exotic jazz – Roger Roger, Nino Nardini and Eddie Warner – met every evening in the Ganaro recording studio, playing like kids with their new toys: souped-up keyboards that looked more like prototypes of spaceships to explore the Milky Way. Flying high on whimsical and joyful inspiration, the improbable trio used their strange instruments to sketch out the beginnings of something that, at that time, resembled the future of music. Let’s take a trip with them toward a pop, light-hearted and electronic future. At the dawn of the twentieth century, Roger Roger and Georges Achille Teperino entered the world. Roger was born in 1911 in Rouen; Teperino the year after in Paris. They followed in their parents’ footsteps. Roger’s mother was a singer, and his father conducted the orchestra at the Opera. Teperino was taught music by his father, an Italian violinist and composer. Roger and Georges met in secondary school in 1927 and became the very best of friends, to the extent that Roger’s first wife was Teperino’s mother, making the latter his son-in-law. They formed a band called Les Diables Rouges (The Red Devils) that played halls and nightclubs where people would swing dance. For the band, Teperino adopted a nickname that made him famous: Nino Nardini. After World War II, he formed the Nino Nardini orchestra, specializing in “exotic” musical styles. They set the dance floors on fire in the clubs where young people, when not flirting, would twirl to the paso doble, foxtrot, calypso, slow rock, cha-cha and tango. At the same time, he conducted an orchestra for Radio Luxembourg, and one in a traveling circus, providing closely-tailored accompaniment for acrobats, clowns and lion tamers. For his part, Roger Roger (his real name) also worked as a conductor at Radio Luxembourg and accompanied Edith Piaf, Maurice Chevalier, Jean Sablon and Charles Trenet on stage. Radio France asked him to record some of his compositions as production music for its programs. These melodies attracted the attention of Chappell & Co., a music publisher in London that had just opened a department specializing in library music, which they sold “by the ton” to radio, television and cinema. Roger thus made his debut in production music. He was to become an emblematic figure in this domain, for the profusion and eclecticism of his productions, but, above all, his pronounced taste for experimentation. Nardini soon joined him in what appeared to be a new Eldorado. Together the pair made a clean break with rigid French traditions, via compositions featuring unexpected instruments like the harpsichord, marimba and Ondioline. Later, when the first analog synthesizers, oscillators and other electronic keyboards appeared, they were adopted as well. Always seeking innovative sounds, Nardini got deeply into concrete music in the early 60s, as put forward by Pierre Schaeffer (who had just founded the GRM, Groupe de recherches musicales), popularized by Pierre Henry and twisted by the whimsical Jean-Jacques Perrey. Seeking independence, Roger and Nardini decided to create their own studio in Jouy-en-Josas, southwest of Paris. They handled the creative side, while Francis Gastambie took care of the business end. The studio was named “Ganaro,” an acronym of the first two letters of their respective family names. It became the scene of magical nightly sessions of experimentation, in the company of their friend Eddie Warner. The acquisition of a Moog synthesizer brought these pioneers of electronic music to a new level. Roger Roger manufactured his own punch cards to invent new sounds. Then, in 1969, under the pseudonym of Cecil Leuter, he published the albums Pop Electronique and TVMusic 101 (with Nardini), two truly avant-garde “100% electronic” disks that anticipate the hegemony of machines in pop music, from space disco in the late 70s to the electro funk of the early 80s. With a Stakhanovite output of production music, the duo composed more than 40 albums (including the incredible Informatic 2000) for specialized labels: Chappell Music, Southern Library of Recorded Music, Neuilly, IM (Eddie and Hannelore Warner’s label, which published, notably, The Strange World of Bernard Fèvre in 77) Mondiophone, Hachette, Musax and Crea Sound Ltd. A veritable Atlantis of electronic music, rediscovered at the turn of the 21st century by electronic artists like Barry 7 of Add N to (X), with his Connectors series, or Luke Vibert, with the Nuggets compilation. Jess and Alexis Le Tan contributed a bit as well, digging up a few gems from “Ganaro’s Nights,” tracks composed with joy and humility by a merry trio of sixty-somethings for whom making music was always a source of amusement and wonder. Nino Nardini passed on in 1994; Roger Roger in 1995. Eddie Warner (the fortunate composer of the theme song for the TV game show “Des chiffres et des lettres”) had died a few years earlier.
    EAN 3521381535976
    EAN 3521383435960
  • 01. Pange Lingua (strum.)
    02. Alleluja
    03. Inferno
    04. Coro Dei Penitenti
    05. Gli Occhi Di Tutti
    06. Roma Nobilis
    07. Rendete Grazie
    08. Pange Lingua (vocale)


    Tempo Di Demoni, Papi, Angioli, Incensi E Cilici

    [engl] The mythical, mysterious and misfiled transcription disc of a lost Italian demonic religious rock opera recorded at Pierre Umiliani’s Sound Workshop by Stefano Marcucci - beat group veteran, Fernando Arrabal collaborator and Libra affiliate. Featuring members of the wider Casa/Ducros family and future Federico Fellini collaborators, this previously commercially unavailable mini-LP features embryonic Minimoog, ecclesiastical organs and chorus alongside a tight psych funk rhythm section from Italian library music’s golden era. Imagine Jean Pierre Massiera’s Visitors restoring a scene from Juliette Of The Spirits, backed by a skeleton staff from Jean-Claude Vannier’s Chorale des Jeunesses Musicales de France on a foreign exchange program; on Halloween, in the Vatican… Continuing our mission to shine light on the genuine anomalies of 70’s Italian production music, Finders Keepers Records resurrects another unlikely transcription disc from the vaults of one of Rome’s most esoteric library music archives. This bizarre one-off theatrical project, composed and recorded at Umiliani’s studio, was commissioned for a short-run demonic religious performance entitled Tempo Di Demoni, Papi, Angioli, Incensi E Cilici under the musical direction of former Italian psychedelic beat-group member Stefano Marcucci. Instantly recognised by Flower Records founder Romano Di Bari as having commercial potential beyond its handful of church and small theatre performances in the early months of 1975, Marcucci agreed that they should commit these bizarre recordings to vinyl as a form of preservation with hope of attracting a wider commercial audience through Di Bari’s Television and Films synchronisation contacts. Sitting slightly ajar to the custom-made projects of its label bedfellows (swapping schedules with experimental theme-music by Alessandro Alessandroni, Gerardo Iacoucci and Anthonio Ricardo Luciani) and confusingly sharing an identical catalog number to another collectable Flower release called Ritimico by (close friend) Paolo Ferrara (LEW 0551) this album has slipped under the radar of many Library label completists over the years attracting confusion, scepticism, polarised opinion but nothing short of astonishment at the bizarre hidden synth-ridden psychedelic concept pop found behind some of the most striking duo-tone artwork to come out of Italy’s most experimental era.
  • 01. Rajesh Roshan - Sannata Theme
    02. Hemant Bhosle - Sansani Khez Koi Baat
    03. Bappi Lahiri - He Met Me In The Guest House
    04. Bappi Lahiri - Meri Jaan
    05. Laxmikant-Pyarelal - Aa Jaane Jaan
    06. Ratandeep Hemraj - Birha Ki Maari Koi
    07. Bappi Lahiri - Dance Music
    08. Sapan Jagmohan - Aji Kahan Gum Ho
    09. Laxmikant-Pyarelal - Theme Music
    10. Usha Kanna - Tere Jaisa Pyara Koi Nahin
    11. Rajesh Roshan - Marjaban Too Kuthe Part 1
    12. Sapan Jagmohan - Sote Sote Adhi Rat
    13. Hemant Bhosle - Theme Music
    14. Sapan Jagmohan - Main Theme
    15. Bappi Lahiri - Disco Title Music
    16. Rajesh Roshan - Superman, Superman
    17. Khemchand Prakash - Dance Music
    18. Bappi Lahiri - Aafat
    19. Laxmikant-Pyarelal - Chalo Re Doli
    20. Rajesh Roshan - Marjaban Too Kuthe Part 2
    21. Nadeem & Shravan - Dekho Dekho Dekho Magar Pyar Se
    22. R. D. Burman - Bindya Tarse Kajra Barse


    Bollywood Bloodbath

    [engl] After what seems like a thousand years of blood, sweat, tears, and a lot more blood, your zombified disc disciples at Finders Kreepers unveil one of their most exquisite, exhumed, ectoplasmic, and existentially essential collections yet. This musical mausoleum of malformed freak funk and dreadful discothèque pop has been resurrected from the maligned cinematic subculture of Bombay’s bloodthirsty horror film industry and witnesses the cognoscenti of the Bollywood pop scene at their most creative, destructive and experimentally effective. Bollywood Bloodbath features India’s finest composers, such as Bappi Lahiri, R.D Burman, Sonik Omi, Sapan Jogmohan and Laxmikant Pyarelal making the kind of radical risk-rock that would under normal circumstances have studio security escorting these overworked maestros off set for a well-earned break or a relaxing exorcism. Take all the most oblique, indigenous characteristics of your favourite Bollywood musicals then condense them into a bubbling serum and watch the Jekyll and Hyde transformation commence as these A-list composers create bloodcurdling B-Music for the films they never thought the outernationals would see or hear. You’ve heard Italy’s most famous composers when they soundtrack unwatchable Roman slasher flicks with on their own uncompromised and underpaid terms? Well that blueprint just turned blood red with sub-shoestring, low-budget studio wizards gambling with rigamortis rock, disjointed disco and low-voltage electronics for seldom screened scenes of desi Draculas, lycanthropic lady killers and psyched-up swamp monsters. Ever wondered what the DJ would play in a 1981 luxury hotel that was built on an ancient Christian cemetery? No? Well it sounds like someone just got possessed by Jimmy Page and Nile Rogers at the same time. Help! But séance fiction aside the factual history of the untravelled Bollywood horror phenomena is fully re-exhumed with this compendium in true faithful Finders Keepers style. Carefully documenting the drummy theme from the first-ever 1949 Indian ghost film this benchmark collection follows the sinister lineage as directors of bloody thrillers take chances on shuddering synopsis and haywire sonic special effects. Leading up to the inauguration of the notorious Ramsay Bros film company (whose sibling revelry in the 70s and 80s lead to the inclusion of flight-style puke bags in participating picture houses) this compilation pulls no punches and plunges the ‘B’ of Bombay into the heart of the b-movie and squirts a masala of bloody ketchup and red wine onto the sets of Bollywood’s glorious filmic musicals. Licensed exclusively from the independent Indian film music companies (revealing incidental tracks that they didn’t even know they owned) Bollywood Bloodbath is the result of avid stomach turning research via VHS tapes, chewed-up cassettes, and LPs, 12”s and 45s remastered from some of the only existing master tapes; presented on both CD and vinyl for both the hairy home listeners and daring DJs just in time for the witching season. Hunt down the spooky Sansani before it gets to you first!
    EAN 5060099503313
  • 01. Sedmikrasky
    02. Peach Tree Thieves
    03. Red Carpet
    04. Three's a Crowd
    05. Drunken Disorderlies - Sung by Eva Pilerova
    06. Dead Men Tell No Tales
    07. The Juggler
    08. The Butterfly Cabinet
    09. Sugar Stealers
    10. Burning Ribbons (Phone Call 1)
    11. Girlies Girlies
    12. Man With A Typewriter (Phone Call Two)
    13. Bath Of Milk
    14. Roses Red Roses Red
    15. Cuckoos
    16. Scissors
    17. Beggars Banquet
    18. Food Fight
    19. Strip-teas


    Daisies / Sedmikrasky

    [engl] Back in the latter half of the 1960s the burgeoning idiosyncratic group of alternative filmmakers coming out of (then) Czechoslovakia known as the Czech New Wave were taking art house cinemas in Western Europe and America by storm. The hour long films that came out of the infamous Barrandov production house played a competitive rival to that of the French and Italian New Waves with their very own immaculate and spellbinding takes on cinema verité, film noir, surrealism and cinema concrète. But after the Soviet Union invaded Czech in August 1968 the clampdown on non-conformist creative arts saw over seventy films either banned or withdrawn from production in a mass culling of film reels until 1970. It is not until recent years that the genre has become widely recognised as a veritable and virtually untapped source of inspiration for fans of experimental cinema, psychedelic cinematography, baroque costumes and scenery, music and graphic design. Daisies pulls together what you might call the ‘Holy Trinity’ of the Czech New Wave – director Vera Chytilová, costume and set designer Esther Krumbachová, and cinematographer Jaroslav Kucera – arguably the three most forward-thinking and truly experiMENTAL minds in the whole of the CNW collective. Witness Les Petites Margeurites (original French theatrical title) as they mischievously flutter through Prague’s finest restaurants accompanying middle-aged men on flamboyant double dates in gastronomic ménage à trois – “If the world spoils itself, then we shall be spoiled as well” decide the two bikini clad button-cute Maries in the films opening scenes. The radical and experimental nature of Daisies is further enhanced by its erratic score which consists of the juxtaposition of various non-melodic elements and sound effects, laden with a broad palette of samples and snippets of choral and classical vintage recordings spliced with concréte effects, traditional brass band music, Disney style exotica, Charleston dance standards and token 60’s beat tracks. Originally prepared for public consumption by Finders Keepers in 2007 and available once again as part of our ongoing (and slightly disrupted) 15th birthday celebrations this immaculate release was taken from the original reels and compiled in close accordance to the original storyline and comes complete with unseen archive images, original international poster designs and new and extensive sleevenotes.
  • 01. Oscar - Good Lovin' Woman
    02. Urbane Gorilla - Ten Days Gone
    03. Stackwaddy - Hunt The Stag
    04. Greasy Bear - Windy Day
    05. J.C. Heavy - Is This Really Me?
    06. Socrates - Johnny
    07. Plasma - Seven Stars
    08. Sliped Disc - Come On In
    09. Savoury Duck - Dragon Flight
    10. The Way We Live - King Dick II
    11. Spider Jive - Crocadilla
    12. Sweet Chariot - Wildside
    13. Samsun - Bringing It All Back Home
    14. So On And So Forth - Sweet Wine
    15. Grisby Dike - Nebula
    16. Young And Renshaw - Cant Get Enough Of Your Love
    17. Plasma - Hazel Time (CD ONLY BONUS TRACK) 18. Chris Statham - Getaway



    [engl] 18 outbursts of unreleased testosterone from the 1970’s Mancunian rock underground. Unissued studio demos and rare tracks of hard rock, hairy funk, heavy, prog from the toughest unknown rock groups of Greater Manchester, England MAN CHEST HAIR liberates 17 heroic outbursts of rare and unreleased Northern testosterone from Mancunian pops awkward coming of age purple period. The hairy funk and hard rock foundations of Manc punk and metal laid down by the self-sufficient post-beat unsignables. MAN CHEST HAIR documents the missing stink between The Hollies, The Hermits, Hamburg, Hannett and Hotlegs with a HEAVY emphasis on dirty drums and filthy fuzz from beneath the black rainclouds of Greater Manchester. Ahead of their time, under the radar and over the heads of the trembling music industry these glorious live action trailblazers crank the ignition of the eclectic Mancunian metal machine, engines blazing between 10cc and full throttle Motorheads. MAN CHEST HAIR boasts the seldom recorded, unshaven sounds of the Mancunian "independent" industry from the future capital of "indie" music. Cruising via prog, psych, funk, glam and hard rock with no toilet breaks or refu- els along the way. This is the sound of do or die DIY from beneath the rainy city sky documenting the trouble behind the stubble, the aftershave sting that followed and the good humoured bromantic chippy dinners that united Madchester before it was clin- ically diagnosed. "A sonic polaroid of plump 1970s Lancashire technology in action. Lets here it for real men that built their own studios from denim, rock, wool & sweat" - Graham Massey (808 State)
    EAN 5060099504075