The label, meanwhile, continued to release records that did not involve Laswell; this eclectic selection included Eric Dolphy's "Iron Man" and "Conversations", John McLaughlin's "Devotion", and "Welcome To Dreamland", a compilation of Japanese pop overseen by Fred Frith. African music also featured heavily in Celluloid's mid to late eighties output: Kassav, Toure Kunda, Fela Kuti, and Mahlathini and the Mahotella Queens all released albums through the label. Karakos also kept up his interest in the post-punk scene by releasing a comeback solo album by Television guitarist Richard Lloyd ("Field of Fire" 1986), as well as a follow-up ("Real Time", 1987), and found time to start up two new offshoots, Braziloid and Skaloid, which released, Brazilian and ska music respectively. In conjunction with CBGB, the label issued the 1987 Ritual Tension live album "The Blood of the Kid". In 1989, Karakos having returned to Paris, produced in partnership with film director, Olivier Lorsac, the zouk/Brazilian music influenced, Kaoma band which consisted of ex-Celluloid recording artists from Toure Kunda and the main group to musically represent the repertoire of the lambada dance music explosion in Europe during that same year. Originally intended for Celluloid's Brazilian division, the lambada music compilation and video was eventually released on CBS Records worldwide, reaching no. 1 on top of the pop music charts in Europe. Facing the worldwide success of the hit, and the necessities of its management, Karakos sold in debt Celluloid to American businessman John Matarazzo for a symbolic dollar. Matarazzo was to repay Celluloid's debt to French Bank Societe Generale, which had mortgaged the whole recording, publishing and branding catalog. As he failed to do so, Societe Generale got back its rights over the catalog and sold it all back to Karakos and his associates of Adageo in 1994. Laswell had decamped to become a producer for hire and would later found Axiom, under the auspices of Island's Chris Blackwell which continued Celluloid's avant-garde musical policy. The French branch of Celluloid continued to license music for compilations on other labels, notably MauMau and Charly, while releases were sporadic at best, and largely aimed at the French market. Charly Records had a licence contract that was ongoing until 2005 and despite the confusion, much of Celluloid's output found its way onto CD store shelves through labels such as Charly and Collision through the mid-2000s.