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* Separate little list that will put up amazing condition but cheap and semi-rare slides and spare copies of records that do NOT feature on our Rare Records Catalogue.

* This little list will be updated every 10 days or so with a handful of new additions of super clean killer records that are cheap or offered below market value, our “collateral damage” offerings so to speak that drifted into our orbit.

* As opposed to our main Rare Record Catalogue – we do not sent out an update mailing list for this little venture. So better check in ever so often to not miss out on any dead cheap and EX & NM killer sonics.

* Only EX/ NM condition records will be offered so…cheap and clean fun for days.

UPDATED June 10th, 2018.
1. ART ENSEMBLE OF CHICAGO: “Certain Blacks” (America – 6098) (Record: Near Mint/ Jacket: Near Mint). Original France only issue, 1st original pressing. On Certain Blacks the core four of Roscoe Mitchell, Joseph Jarman, Lester Bowie and Malachi Favors enlist two guests to aid them in the LP-sized journey into deep blues forms: Chicago Beau on tenor, piano and harmonica and Julio Finn blowing second mouth harp. Drummer Don Moye wasn't yet with the band. His precursor William Howell favors a somewhat more rhythmically orthodox approach to the kit and a propensity for hard- boiled beats. Assuming the moniker Edward, Jr., Mitchell focuses his attention on the mighty bass sax. His corpulent lines blast and etch away at the Studio Decca rafters pouring forth with pathos-rich potency. Built on a simple vocal mantra and gospelized riff, the side-long title cut stretches far and wide and posits no shortage of righteous ebullience. The horns cavort and swirl around a rhythmic center eventually dispersing into solos cropped by boisterous shouts and unison returns to the staple aphorism. Jarman's switch to vibes leavens some of the momentum, but the six lock back on the groove thanks to Favors stout ostinato. A snippet of telling banter at the close betrays some surprising dissention at odds with the professed unity behind the piece. Side B divides in two with another Beau composition "One for Jarman and a rollicking cover of Sonny Boy Williamson's "Bye Bye Baby that revels in the syncopation-suffused ambience of a South Side rent party, heavy on the funk. The former tune features the Beau's ivories dancing in line with a lush contingent of horns, plumb bob bass and drums through a tropical-tinged reverie.” (Derek Taylor – All About Jazz). Spot on! Price: 40 Euro
2. AYLER, ALBERT: “My Name Is Albert Ayler” (Debut/ Freedom Japan – K18P-9385) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Original Japanese pressing of rare Ayler slide, virginal condition Price: 25 Euro
3. AYLER, ALBERT: “Ghosts” (Freedom/ Trio Records – PA-9710) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent). Rare but 2nd press issue in top condition of killer and highly essential Ayler side with Gary peacock and Don Cherry to flank him. Hardly surfaces and damned cheap. Price: 30 Euro
4. AYLER, ALBERT: “Recorded Live At The Village Vanguard In Greenwich Village” (Impulse – AS-9155) (Record: Excellent/ Gatefold Jacket: Near Mint). Killer Ayler slide that just open up to the hallucinogenic horn power of Ayler’s 1966 and 1967 Greenwich Village sets where he shares the stage with Joel Freedman, Bill Fowell, Beaver Harris, Sunny Murray, Alan Silva, Henry Grimes and brother Don on trumpet. Totally essential!!! Price: 25 Euro
5. BENTWIND: “Sussex” (Delval – DV-007) (Record: Near Mint/ Jacket: Near Mint). Long gone and deleted Delval issue of Canadian heavy psych rarity from 1968. This one always fries my cranium to a close meltdown with Riverside blasting at full volume through my speakers and igniting a riot in the neighborhood. Killer but getting so damned hard to pull. Price: 75 Euro
6. BIG BROTHER & THE HOLDING COMPANY: “S/T” (Mainstream – S/6099) (Record: Near Mint/ Jacket: Excellent ~ Near Mint - has a faint trace of ringwear on upper side, neglectable). Original US first pressing, stereo copy. Price: 40 Euro
7. PAUL BLEY TRIO: "Closer" (ESP Disk - BT-5006) (Record: Near Mint ~ Mint/ Jacket: Mint - still in Shrink/ Capsule OBI: Mint, still housed in original Shrink). Top condition copy, Japan first origiginal pressing of 1975 of classic ESP slide that was recorded back in 1965. Killer line-up with Barry Altshol on percussion, Paul Bley on piano and Steve Swallow on bass. Hard to find pristine Japanese pressing with obi. All is housed in shrink. Price: 40 Euro
8. BLONDIE: “Eat To The Beat” (Toshiba EMI Japan – WWS-81255) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Poster Insert: Near Mint/ Imprinted Inner Sleeve: Near Mint/ 4 Paged Liner Notes: Near Mint). Original Japan 1st press from 1979. “Just as Blondie’s second album, Plastic Letters was a pale imitation of their self-titled debut, Eat To The Beat, their fourth album, was a secondhand version of their breakthrough third album, Parallel Lines - one step forward, half a step back. There was an attempt, on such songs as "The Hardest Part" and "Atomic," to recreate the rock/disco fusion of the group's one major U.S. hit, "Heart of Glass," without similar success, and, elsewhere, the band just tried to cover too many stylistic bases. "Die Young Stay Pretty," for example, dipped into an island sound complete with modified reggae beat (a foreshadowing of the upcoming hit "The Tide Is High"), and "Sound-a-Sleep" was a lullaby that dragged too much to be a good change of pace. The British, who had long since been converted, made Eat To The Beat another chart-topper, with three major hits, including a number one ranking for "Atomic" and almost the same success for "Dreaming," but in the U.S., which still saw Blondie as a slightly comic one-hit wonder, the album was greeted for what it was -- slick corporate rock without the tangy flavor that had made Parallel Lines such ear candy.” (All Music Guide). Price: 35 Euro
9. CAMAYENNE SOFA: “La Percee” (Editions Syliphone Conakry – SLP-52) (Record: Near Mint/ Jacket: Near Mint). Great Mandingo sounds as always, plus the sweet down tempo headnodding afrobeat tune Samba-Mana An offshoot of the popular Guinean band Sextet Camayenne, Camayenne Sofa dominated West Africa's hit parade during the 1970s. Their many hits included the chart-topper "Were Were." The group struggled with many personnel changes. Original members Bossély Keita, Mamadou Camara, and Salia Camara left to form their own group, Kaloum Star, while drummer Papa Kouyate was recruited for Miriam Makeba’s Quintet. Guineen and vocalist Ange Miguel went on to perform with Tambourinis. Camayenne Sofa has continued to perform, under the direction of the sole remaining founding member, Jean-Baptiste Williams. Bass player Francois Koivoqui has assumed the role of "orchestra chief," while the band's vocalists include Mamady Camara, Youssouf Ba, and Zeze.” (Craig Harris, All Music Guide) This classic Guinean pop ensemble possesses without a single doubt one of the grooviest sounds to be found on the that day African continent. While the music displays a certain roughness and a free-floating incoherence, there are still several juxtaposition-like elements that bubble up which make them such a highly original band, all fusing neatly into one adhesive and trance-inducing sound such as the keening, shrill vocals; the disjointed reverberating echoey guitar lines; the driving, aggressive and tribal percussion grooves consisting out of an unusual mix of indigenous rattles and shakes, all beefed up and kept in line by a swirly little organ. Camayenne Sofa obviously refrained from polishing their sound and opted to keep in the so vibrant rough edges, which makes their music so highly unique and compelling. It only made their music so much more energetic and jaw-droppingly great as opposed to the vast majority of African pop albums of that era. After sitting through this one, you will be blasted off onto a whole new musical quest, taking you through previously unchartered plains and savannas. Highly recommended! Price: 50 Euro
10. CASH, JOHNNY: "At Folsom Prison" (CBS - S-63308) (Record: Near Mint/ Jacket: Excellent). Classic and totally indispensable slide. Original 1968 Dutch first pressing that sounds killer. Price: 25 Euro
11. CHARLATANS: “The Ones Who Started It All” (Shark – Shark001) (Record: Near Mint/ Jacket: Near Mint). Amazing LP by Frisco’s finest. Unreleased recordings by the Charlatans dating back to 1966 ~ 1968. Codeine and the rest, killer no filler. Has been a while since I came across a copy of this one. In need of a massive re-appreciation. Price: 30 Euro
12. CHIEF COMMANDER EBENEZER OBEY & HIS INTER-REFORMERS BAND: “Immortal Songs For Travellers” (Decca – WAPS-378) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). 1977 original press of Nigerian classic. Great condition!!! Price: 20 Euro
13. CHINA CRISIS: “Working Fire With Steel” (Virgin/ Victor Records Japan – VIL-6090) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ 4 Paged Insert: Near Mint). Scare 1984 Japan original pressing of New wave classic. “China Crisis main men Gary Daly and Eddie Lundon Gary Dally and were great songwriters searching for that one song that would make a difference. "Working with Fire and Steel" was that song. Although they had hits before, and they would have hits after, no other song defined China Crisis essence more. With its percolating beat, Daly’s hiccupping vocals, and a smashing chorus, it was the perfect modern pop song. With that said, there was also so much more to China Crisis than that one song. This, their sophomore album, features songs cut from the same cloth as "...Fire and Steel," including "Animals in Jungles" and "Hanna Hanna," but also reveals a band with deeper meaning and ambitious ideas. Lundon’s sweet backing vocals (and lead vocals on the pretty "Wishful Thinking" and "When the Piper Calls") balance out the quirkiness of Daly’s voice, creating a perfect combination. Although they were pigeonholed as a 'synth pop' band, China Crisis was much more. All that mattered to them was the song, and this album is chock full of intelligent, well-written pop songs. Producer Mike Howlett (who was a member of Gong) added much to the sonic blend, allowing the melodies to shine while toughening up the band's sound (the addition of a full-time drummer and bassist helped to thicken the sound as well). Even the softer moments, like "Here Comes a Raincloud," and "The Soul Awakening" are full of life and excitement. Apart from their own matured sound on this release, there are traces of rock, pop, and jazz floating between the lines. It was only a matter of time before they were compared to Steely Dan. But that came on the next album....” (All Music Guide). Sadly overlooked masterpiece that still sounds very much vibrant to these ears. Price: 25 Euro
14. CHERRY, DON: “Mu Second Part” (BYG Records – Actuel 28/ BYG-28) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Scarce Japanese original pressing. Classic Don Cherry title on the legendary BYG Actuel label. Sounds light-years better than the common French pressing. P`rice: 25 Euro
15. COLTRANE, JOHN: “Live At The Village Vanguard” (Impulse – AS-9124) (Record: Excellent ‾ Near Mint/ gatefold Jacket: Near Mint). Clean US pressing – 2nd press – of another vital Coltrane slide with in the line-up Pharoah Sanders and Alice Coltrane. Price: 25 Euro
16. CRASS: “Reality Asylum b/w Shaved Women” (Crass Records) (Single Record: Near Mint/ Poster Sleeve: Excellent). Shortly after the release of The Feeding Of The 5000, Crass released their debut 7" single on their own record label - Crass Records - for the princely sum of 45p. Being so cheap, how could anyone not buy it? Reality Asylum was a version of the song that the pressing plant in Ireland had refused to deal with when due initially to go on Feeding Of The 5000 and after hearing it, it was very easy to understand why it had caused offence. Sung - or rather, spoken - by yet another Crass member going by the name of Eve Libertine, it was completely at odds with any preconceived notion of what this Punk group called Crass should sound like. No Punk Rock record was this but more a soundscape, a cut-up collage of sounds taken from the radio interspersed with a child's prayer. And yes indeed, it was very blasphemous and in more ways than one: "I am no feeble Christ, not me. He hangs in glib delight upon His cross, above my body. Lowly me. Christ forgive? Forgive? Holy He. He holy, He holy. Shit He forgives. Forgive? Forgive? I? I? Me? I? I vomit for you Jesu. Christy Christus. Puke upon your papal throne. Wrapped you are in the bloody shroud of churlish suicide. Wrapped I am in the muddy cloud of hellish genocide. Petulant child. I have suffered for you where you have never known me. I too must die. Will you be shadowed in the arrogance of my death?" The voice of Eve Libertine was authoritative, confident and sincere; pronouncing the words precisely in a calm and measured tone: "He hangs upon His cross in self-righteous judgement. Hangs in crucified delight. Nailed to the extent of His vision. His cross. His violence. Guilt. Sin. He would nail my body to His cross. As if I might have waited upon Him in the garden. As if I might have perfumed His body. Washed those bloody feet. This woman that He seeks. Suicide visionary. Death reveller. Rake. Rapist. Gravedigger. Earthmover. Lifefucker. Jesu. You scooped the pits of Auschwitz. The soil of Treblinka is rich in your guilt. The sorrow of your tradition. Your stupid humility is the crown of thorns we all must wear." If Reality Asylum was indeed an exercise in freedom of speech that caused eyebrows (and for some - hackles) to be raised then the record's flip side was an exercise in raising questions - along with the tempo. With Eve Libertine again taking on lead vocals, Shaved Women starts with her screaming out like a clarion call to the world: "Shaved women collaborators!" Then to the sound of a hurtling train the phrase "screaming babies, screaming babies" picks up the rhythm and runs with it accompanied by Eve continuing to scream: "Shaved women collaborators, shaved women are they traitors? Dead bodies all around. Shaved women instigators, shaved women shooting dope. Shaved women disco dancing." Bloody awesome. Price: 50 Euro
17. CRASS: “How Does It Feel To Be The Mother of 1000 Dead?” (Crass Records) (EP Record: Near Mint/ Poster Sleeve: Near Mint/ Imprinted Inner Sleeve: Excellent). UK original pressing of another high water mark by the world’s greatest punk band ever!!! Crass released another single: ‘How Does It Feel To Be The Mother Of A Thousand Dead?’ A direct attack on Thatcher, it came in a black sleeve decorated with white graveyard crosses. When, during Prime Minister’s Question Time,Thatcher was asked if she’d heard the record, things were getting serious.The Conservative Party attempted to fight back, as the Guardian reported: “The Attorney General, Sir Michael Havers, has been asked by the Conservative MP for Enfield North, Mr. Tim Eggar, to prosecute an Anti-Falklands war record under the Obscene Publications Act. The record, ‘How Does It Feel To Be The Mother of 1,000 Dead?’, by the group Crass, which also owns the record company Crass Records, which released it, is said to have sold 20,000 copies since it was issued last Saturday. It refers to Mrs. Thatcher and the decision to send the Task Force. “You never wanted peace or solution, from the start you lusted after war and destruction… Iron Lady, with your stone heart, so eager that the lesson be taught that you inflicted, you determined, you created, you ordered… It was your decision to have those young boys slaughtered.” (George Barber wrote in The Crass Story). Price: 40 Euro
18. CRASS/ POISON GIRLS: “Persons Unknown – Bloody Revolutions” (Crass Records – no421984/I) (EP Record: Excellent ~ Near Mint/ Poster Picture Sleeve: Near Mint). Original UK pressing of 1980. Totally vital and totally awesome split single release by Crass and the Poison Girls. Price: 20 Euro
19. CRASS: “You’re Already Dead b/w Nagasaki Is yesterday’s Dog-End – Don’t get Caught” (Crass Records – Cat. No. 1984) (EP Record: Near Mint/ Poster Picture Sleeve: Near Mint/ Imprinted Inner Sleeve: Near Mint). Original 1984 UK press of anarcho punk classic. “This was no lame parting shot, however and will go down in history as one of punk’s last real, radical revolutionary records. It’s as much a representation of the times it was written and recorded in and anticipation of the events to come under the Thatcher regime than anyone had really done before. Not surprising really as in it’s naive, fundamental way the Left had seriously underestimated the Conservative regime.In essence, you could feel things were heating up as the disparate(and some would argue desperate) mish mash forces of the Left rose up to meet the challenge of Thatcher’s embryonic Neo Liberal agenda. On the back of two already seismic, contrasting years of social upheaval (in the form of the 1981 inner city riots and the Irish Hunger Strikes whereby both Black and Irish communities bore the full frontal assault of respective the British State’s forces and media lies to the flag waving, jingoistic support of the British general public for the Falklands War of 1982) this record seemed to be in stark contrast to previous releases by Crass. This was no jolly sing-along punk anthem in the vein of ‘Big A, Little A’ or the tortured, squealing, pleading anguish of’ How Does it Feel(to be a Mother of a Thousand Dead). This was much more urgent, sombre and reflective of the realities of the enemies that we were facing. The music in itself is a strange, meandering mixture of punk and shouty poetry put to music all encompassed in the one tune. Not what I was expecting but again hypnotically compelling after a few listens due to the nature of the lyrics.” (Talk Punk) Price: 40 Euro
20. DENNY, MARTIN: “Martin Denny’s Exotic Sounds From The Silver Screen” (Liberty Records/ Toshiba Musical Industries – SLBY-1008) (Red Wax Record: Near Mint/ Fragile Flip Back Jacket: Near Mint). First original Japanese pressing that was released in June of 1962. Comes housed in Japan only jacket art as it was a Japan only issue. Record comes pressed on beautiful red wax. This one rarely surfaces, especially in a condition like this one here. Price: 65 Euro
21. DRAKE, NICK: “Five Leaves Left” (Island Records – SVLP-163) (Record: Near Mint/ gatefold Jacket: Near Mint). Late press issue of classic slide. Price: 25 Euro
22. DYLAN, BOB: “The Bootleg Series Vol. 7 ~ deluxe LP Edition ~ No Direction Home: The Soundtrack – A Martin Scorsese Picture” (Columbia Records – C2L 93937-1) (4 LP Record Set: Near Mint/ 2 x Gatefold LP Jackets: Mint/ Booklet: Mint/ Postcard: Mint). Long deleted and gone issue that saw the light of day way back in 2006. Top condition heavy duty box set. Essential to any self respecting Dylan aficionado. Price: 125 Euro
23. FONTAINE, BRIGITTE: “Le Goudron b/w Les Beaux Animaux” (Saravah – SH-40 008) (Single Record: Near Mint/ Picture Sleeve: Near Mint). Original French 1968 release in top condition. Price: 20 Euro
24. FONTAINE, BRIGITTE: “Brigitte b/w Moi Aussi” (Saravah – SH-40 043) (Single Record: Near Mint/ Picture Sleeve: Near Mint). Original French 1972 release in top condition. Price: 20 Euro
25. FONTAINE, BRIGITTE: “3” (Saravah/ Nippon Columbia – YS-2731-SH) (Record: Mint/ Gatefold Jacket: Mint/ 12-Paged Illustrated Booklet: Mint) Top original copy with always missing obi!!! Scarce Japanese original pressing out of September 1972 in top-notch condition. Comes with 12 paged booklet, complete with liner notes by enfant-terrible and free jazz promoter Aida Aquirax of Abe/Takayanagi/Graves/ Lacey and Bailey fame This was Fontaine’s third album released on Saravah and produced by Pierre Barouh and flanked by a stellar cast that included Areski, Georges Arvanitas, Jacques Higelin, Phillipe Mate amongst others. “This self-titled LP is a more successful and listenable bridge between her pop and experimental impulses. For one thing, Areski only co-wrote a couple of these tunes and is not often heard on vocals. More importantly, the content is less jarring and more appealing, though equally eclectic. "Brigitte" has the sort of jazz-pop-make out music mix that will entice fans of Francoise Hardy's 1971 album La Question. "L'Auberge," by contrast, could pass muster on a classical LP, sounding like a pious church hymn. Most of the material falls between these two poles, including some spoken poetry and pieces on which Fontaine is backed by little more than African-sounding drums. It's worth checking out for fans of fractured '70s art-pop with progressive and jazz influences.” (Richie Unterberger, All Music Guide). A classic album out or early seventies France that successfully blends avant-garde tendencies with psychedelic folk moves, intoxicating female vocals and a fragrance of pop, in short a masterpiece. Rare original 1972 Japanese pressing with all intact and present. So good. Price: 30 Euro
26. FRY, MARK: "Dreaming With Alice" (Akarma - AK-126) (Record: Near Mint/ Gatefold Jacket: Near Mint). Reissue of fantastic 1972 UK Acid Folk record par excellence. The record rests somewhere between Donovan’s erotic mysticism and the woodsy romps of Comus. At the time of the album’s recording, there was a renewed interest in surrealism in Italy, and this influence can be felt throughout the record. Although it pretty much stays within the conventions of psych-folk, trace elements of prog can also be discerned. In fact, it’s not difficult to picture Goblin finding inspiration in Dreaming. Price: 25 Euro
27. GATO BARBIERI: “Chapter One: Latin America” (Impulse Records – IMP-88139) (Record: Near Mint/ gatefold Jacket: Near Mint/ Obi: Mint/ Insert: Mint). Japan first original press issue all complete with obi. “Chapter One: Latin America was a huge step forward musically for the Argentinean-born saxophonist, even as it looked to the music of his heritage. This turned out to be the first of four chapters in his series on Latin America, and for it he teamed not with established jazz musicians, but instead folk and traditional musicians from his native country, and recorded four of the album's five cuts in Buenos Aires -- the final track, a multi-tracked solo piece, was recorded in Rio de Janeiro. The music found here doesn't walk a line between the two worlds, but freely indulges them. The enormous host of musicians on the date played everything from wooden flutes to electric and acoustic guitars, bomba drums and quenas, and Indian harps and charangos, creating a passionate and deeply emotive sound that echoed across not only miles but also centuries. At the helm was Barbieri, playing in his rawest and most melodic style to date, offering these melodies, harmonies, and rhythms as a singular moment in the history of jazz. While the entire album flows seamlessly from beginning to end, the A-side, comprised of Barbieri’s own "Encuentros" and J. Asuncion Flores and M. Ortiz Guerrero’s classic "India," is the clear standout. That said, the four-part suite that commences side two -- "La China Leoncia Arreo la Correntinada Trajo Entre la Muchachada la Flor de la Juventud" -- is a work of such staggering drama and raw beauty that it is perhaps the single highest achievement in Barbieri’s recorded catalog as an artist. Simply put, this album, like its remaining chapters, makes up one of the great all but forgotten masterpieces in 1970s jazz.” (All Music Guide). Top condition, impossible to upgrade upon. Price: 40 Euro
28. The GREAT KAI & J.J.: “S/T” (Impulse Records – IMP-88116) (Record: Near Mint ~ Mint/ Gatefold Jacket: Excellent/ Obi: Near Mint/ Insert: Near Mint). This lively Impulse! set was the first recorded reunion of trombonists J.J. Johnson and Kai Winding.  With pianist Bill Evans, either Paul Chambers or Tommy Williams on bass, and Roy Haynes or Art Taylor on drums, the two trombonists are in melodic and witty form on such tunes as "This Could Be the Start of Something Big," "Blue Monk," "Side by Side," and "Theme from Picnic." Recommended. Price: 20 Euro
29. GRIFFIN, JOHNNY: “Introducing Johnny Griffin” (Blue Note/ EMI Music Japan – BLP-1533) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Capsule Obi: Near Mint). “Johnny Griffin played fast—very fast. The evidence is here in Griffin's very first album, Introducing Johnny Griffin. It's a 1956 date with a quartet that includes Wynston Kelly on piano, Curly Russell on bass and Max Roach on drums. For 70 years, Griffin was a jazz giant, and this album, his first as a leader, is among his very best. And fastest. Griffin could play the hell out of a ballad. His sound is soulful and full-bodied. Two numbers in particular—"These Foolish Things" and "Lover Man" show off Griffin's beautiful tone. But it's speed you're looking for, and you've come to the right place. The very first number, a Griffin original called "Mil Dew," is blazingly fast. So is "Cherokee," the album's closer, but you expect that on "Cherokee." You don't expect it on Jerome Kern's "The Way You Look Tonight," which may be the fastest take of that song ever recorded. And you don't expect a blazing solo on Cole Porter's "It's Alright With Me," but Griffin delivers. He is fast, absolutely, but also crystal clear, and clever. He is a bebopper (or hard bopper?) of the first order. Johnny Griffin would go on to create many great albums. Arguably his best—"A Blowin' Session" with fellow tenors John Coltrane and Hank Mobley—came just one year later. But it's clear from the very beginning, from this album, that Johnny Griffin was destined for a legendary career. It starts here.” (All About Jazz) Immediately Out Of Print in the flash of an eyelid…. Japan’s uber-quality super limited deluxe high quality reissue of some of jazz finest titles. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all of, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. Price: 55 Euro