FRESH ADDITIONS <Semi-Rare & Cheap Records>
Rare Records Catalogue
Fresh Additions
<Semi-Rare & Cheap Records>
Visual unhinged goods
V.A. Q-Z I-P A-H

Price: 30 Euro
50. QUICKSILVER MESSENGER SERVICE: “Just For Love – Tada Ai No Tame Ni” (Capitol Records – ECS-40037) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint/ Insert: Near Mint). Later Japanese pressing, single sleeve issue with OBI. With the return of Gary Duncan and the recording debut of founder Dino Vatenti, Just For Love, Quicksilver’s fourth album, marked their debut as the band they were intended to be. The ironic thing about that is that, led by singer/songwriter Valenti, they were a much more pop-oriented band than their fans had come to expect. On Just For Love, Quicksilver finally was Valenti’s backup group (he wrote all but one of the songs), and while this gave them greater coherence and accessibility, as well as their only Top 50 single in "Fresh Air," it also made them less the boogie band they had been. And it meant the band's days were numbered. Obi present and in pristine condition, rarely turns up anymore. Price: 35 Euro
51. ROACH, MAX: “We Insist! Max Roach’s – Freedom Now Suite” (Candid Records/ Victor – SMJ-6169) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Additional Article 46 page liners: Excellent/ Obi: Near Mint). Top condition original Japanese press issue. “We Insist!, recorded in August and September 1960, was the first of several jazz albums explicitly to voice the growing demand for equal rights. In November, it was followed by the recording of bassist Charles Mingus' Charles Mingus Presents Charles Mingus (Candid, 1960), whose "Original Faubus Fables," a ferocious attack on Arkansas governor Orval E. Faubus (of Little Rock High School infamy), possessed an intensity which set the tone for most jazz-as-protest albums to follow. Some of those albums sound like period pieces today, but not We Insist!, which is sufficiently nuanced and free of agit-prop literalism to transcend its era. Conceived as a suite by Roach, its composer and arranger, the album features a shifting cast of players, with only Roach and singer Abbey Lincoln heard throughout. Three of the five tracks—"Driva' Man," "Freedom Day" and "All Africa"—feature lyrics by Oscar Brown Jr., sung by Lincoln, who is joined on "All Africa" by Nigerian conga player Michael Olatunji. Brown's words, pitched as poetry rather than polemic, are deep and eloquent, and Lincoln's assertive, uncompromising delivery of them is widely considered to be her finest recorded performance. The album is ablaze with instrumental spirit too. Tenor saxophonist Coleman Hawkins, in an inspired piece of guest casting, solos at length on the opening "Driva' Man," his sturdy, heavyweight testifying suggesting dignity and determination in the face of whip-wielding oppression—he sounds like the civil rights marchers looked. "All Africa" closes with four minutes of collective improvisation between Roach, Olatunji and Afro-Cuban percussionists Ray Mantilla and Tomas DuVall, as thrilling an African/Afro-American drum summit as could be wished for. There are stirring solos from trumpeter Booker Little, trombonist Julian Priester and tenor saxophonist Walter Benton, and the ensemble's focus is razor sharp throughout, honed by Roach's virtuosic drumming. Awesome is an over-used word, but it's the right one for We Insist!.” (All About Jazz). Price: 35 Euro
52. SAIRAIJI HIROMI: “Hatoba b/w Futari No Nakimichi” (Columbia – SAS-1552) (Single Record: Excellent/ Picture Sleeve: Excellent/ Company Inner Sleeve: Excellent). 1971 Japan original press issue of all time greatest but so unknown beached belly-up & bottom of the grave Enka wailing chanteuse Sairaiji Hiromi. PSF records Hideo Ikeezumi introduced me to her and we both cultivated a secret but long lasting heavy love for Sairaiji’s output. This is the deep shit, merely 19 years old at the time, she succeeded in sounding like a 95 year old hag at the brink of oblivion. It makes the hairs on my neck stand up straight for weeks on end after I play this at full volume. Enka never got as good, as deep, as depraved and as rurally fucked up as Sairaiji’s debut. Bloody insane killer shit!!! Price: 30 Euro
53. SCREAMIN’ MEE-MEES: “Live From the Basement!” (Bag Of Hammers) (4 Track EP Record: Near Mint/ Picture Sleeve: Near Mint). Amazing reissue of classic 45 slide that brings out the beast. Price: 20 Euro
54. SHEPP, ARCHIE: “On This Night” (Impulse – AS-97) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Company Inner Sleeve: Near Mint). US pressing in outstanding condition. “Tenor saxophonist Archie Shepp’s third release for the Impulse label collects valuable loose ends recorded between March and August 1965. Among the highlights are a passionate reading of Duke Ellington’s "In a Sentimental Mood" and the title piece, a moving tribute to W.E.B. DuBois, featuring the haunting soprano vocalist Christine Spencer employing a distinct 20th century classical influence, with Shepp on piano. Shepp is the solo horn on these dates, playing at peak form with contributions from vibraphonist Bobby Hutcherson early in his career, David Izenzon or Henry Grimes on bass, and four rotating drummers, including Rashied Ali, J.C. Moses, Joe Chambers and Ed Blackwell playing a variety of percussion.” (All Msuic Guide). Price: 30 Euro
55. SHIDE AND ACORN: “S/T” (Acme – AC8006LP) (Record: Side A = VG++ clearly visible mark that does NOT sound & Side B = Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint). Reissue that is long and gone of mega rare UK pastoral acid folk slide that saw the light of day in the beginning of the 1970s. original released as a micro-quantity private pressing. Such a gem of a record, utterly beautiful. Price: 25 Euro
56. SISTERS OF MERCY: “Alice b/w Floorshow” (A Merciful release – MR-015) (7 Inch Single: Excellent/ Picture Sleeve: Excellent). Original 1982 French press original of killer single. Price: 25 Euro
57. SLAP HAPPY HUMPHREY: “Chiheisen b/w Sentimental Street” (Public Bath – PB14) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint). Original 1994 pressing of noisey take on Morita Doji folk songs by Hijokaidan front man backed up by the lovely vocals of Angel In Heavy Syrup lead chanteuse Mineko Itakura. Price: 35 Euro
58. SMITH, JIMMY: “Livin’ It Up” (Verve – V6/8750) (Record: Near Mint/ Jacket: Near Mint – still housed in original shrink/ Company Inner Sleeve: Near Mint/ Direct Import Obi: Mint/ Insert: Mint). US original press with Direct import OBI for Japan and Japan only insert. Top condition original pressing. Price: 30 Euro

59. SONIC YOUTH: “Personality Crisis b/w Dirty Boots” (Geffen – 7-19664-dj) (Single Record: Near Mint/ generic Sleeve: Mint). Promo only issue from 1990 by the mighty Sonic Youth venturing into New York Dolls territory and ripping it up with much conviction and galore! So bloody awesome! Price: 35 Euro

60. SONNY BOY WILLIAMSON: “The Best Of Sonny Boy Williamson” (Victor Records/ Chess – SWX-6134M) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition Japan original press issue all complete with OBI. Hard to improve upon classic blooze slide. Price: 30 Euro

61. SONNY MURRAY: “Sonny’s Time Now” (DIW – DIW-25002) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint). Original Japan press issue all-complete with OBI – 2nd press issue that came out without the EP. Killer shit from start to finish. Top copy. Price: 30 Euro

62. STITT, SONNY: “Wow!” (Impulse – IMP-88111) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original pressing all complete with obi and insert. Rare WHITE label PROMO issue. Price: 30 Euro


63. STONEWALL: “S/T” (Tiger Lily Records – TL-14013) (Record: Near Mint/ Jacket: Near Mint). Damned nice and long gone and deleted reproduction of this killer psych LP on the tax scam label. Originals sell for the same amount as a kidney transplant, so nice to see an almost identical – but long gone and sold out – high quality reissue of this. Killer slide with the band having no problem of getting loose and brutal in the studio in the early 70s. Fantastic crunching guitar, heavy stormy grooves, killer songs, and a singer who vibes like a trailer park Ozzy in the early stages of a meth binge. The record opens with "Right On," an invocation to "come on over to our shack" and get wild. "Outer Spaced" is the peak, the singer channeling bizarre visions while riding a tidal wave of pulverizing guitar and organ. Shoots you off like a rocket and flattens you like a steamroller simultaneously. Price: 40 Euro
64. 13th FLOOR ELEVATORS: “I’ve Seen Your Face Before” (Big Beat – WIK-82) (Record: Excellent ‾ Near Mint/ Jacket: Near Mint). Original infamous live recording release that saw the light of day in 1988. Despite their commercial success, it was in California that problems began developing around the Elevators in general, and Roky Erickson in particular. After returning to Texas around Christmas, the band played a large number of gigs during early ‘67, but their performances were getting uneven and unpredictable. Nothing illustrates this better than the notorious Houston Mustic Theatre Tape, from February ‘67. Through a twist of fate, this is the best documented concert in the entire Elevators annals. Apart from the professional live recording, there exists a poster, old ticket stubs, detailed comments from band members, and personal reminiscences from audience members. How unfortunate then, that the Elevators decided to drop more LSD than usual before the concert, and went on stage zonked out of their skulls. While the crowd was yelling and IA:s tape deck was rolling, lead guitarist Stacy Sutherland entered a profound hallucinatory stage, which he described years later as: “...Everybody turned into wolves, and I thought that our band was evil, because of some of the things we had advocated. And I was tryin' to escape the room, I didn't know what I was gonna do, but I was gonna get out of there. I didn't want anything to do with it, because everybody was turning into animals...”. While on stage, Sutherland entered a dissociated spiritual space wherein an angel gave him three “prophecies”, all of a negative nature. This vision would continue to haunt the guitarist, and informed some of the lyrics he later wrote for the band’s final LP, Bull Of The Woods. On top of these heavy acid vibes, the revolving stage of the venue contributed to the musicians’ confusion. On the live tape, you can hear drummer John Ike Walton desperately trying to hold the gig together, while Roky forgets his lines or his vocal mic, Stacy’s guitar leads abruptly come and go, and the whole thing is pretty much out to lunch. As a freak document of a very freaky night, it has its moments, but for the Elevators legacy we would have been better off without it. To add insult to injury, when the recording was made available in the late ‘80s, the clueless people involved simply put it out with zero corrections of the raw mix, which means that it sounds even more bizarre than it had to. Furthermore, it was incorrectly listed as coming from La Maison, which didn’t even exist by early ’67. For the bold or curious, the concert can be found on Big Beat’s I’ve Seen Your Face Before – Live LP” (Patrick Lundborg). Historically so great and I love it. Price: 30 Euro
65. TAKEMITSU TORU, MICHAEL RANTA & STOMU YAMASHITA: “Miniatur IV: Art of Toru Takemitsu ~ Seasons: Munari by Munari” (Deutsche Grammophon - MG-2476) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Original 1974 Japan original press all complete with obi. Great avant-garde record that depicts two compositions by the late Takemitsu Toru, here played and performed by Michael Ranta, Yasanori Yamaguchi, Stomu Yamashita and Hidehiko Sato on various miscellaneous percussion instruments, bells, gongs, vibraphones and metal sculptures sound art-like instruments. The compositions were recorded in June 1971 and in March 1974. Fantastic sound art record that can easily compete with other solo work of Michael Ranta and even Bertoia. For fans of adventurous sounds, sound art, fluxus, Bertoia, avant-garde and improvisation. Price: 30 Euro
66. TAYLOR, CECIL: “Nuits De La Fondation Maeght – Vol. 1” (Shandar – SR-10.011) (Record: Near Mint/ gatefold Jacket: Near Mint). Legendary and necessary ear candy that needs a home in any collection. Original French 1st pressing on highly collectable label. Price: 20 Euro

67. TAYLOR, CECIL:Nuits De La Foundation Maeght Vol. 1” (RCA Records/ Shandar – RCA-6085(M) (Record: Near Mint/ gatefold Jacket: Near Mint/ Obi: Near Mint). Original 1973 Japanese pressing all complete with rare obi. Price: 30 Euro

68. TRISTANO, LENNIE: “Descent Into The Maelstrom” (East Wind – EW-8040) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). First of all, let me start off with saying that this LP is one of the most singular mind-blowing great free improvisation records ever to be put down on wax, documenting Tristano during the early fifties and early sixties, pondering away at the keys. All in all, this LP is a tough and hard-to-find gem that starts off with the utterly unique title cut. On this completely atonal track (which predates Cecil Taylor by a few years!!!), Lennie Tristano overdubbed several pianos, creating subliminal picturesque and extremely intense improvisational sonic soundzzz. The remainder of this album embroiders on similar themes and moods, mostly comprised of leftovers and rehearsal tracks, which considering Tristano’s slim discography, is as essential as can be, especially if you consider that free blowing heads like Takayanagi Masayuki were heavily inspired and in awe of him. Upon listening to the disc, it is easy to understand why – modal jazz fuses with atonal rhythms and abstract key changes, making it a hybrid and alienated listening experience, especially if you consider the recording dates of the tracks in question. Tristano is heard solo in 1961 and 1965, in a trio with bassist Peter Ind and drummer Roy Haynes in 1952 and (in what might be his last recordings) performing a pair of originals with bassist Sonny Dallas and drummer Nick Stabulas in 1966. Tristano fans can consider this important release to be essential. And a free jazzing head like myself find this disc as essential as Milford Graves “Babi Music”, Arthur Doyle’s “Alabama Feeling” and Mazarette Watts self entitled album on Savoy. This baby burns. It is the first pressing that came out on the Japanese East West Japan label, housed in a stunning calligraphy-styled sleeve. A second press is also circulating released by Inner City, but this one is the real deal. Price: 40 Euro
69. The TWINKEYZ: “Cartoon Land” (Anopheles – Anopheles-007) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Long gone issue from 2002 and compiles original 1977~80 studio recordings by this legendary Sacramento garage-psych group. Pressed on clear vinyl, limited edition. With new liner notes and photo insert and includes the classic anthem “Aliens In Our Midst”. Awesome! Price: 40 Euro
70. UNIVERS ZERO: “Crawling Wind” (Chaos International – 1982) Classic recording by Belgian’s finest and best avant-garde combo. This disc was solely released in Japan and is the rarest Univers Zéro record. The music is haunting, dark, frightening, oppressive and threatening avant-garde chamber rock. For lovers of Magma, Univers Zekt, Shub Nigurat, Zao, Zeuhl music and the likes. Highly recommended. Price: 40 Euro
71. VAMPYROS LESBOS: “Sexadelic Dance party with The Lion & The Cucumber b/w The Message” (Crippled Dick Hot Wax) (7 Inch Record: Near Mint/ Picture Sleeve: Near Mint). Long time no see original German pressing that saw the light of day way back in 1990s. Limited edition single in a tiny run of 500 only. Price: 25 Euro
72. WALT DICKERSON: “To My Queen” (Prestige/ Victor Records – SMJ-7223) (Record: Near Mint/ Flip Back Jacket: Near Mint). Scarce Japan very first original press issue housed in Japan only fragile flip back sleeve art.“To My Queen is Walt Dickerson’s crowning achievement, a perfect balance between his intellectually advanced concepts and deeply felt passion. Dickerson had always displayed a fertile imagination, but there hadn't been much indication that his vision could be as expansive as it was on To My Queen. Never before had he attempted such extended, freely structured performances, which makes the album's consistency and focus all the more impressive. Like the foreground of a canvas, the listener's attention naturally falls on the title cut, a side-long, 17-and-a-half-minute opus (written in tribute to his wife, Elizabeth) that became Dickerson’s signature piece. It's deliberate, spare, and tender, with the soloists accompanied by either a gentle swing or the barest hints of support Dickerson’s shimmering opening statements are followed by thoughtful explorations from pianist Andrew Hill and bassist George Tucker. while drummer Andrew Cyrille offers subtle, whisper-quiet shadings, save for occasional drum rolls that come off like momentarily swelling passions amidst all the introspection. The second half of the album maintains the mood set by the first, featuring an 11-minute version of "How Deep Is the Ocean" and a vibes/bass duet on "God Bless the Child" that trumps Dickerson’s earlier effort in the same vein. This is arguably the finest quartet Dickerson ever led, not just because of the advanced musicianship and sympathetic interplay, but also because each member serves the material with taste and care. The whole album is swathed in a gauzy glow that speaks even more eloquently than its creator's conceptual ambition; this is music from the heart as well as the mind.” (All Music Guide). A bewitchingly beautiful and austere recording. Makes your ears glowing like fireflies during a rainstorm. Price: 75 Euro
73. WILLIAMS, ANTHONY: “Spring” (Blue Note/ Toshiba – SGD-70) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition Japanese high-quality pressing for cheap. Price: 30 Euro
74. WYATT, ROBERT: “Old Rottenhat” (Rough Trade/ Tokuma Japan – 25RTL-3011) Promo copy, 1st original Japanese pressing of subliminal solo recordings by former Soft Machine and Matching Mole kingpin. Stuff of legends, Wyatt solo material is amazing and so needed. TOP copy. Price: 35 Euro
75. WYATT, ROBERT: “Nothing can stop us” (Rough Trade/ Victor – VIP-4228) Promo copy, 1st original Japanese pressing of subliminal solo recordings by former Soft Machine and Matching Mole kingpin. Stuff of legends, Wyatt solo material is amazing and so needed. TOP copy. Price: 35 Euro
76. YARDBIRDS & SONNY BOY WILLIAMSON: “S/T” (Philips Japan – SFL-7375) (Record: Near Mint/ Jacket: Excellent). Original Japan 1st press issue of 1967. Comes in Japan only jacket design. Rare item & in great shape. Price: 75 Euro