Last updated: September 1st, 2023

1. ACID TEST - KEN KESEY AND THE MERRY PRANKSTERS: “ACID TEST” (Sound City Productions) (Record: Near Mint/ Jacket: Near Mint – clean with also a virginally white back sleeve). Original 1996 US private pressing of this legendary document of the Bay Area LSD and acid scene. Tripped out sound effected, stoned and wasted ramblings, disjointed tape loops all happening simultaneously with the Grateful Dead jamming and spacing out in the background. A corner piece and freak ticket item for anyone remotely interested into the doped out West Coast acid and counterculture scene. “Legendary documentation of the 1965-66 Bay Area Acid Test scene "from 14 hours of the actual trip" (recorded in a studio). Shows the other side of acid culture which is fun, unpredictable and avantgarde as opposed to the Leary camp's solemn religious/ psychological approach. Lots of amazing mind games and word play with Kesey and Ken Babbs in good form, ad libbed poetry, fractured harmonica solos, tape loops and the Grateful Dead lurking in the background. Released in March 1966, just as the Pranksters were splitting for Mexico. An essential piece, though even the vinyl reissue is hard to find nowadays.” (Acid Archives). This is a near mint top copy; do not believe they come any better than this baby here. A museum piece and a statement that comes on like a bare-knuckle fist messing up your already fractured sub-consciousness. Highest recommendation and can offer it at a very good price – just inquire. Price: Offers!!!
2. AGITATION FREE: “Malesch” (Vertigo – 6360.607) (Record: Near Mint/ Jacket: Near Mint - a breath away from stone mint due to some very fine & hardly noticeble faint trace ringwear on back left side). Top copy, hard to find in such great shape, especially for the jacket. Original German swirl copy of this psychy ethnic tinted krautrock masterpiece, the best Agitation Free disc in my book. Malesch was the band’s debut LP and it turned out to be a true cosmic Krautrock classic, blending spacey psych with a flair for Eastern "exoticism". The album was recorded in 1972 not long after the band was sent on a tour of the Middle East by the Goethe Institute, and incorporates field recordings from their trip: the bustle of Cairo streets, desert winds, calls to prayer, friendly airline pilots... In all, a killer album made up of mostly instrumental psych/ drone/ ethnic rock, and fusing it all into one combustible swirling head-trip. So recommended and so far out. Awesome & a top copy indeed. I do believe they do not come cleaner or better than this copy here, top shelf condition. I have never seen such a pristine copy as this one here.... they are damned rare so perfect as this one, so need some nice offers on this one. Price: Offers!!!!
3. AGITATION FREE: “2nd” (Vertigo Records – 6360.615) (Record: Excellent ~ Near Mint - has a few barely visible sleeve lines one can detect under a bright light. Completely harmless and hardly detectable with the naked eye - plays mint/ Laminated Gatefold Jacket: Excellent ~ sole defect is small barely visible ‘white on white’ price tag tear on upper right corner – apart from that I would grade the sleeve as near mint ~ Mint). TOP COPY, first original pressing!!!! Classic German Krautrock masterpiece that was released in 1973. As opposed to Malesch, Second shows some slight change in direction for the band. It becomes readily apparent on the first track that the band's sound is slightly jazzier and the melodies are a little tighter and stronger. The guitar duels between Ulbrich and Diez are utterly gorgeous, and the melodies absolutely shimmer throughout the album. In all a fundamental Krautrock genre piece. Essential. Top copy, getting scarce on the ground clean originals. …. Price: Offers!!!!
4. Le ALLUCINAZIONI: “Un Documento Formidabile: La Registrazione Vera Del Viaggio LSD” (Company Discografica Italiana/ CDI – CALP-2043) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). Original Italian 1968 issue in amazing condition. Obscure Italian library/ psych~cum release of basically Mulatu Astatke & His Ethiopian Quintet - Afro Latin Soul recording junked and spiked up with weird electronic and eerie voices, attempting to recreate a hallucinatory experience in sound. A bunch of crazy Italians had used the “Afro Latin Soul” record by Mulatu Astatke and injected it with overdubbed mutant sound effects, jungle shoot-outs, underwater sonar bleeps, erotic female groaning and moaning, erectional heartbeat pulsations, psychedelic ambiances, gunshots, carousel, wild beasts, steamboat and cut-up crowd noises. Just incredible!!! Regarding the story of the Mulatu recording -itself a true rarity- and the value it reaches, it is unbelievable to hear it in this setting, which is totally demented. It is certainly something to wrap your mind around, sweating out heavy psychedelics while grooving to an Ethiopian nightclub vibe. The perfect marriage between asymmetric grooves and synthetic sounds, which is the vilest kind of bait these wicked Italians knew I would go for, just like rubbing burning oil on my rubber legs and fire up the dance floor at night with a head full of acid. Hell yes, it makes me move around like a cannonball, grooving to an intoxicating mix of demented lunacy and sultry madness. So bloody good!!!! Original 1968 pressing in amazing condition. Eye-popping cover art to boot!!!! Price: Offers!!!!
5. The AMBOY DUKES: “Journey To The Center Of The Mind” (Mainstream – Nippon Columbia – YS-2156-MS) (Record: Near Mint/ Jacket: Near Mint/ 4 Paged Insert: Near Mint/ Obi: Excellent ~ Near Mint) Original 1st Japan press issue that comes housed in Japan only jacket art. White label PROMO Issue that came out in Japan in 1968 – all complete with freakingly rare and hardly ever seen OBI!!!! “Long before Ted Nugent made his name as a mighty crossbow hunter, there was this heavy Detroit band in which he was content to play lead guitar, something he does very well and with much less threat to the Midwest's deer population. The Nuge shouldn't try to take all the credit for this band, because the other members such as vocalist John Drake and rhythm guitarist Steve Farmer contributed with great aplomb, the latter writing much of the material on the second side's ambitious suite as well as co-writing the title hit with Nugent. This is some hard-hitting, well-done psychedelic music, recorded with taste by a producer known much more for his work with mainstream jazz artists, Bob Shad. One thing that made the Amboy Dukes special was the amount of power and drive in their playing, something lacking in other psychedelic outfits that take a more airy-fairy approach. The Nuge's guitar sound is recorded as if this was a mainstream jazz album by Harold Land and it helps.” (Eugene Chadbourne) The second Amboy Dukes album, a raw heavy acid gem of a record choked with a powerful drive, spearheaded by the mighty Ted Nugent. A classic by all accounts. PROMO issue and housed in eye-popping Japan only jacket art, which looks fabulous… and complete with 4 paged insert and …. Bloody rare OBI. Go insane if you like and hit me hard! Price: Offers!!!

6. APRYL FOOL/ ICHIYANAGI TOSHI: “Eros Purasu Gyakusatsu/ Eros + Massacre” (Columbia - BSS-52) (7 Inch Single Record: Near Mint ~ Mint/ Gatefold Picture Sleeve: Near Mint ~ Mint/ Company Inner Sleeve: Near Mint ~ Mint). Bloody rare 1st original pressing and impossible to score these past few years!! Top copy, best I have ever seen or had! Apryl Fool’s sole album released was followed by an odd 7-inch record (not exactly an EP since it has to be played at 33 r/pm) that appeared in April of 1970 as a soundtrack for an erotic art movie entitled “Erosu plus Gyakusatsu” (Eros + Massacre/ エロス+虐殺). Apryl Fool appears on the B-side. It was released under the name of Apryl Fool, although that the track is actually a solo composition is by Yanagida Hiro. It is said to be the prologue for Yanagida’s first solo album “Milk Time”. The musical director was Toshi Ichiyanagi and Apryl Fool’s contribution can be heard on the second side, an instrumental track dominated Yanagida’s by a roaring Hammond organ. The A-side is a rare avant-garde recording by Ichiyanagi Toshi, consisting out of prepared piano crossbreeding with the austere sounds of the Shakuhachi, making it a juxtaposition in a feverish demented way as opposed to the derelict acid dementia of Yanagida and Apryl Fool on the other side. Hideously rare, has been 7 years since I last saw a copy. This one is Near MINT on all fronts, best copy around and impossible to upgrade upon. Fantastic Japanese heavy psychedelic slide combined with weird early avant-garde vibes. Top copy!! Price: Offers!!!! 

7. ARCADIUM: “Breathe Awhile” (Middle Earth – MDLS-302) (Record: Near Mint/ Jacket: Near Mint). TOP condition original UK 1st press issue. One of the keystone albums out of the UK 1969 psychedelic/ progressive underground is Arcadium, brimming over with long intros, beefy organ lines and raw acid guitar runs. Extended built-ups suck you in, impregnated with perfect guitar slashing leads and this gets all combined with a trashy and loud garage production sprinkled with psychedelic influences. A match made in heaven!!! As you know, the pressings on this one are not the best and most copies play with some crackle. However, this copy is as clean as they possibly get and plays WITHOUT crackles!!! No mean feat, probably one of the best copies around. Vinyl is NM all the way without any visible defects, hard to get a better one, unless it is sealed. Price: Offers!!!
8. ART: “SUPERNATURAL FAIRY TALES” (Island – ILP-967) (Record: Near Mint/ Jacket: Near Mint). Top Copy, MONO pressing. Original 1967 1st UK pressing on the Pink Island label – first issue with “eyeball” logo. First pressing, MONO issue!!! Classic Brit psych from the band that would later become Spooky Tooth!! Great effects courtesy of echoes phasing and vocoded vocals that make this LP a full-blown psych classic. A great collection of short & sharp psychedelic pop songs, strong melodies and tight structures, that make this UK album leaning more towards a US psych sound. Definitely one of the most entertaining early UK psych records. Top copy, hard to grade up on this one. 1st original UK pressing. Price: Offers!!!!
9. ARTHUR LEE HARPER: “Love is the Revolution” (Nocturne – NRS-905) (Record: Excellent ~ Near Mint/ Jacket: Near Mint ~ Mint – still housed in original shrink). As few as 250 copies were reportedly pressed and this is a clean original of this masterpiece. One of a kind... Original US top copy of this magnificent dreamy folk record, injected with psychy touches throughout, creating a truly bewitching and magickal atmosphere. Arthur is blessed with a strong and mesmerizing voice spikes it up with Bohemian and backsliding renegade moves that all boil down into strong and stupefying songs. Just massive slide that I personally grade very highly because this disc generates moods and atmosphere that many are aiming at to make their own but unfortunately only a select few of outsider musicians succeed in pulling off convincingly. If there is such a thing (apart from Thomas Binkley’s complete oeuvre) that classifies as “acid folk”, then this LP is one of the very few that may take refuge under that banner. Upon listening to this LP, my nerves burn open like open soars on a dog’s neck, it just is that…effective. Truly a lysergic aural experience. Take no substitutes! Price: Offers!!!
10. ARVANITAS, GEORGE QUINTET: “Soul Jazz” (Columbia – 33 FPX 193) (Record: Near Mint ~ Mint/ Fragile Flip Back Jacket: Near Mint ~ Mint). Flawless 1st press original condition copy of insanely rare French jazz slide. The 1950s-60s was the high-water mark for hard bop quintets, and pianist Georges Arvanitas lead one that was on a par with anything that Horace Silver or Art Blakey could put together at the same time. The team of Arvanitas with Bernard Vitet/fh, Francois Jeanneau/ts, Hichel Gaudry/b and Daniel Humair/dr had a feel similar to the Clifford Brown/Max Roach team of the 50s, with a deep dept to the composers of the proto-bop era like Monk and Powell. Vitet’s sweet horn is a perfect natural foil to Jeanneau’s low fat tenor on the soulful “This Here” and joyful “Bouncin’ With Bud” and Arvanitas is in a Bud Powell mood as he torridly tears through “Un Poco Loco” and “Bohemia After Dark.” Jeanneau does a nice aria on “Sonnymoon for Two” and “Monk’s Mood” with the rhythm team careening off the walls on “Bemsha Swing”, showing that these guys go hit from either side of the plate. This one’s a keeper! Top condition French first original pressing – hard to ever upgrade upon! Price: Offers!!!
11. ASTRAL NAVIGATIONS: “”S/T” (Holyground – HG-114) (Record: Near Mint/ Paste on Wrap Around Paper Sleeve Jacket: Mint/ Booklet: Near Mint). Original 1971 UK private press issue on the legendary Holy Ground label, all-complete with the always missing booklet and in absolutely top shape. Astral Navigations was really a recording of two different bands, Lightyears Away and Thundermother. Light-years Away is folk/psych (more toward the folk end) and features Bill Nelson who was later to join with Be-Bop Deluxe. Great compositions with alternating male and female vocals set against a background of piano with some short, very fuzzed-out guitar breaks that frazzle the mind in a nice way. Thundermother is more dirty heavy rock that dwells in similar sonic regions as Leafhound and cohorts. Together they make up Astral Navigations and their sole recording is relatively obscure UK psychedelia/acid folk from 1971. This was a micro-pressing at the time and copies only surface seldom. Top copy of tremendous UK psych classic, one side is Leafhound-styled hardrock with seering leads, the other side is acid folk of the upper level. One of my all-time faves from the Isles. Has the original wrap-around sleeve + booklet. Price: Offers!!!!!
12. AYERS, KEVIN & THE WHOLE WORLD: “Shooting At The Moon” (Odeon EMI – OP-80172) (Red Wax Record: Near Mint ~ Mint/ Jacket: Near Mint/ Illustrated 6-Paged Insert: Mint/ OBI: Near Mint). Red vinyl pressing as only released for WHITE LABEL PROMO issue. Freakingly rare 1st original 1971 Japanese pressing that comes on RED WAX – only as a promo. To make things even tastier, this is the MONSTER RARE complete copy with obi, his first Japan release predating “Joy Of A Toy”. Copies with obi just NEVER surface. Ayers started out with the Wilde Flowers alongside Robert Wyatt and Richard Sinclair, and went on to form The Soft Machine before striking out alone and recording 'Joy Of A Toy'. His second solo outing, 'Shooting At The Moon' saw Ayers gathering a band called The Whole World with which to help realize his vision, amongst whose number was Mike Oldfield and (occasionally) Syd Barrett. Whimsical without prompting you to gouge out your cochlea, 'Shooting At The Moon' is a shuffling gem of an album - littered with musical tangents, floating preambles and avant adjuncts. Opening with 'May I?', Ayers allows a Hammond to lap around the toes of a very pretty accordion melody that perfectly frames his intoned lyrics concerning cafes in the afternoon eyeing up the ladies. From here, 'Reinhardt And Geraldine / Colores Para Dolores' has shades of both Bowie and The Doors amongst its grand chorus and backwards tape effects, 'Clarence In Wonderland ' is as twee as you like without becoming punchable, whilst 'Red Green And You Blue' is a horn-flecked epic. Released in 1971 in Japan, the sound quality is superior to the UK pressing and it comes housed in a thick jacket complete with 4-paged illustrated insert and mega rare OBI. Eye popping awesome Japanese only red wax white label promo copy…a beast and one of the best recordings to seep out of the UK. Serious offers only for this beast, forget about finding another with obi, they just do not ever surface…Price: Offers!!!!
13. AYERS, KEVIN: “Joy Of A Toy” (Odeon Records – OP-80337) (Record: Near Mint/ Gatefold Jacket: Near Mint/ 4 Pages Illustrated Insert: Mint/ OBI: Near Mint). WHITE LABEL PROMO issue complete with extremely rare OBI!! Rare 1st original Japanese pressing that came out on these shores in 1971. The first Kevin Ayers original Japanese pressing sold very little and just never surfaces here. Sound quality is stupefying amazing, pressed on high quality Japanese vinyl and comes housed in a heavy gatefold jacket. Additionally there is also a Japan ONLY 4 paged booklet present with all the lyrics transcribed. TOP condition first original pressing. PROMO white label. Promo copy and OBI = seriously rare on these shores. Price: Offers!!!!!
14. AYERS, KEVIN: “Whatevershebringswesing” (Odeon Records – EOP-80478) (Record: Near Mint ~ Mint/ Heavy Gatefold Jacket: Near Mint/ Japan only 4 Paged Insert: Near Mint/ OBI: Mint). Original 1st Japanese pressing. Comes complete with stupidly rare first issue obi, very first time I could lay my eyes and hands upon a copy with obi. Third solo album by Ayers, generally considered as his best album but then again any of his of the first four could claim the pole position as far as I am concerned. Especially the track – to name just one out of all the stunning ear candy on display here – is the song “Song From The Bottom of a Well” which is one of the greatest deconstructions of a pop song ever to have been put down on wax. Just amazing. This copy here is the rare Japan 1st pressing, housed in heavy gatefold and complete with Japan only 4 paged booklet. To boot, the obi is here so making this baby stupidly rare, copies still existing with obi are very few to say the least, first one to cross my path in over 15 years. One of the best albums ever recorded without a doubt. Price: Offers!!!!!!

15. AYERS, KEVIN: “Bananamour” (Harvest – SHVL-807) (2 LP set – each one-sided TEST PRESS: Near Mint/ Gatefold advance Sleeve: VG++). Damned rare 2-sided test pressing from 1972~3. Has the stamped matrix numbers in the dead wax being respectively SHVL-807-A-3 and SHVL-807-B-3. For Bananamour, Ayers grounded himself in a newly formed trio for his follow-up to Whatevershebringswesing. With bassist Archie Leggett and drummer Eddie Sparrow at the hub, Ayers selected guest artists for a handful of the tracks: Whole World colleague Dave Bedford ("Beware of the Dog"), Gong’s new guitarist Steve Hillage ("Shouting in a Bucket Blues"), and former Soft Machine mates Robert Wyatt ("Hymn") and Mike Ratledge ("Interview"). "Interview" is easily one of the album's strongest, most original tunes, charged with a rugged, positively electrifying guitar sound courtesy of Ayers and psychedelic organ flourishes by Ratledge. And "Shouting in a Bucket Blues" is Ayers’ inspired pop/blues groove. Hillage delivers heat in this original studio recording of the song; he went on to repeat the performance many times while in Europe with Ayers’ Bananatour band, Decadence. The song "Decadence" is the album's centerpiece and towering achievement. Here, Ayers, Leggett, and Sparrow create progressive, atmospheric music quite unlike anything else on the record. Intended to break Ayers to a wider audience, Bananamour was his last release on EMI/Harvest before switching to a new label (Island) and a new manager (the influential John Reid). The ideas on Bananamour, arguably Ayers’ finest work, gave way to some very focused, full-fledged prog rock and blues numbers on his ambitious follow-up, The Confessions of Dr. Dream and Other Stories. Monumental slide and this here is the never-offered before original test pressing – 2 one-sided LP’s. Totally unique and a historical artifact to say the least. The sound quality is astonishing! You know this is damned rare so….be real convincing for this beast. Price: Offers!!!

16. AYLER, ALBERT TRIO: “Spiritual Unity” (ESP Disk – ESP-1002) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Rare and unknown Ayler recording variation, the immediately withdrawn ESP pressing that unlike the versions in circulation has a different recording on the beginning of side 2. No one has this (apart from 2 other people in the know so far), totally obscure. Has appeared in silk screen sleeve and until now unknown – this version that comes on white/ red ESP label variation. As opposed to regular copies of Spiritual Unity, this withdrawn version has on side B one track that is completely different, being the opening track. Although the label indications are the same, the music is NOT! Visually there is nothing that tells this one to be different as one has to listen to it and compare. Much rumored about in dark back alleys of obscure chatrooms but hardly ever seen, this one is the shit! As the track listing confirms the title as “Spirits” - this track is not “Spirits” at all but an entirely different piece/ composition altogether. And to make it even more confusing, this alternative version/ recording is only on this minuscule pressing and does not even surface on the pre-pressing or the very first issue. Pretty confusing I know but utterly obscure & hopelessly rare to say the least. And the music? Well, you know, primetime Ayler who on possessed and fire, immediately opens up in a sparse & dissonant way with a faint resemblance of the melodic phrasing of Spirits but immediately steering off into previously uncharted waters with Peacock plucking away at the bass without using his bow and Murray ruffling his feathers in a frantic but delicate, subdued manner. Ayler however debarks onto a lethal course of action as if bewitched by an eager malice and diving into a maniac fury inhabiting the deeper registers his sax seems to embody, blowing out a high-tension sound that results in a high voltage reaction. It is a ravaging piece, enraptured with a violent fit of madness by Ayler, unleashing a tornado of dusty squeals that engulf the aural landscape. What a track!!! Why this got pulled back and shelved is anybody’s guess but this is uglier than any group of mutants you see at the insane asylum clawing at the walls. So….you guessed it, this is fookin’ rare but damned it set our house ablaze when blasting it. Who would have guessed it there was still an Ayler piece out there you did not knew existed…so feel free to go ballistic. Price: Offers!!!!

17. Le BAIN DIDONC: “Marcelle – 4 Cheveux Dans Le Vent b/w Achetez Notre Disque – Tare … zon” (Riviera – No.231177) (7 Inch EP Record: Near Mint/ Flip Back Picture Sleeve: Near Mint). Killer French Freakbeat/ garage psych original from 1966 in outstanding condition, next-to-impossible to ever upgrade upon! Signed and dedicated by member on the back to one of his then Parisian girlfriends. 1966 was an exceptional year – the Velvet Underground and Jimi Hendrix unleashed their first sonic tremors upon the world, the Beatles threw “Tomorrow Never Knows” into the mix and the Creation surfaced with “Making Time”. But the icing on the cake were Le Bain Didonc, dropping their 4 song EP, a gem that was singlehandedly responsible for dazzling revues for ages! No shit! Feedback? Oui, check! Teenage angst-ridden vocals? Qui! Interstellar vibrations? Qui, oui, all there. Clattering caveman drumming? Oui! Freakbeat cross-pollinating with snarly garage/ psych vibes and simultaneously looking back to the glory days of 1965 while gazing ahead to the full-blown psych dementia of 1967, this is up there with the best of the best! This copy is in pristine shape! Killer from start to finish! Price: Offers!!!

18. BARRETT, SYD: “The Madcap Laughs” (Odeon Records – OP-8927) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint / OBI: Excellent/ Insert: VG++). TOP COPY!!!!! Original 1st Japanese pressing complete with rare obi. FIRST EVER Barrett Japan release with stated price of 2000 Yen on the obi (slightly later 2nd press has stated price of 2200 yen on obi). The 2000 yen FIRST PRESS issue is genuinely rare. Music needs hardly any introduction I guess. First solo LP by former acid casualty and Pink Floyd king pin. 1st issue obi and 1st original Japanese pressing is seriously rare on these shores. Record / gatefold jacket and Obi are in near immaculate condition, top copy. Price: Offers!!!
19. BARRETT, SYD: “Barrett” (Odeon – OP-80173) (RED WAX Record: Near Mint/ Jacket: Near Mint / Obi: Near Mint/ 4-Paged Insert: Near Mint). Original Japanese pressing complete with obi and the disc is on RED WAX. First issue pressing with 2000 Yen price printed on sleeve and obi. Japanese pressings with obi just never ever surface these days and to make it even sweeter this copy is as clean and as close to mint as they come. Then this disc is on red wax, making it impossible to dig up, especially with obi attached. This is one of the rarest Pink Floyd related artifacts. The music needs no further explanation I guess…so all you need to know about this baby is that they do not come any cleaner or better than this copy, all with Obi included, red wax disc (jacket has stated 2000-yen price as well as obi - true first press issue) …fabulous museum piece and of great historical as well as musical importance. Hold your breath, make your move and rest in peace forever…Totally top-notch copy, they do not come better than this one. Price: Offers!!!!

20. The BATTERED ORNAMENTS: “Mantle Piece” (EMI Odeon – OP-80031) (Record: Near Mint/ Gatefold Jacket: Mint/ 4-paged Insert: Mint/ OBI: MINT). Bloody rare 1st original Japanese pressing. First time ever a copy complete with Obi gets offered up for grabs. Bloody great Japanese original pressing of this all time masterpiece progressive record with Chris Spedding controlling the band after elbowing out Pete Brown. Mantle-Piece, the bands one and only album, is a bluesy, psychedelic, jazzy affair filled with interesting, quite playful and very British lyrics. A classic in my book. Top copy. Great gatefold artwork and insert. NM copy all way round all complete with never seen before first issue obi....which is so rare it boggles the mind at times, but hell, you must admit it looks amazing. Price: Offers!!!!

21. BEACH BOYS: “Pet Sounds” (Capitol Japan – CP-7560) (Record: Near Mint ~ Mint/ Flip Back Jacket: Near Mint ~ Mint/ Insert: Near Mint/ Company Inner Sleeve: Near Mint/ First Issue Obi: Near Mint). Stupidly rare original Japan 1st press issue all complete with deliriously rare first issue obi and with NM~M record that came out on RED WAX. Released in 1966 as a premium quality pressing, much sought after by audiophiles and collectors alike. In the 1960s Toshiba pioneered top quality red vinyl pressings using their trademark Ever-Clean process this utilized a special ingredient intended to prevent the build-up of static electricity on the vinyl. Japanese pressings are synonymous with quality - the vinyl shines like no other vinyl - everything about their releases feels special. And it is this experience that was recreated here with the red wax pressings of this subliminal Beach Boys album is just impossible to get and when it does surface on these shores, the price tag is astronomical enough to make you dazzle. Apart from having an image so clean it would frighten the Pope himself, the Beach Boys had no lessons to be told as far as sex, drugs and rock’n’roll are concerned. The Wilson brothers may have sung about how nice it is surfing in California, but together they have stirred up more pussy during the sixties and early 70s to bedazzle even Dr No while sniffing enough coke to put the Medellin cartel on a 50 hrs.’ working week in order to keep em supplied. So the Boys balanced on a tightrope between neatness and unbridled hedonism. Pet Sounds became eventually the masterpiece out of pop music’s history, teenage angst displayed in a heartbreaking and soul ripping manner disguised by acapella vocals and neat arrangements. It made Brain Wilson the “Orson Welles of Rock”. A stone drop dead classic, Japanese press with obi and red wax…..and complete with original first issue OBI and insert and inner sleeve…..the works!! Price: Offers!!!!
22. BENNINK, HAN & DEREK BAILY: “Instant Composers Pool I.C.P 004” (Instant Composers Pool – ICP-004) (Record: Near Mint/ Hand Made Jacket: Excellent ~ Near Mint/ Insert: Near Mint). Damned rare very first issue that comes housed in a handmade sleeve – the back is silk screened with the details about the recording there where the flip back reversed front has a hand-pasted/ handmade unique design. Comes also with never seen before insert, detailing all ICP releases up until ICP004. A clash of the titans so to speak and in a sense that sums up this record quite adequately since it was the very first of many collaborations between Derek Bailey and Han Bennink. What else can you expect from an interchange between two of the greatest improvisers ever except that it is a true marvel. Sad part is seemingly that this recording in question will probably never be reissued since apparently the master tapes to most of those early ICP albums have regrettably been lost, anyway, I may be wrong but I overheard a conversation once where this was claimed to be so by some people apparently “in the know”. Whatever. Those already familiar with Derek Bailey and Han Bennink should know what to expect from these two great free improv players, but this partnership really is a stunning one, one that will boggle your mind and ears and not necessarily in that order. The year is 1969, pre-dating other duo interaction between these two…dinosaurs. Although this clash took place in 1969, the album here still sounds as crisp and fresh like it was only happening yesterday; the music has not aged one tiny bit. Bennink and Bailey explore space and timbre in a surprisingly sophisticated way, sustaining freeform within the automatic constraints of their suburb interplay with Bennink trashing around wilder than a manic obsessive and Bailey’s mesh of discontinuous lines and phrases, punctuating Bennink’s moves and clattering percussion like a bee buzzing around a flower. Layers of tonal space are deconstructed; space is fractured and a highly abstract approach fuses neatly with chaotic atonal dissonance that again seems at times to be based on some arcane Archimedean formula. Bennink’s is as usual all over the place, rolling drum beats that shift from steady pulses to all out attacks, pushing Bailey’s dynamics in all kinds of directions. Together they gel well into one body of disenfranchised energy keeping the music in constant flux which is quite stunning to bear witness to, even after all these decades since it was recorded. Never seen completely handmade sleeve with matching insert. One of kind item of the European free jazz underground!!! Price: Offers!!!
23. BIG BROTHER AND THE HOLDING COMPANY: “S/T” (Mainstream Records – YS-2020-MS) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint without any defects, virginally white back and front cover/ Insert: Near Mint/ OBI: MINT). Bloody rare Japan 1st press issue that comes all complete with insert and impossibly rare OBI. All is just in 100% virginal condition, looks like a time-machine copy and the obi is also perfect. Impossible to ever upgrade upon. The record saw its first commercial release in Japan in 1968. The whole affair is in TOP condition, next to impossible to upgrade upon. More perfect copies of this just do not exist. The obi is one of the rarest on these shores and this one here is also – like the rest of the package – in 100% perfect NM~M condition. No defects, no mildew spots, just as virginal as your first girlfriend. Comes damned cheap to, so no time to drivel around for too long and give me your best shot. Price: Offers!!!!
24. BIG STAR: “#1 Record” (Ardent – ADS-2803) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint). Top condition 1972 US first original pressing with NO Cut Out in sleeve. Best condition imaginable! Hard to improve upon. No. 1 Record isn’t revolutionary — the group works within the well-defined forms — it’s just exceptionally good. The record oozes out as strong a statement of purpose as you’re likely to find on any group’s debut album. Also, it is the only Big Star album to officially include Bell as a band member and co-songwriter. Bell is often credited with giving the album its polished sound, as drummer Jody Stephens recalls, “Alex would come in and put down something rough and edgy and Chris would come in and add some sweet-sounding background vocals to it.” With Chilton and Bell sharing the songwriting, #1 Record was heavy with yearning pop song vibes of heartache and hope. Standouts such as The Ballad Of El Goodo, Thirteen and Try Again were precariously balanced between elation and despair. Big Star’s music was largely neglected upon its original release, mostly due to near non-existent distribution from Stax Records (who held the distribution rights to Ardent Records), but the band’s standing among rock royalty has steadily risen ever since. What was needed was for the band to make it, and unfortunately, they didn’t. Even though judging by the brilliance and timelessness of this album they were certainly big star but sadly it was never a #1 record. Shame. #1 Record sold less than 10,000 copies during the period surrounding its original release. Because of this, Bell and Hummel left the band. You would be hard pressed to find anyone who has tried to put melody to rock music since 1972 who doesn’t cite Big Star as a favorite. Simply one of the best records ever made. Original 1972 US pressing in amazing shape! Price: Offers!!!!
25. BLOOD SUCKER: “S/T” (ALM Records – LM1098) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Excellent). Damned rare and obscure 1978 Japan heavy rock/ hard rock private pressing that came out in an edition of 250 ~ 300 copies only. One of the more obscure pressed releases by ALM Records but sales were carried out solely by the band at gigs and through word of mouth. Just hardly ever surfaces. Bloody hell, this is one of a cool slide, blitzkrieg melodic heavy rock with psychedelic touches simmering throughout. These guys were hungry and went for the kill!!! Thunderous & sledgehammer loud guitar drenched dirty psych/ heavy rock behemoth. As good as Moses, Raminghi and the like but with a more primitive approach, just to give you a clue and blessed with raw and fluid spun-out axe-work growling melodious and melancholic teenage vox that add to the slightly garage and at times pre-metal feel. Totally overlooked and obscure sleazy Japan underground act that has always been elusive. Superb copy with the always missing insert present. A blood sucker indeed!!!! Price: Offers!!!!
26. BLOSSOM TOES: “We Are Ever So Clean” (Marmalade – 608001) (Record: Near Mint ~ Mint, just perfect/ Laminated Jacket: Excellent ~ Near Mint with a very few faint lamination creases but utterly minimal and no damages at all). Original UK 1st pressing. Really clean original UK copy of this top-notch psych artifact. Brian Godding and Jim Cregan were still Blossom Toes’ chief songwriters on their second album, but the LP stands in bold contrast to their debut in sound and attitude. Having scuttled the orchestras and developed their chops in the two-year interlude, the record bears the influence of heavy California psychedelia and Captain Beefheart with its intricate, interwoven guitar lines and occasional gruff dissonance. The more serious instrumental approach spills over to the lyrics, which are somber and at times even gloomy, occasionally reflecting the social turbulence of the late '60s, with their uncertain tenor and references to ominous "peace loving men" and "love bombs." Far less uplifting than their debut, the weighty approach is leavened by the close harmonies and sparkling guitar interplay. While not as memorable as the first album, it's above-average late-'60s psychedelia that almost acts as the downer flip side to the stoned, happy-face ambience of their early work.” (All Music Guide). Great original UK copy of second & final effort of this UK psych nugget. Just a brilliant slide, keep on returning to this one lately, so much better than their first LP. Hard to find in decent shape, this copy is awesome, record is near mint to mint without any defects or sign of any play at all, just perfect, the jacket without the slightest notion of any wear and only a few minimal sleeve creases near spine. So a top copy and hard to improve upon. That aside, this LP is one of the finest UK pop psych albums ever. Killer from start to finish with absolutely no filler. Masterpiece all way through and top condition to boot ......so... Price: Offers!!!
27. BLUE MITCHELL: “Big 6” (Riverside – RLP-12-273) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – has some faint ageing spots on back – no damages or imperfections). Original 1958 US very first press MONO issue – with large Riverside label and first issue laminated front cover. Top condition and hard to improve upon true first press issue. Trumpeter Blue Mitchell was a virtual unknown when he recorded this Riverside album, his first as a leader. Mitchell is heard in excellent form in an all-star sextet with trombonist Curtis Fuller, tenor great Johnny Griffin, pianist Wynton Kelly, bassist Wilbur Ware, and drummer Philly Joe Jones. In addition to some group originals, obscurities, and the standard "There Will Never Be Another You," the group also plays the earliest recorded version of Benny Golson’s "Blues March," pre-dating Art Blakey’s famous recording. Rarely comes up as clean and near perfect as this baby here. Price: Offers!!!
28. BLUE MITCHELL: “Out of The Blue” (Riverside – RLP-12-293) (Record: Near Mint/ Jacket: Excellent ~ Near Mint with no defects) 1959 US first original MONO pressing on the legendary Riverside imprint – this is a PROMO issue with “Salesmen Copy” imprinted on small Riverside label. Laminated first sleeve issue with laminated front cover. Early recording by Blue Mitchell finds the distinctive trumpeter in excellent form in a quintet also featuring tenor saxophonist Benny Golson (who contributed "Blues on My Mind"), either Wynton Kelly or Cedar Walton on piano, Paul Chambers or Sam Jones on bass and drummer Art Blakey. The consistently swinging repertoire includes a surprisingly effective version of "When the Saints Go Marching In." "Studio B," recorded in the same period but formerly available only in a sampler, has been added to the program. Consistently swinging, an enjoyable session of high-quality hard bop. Golson is on top form, riding high on the back of his performances with Art Blakey, and rather steals the show from Blue on the track selection Sweet Cakes. It's an enjoyable date of high-quality hard bop. Hard to improve upon US Mono Promo first press issue. Price: Offers!!!!
29. The BLUES MAGOOS: “Basic Blues Magoos” (Mercury/ Nippon Victor – SM-7286) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Damned rare Japan 1968 original all complete with obi and insert. Basic Blues Magoos was their last outing and arguably their best and most progressive outing. Instead of wasting time in a nondescript studio, they hurled themselves up into their Bronx digs. The autonomy paid off, as did their sizable influence from the U.K.-derived mod and freakbeat scenes, nowhere is that more evident than the cover of the Move’s "I Can Hear the Grass Grow" or the similarly spirited original light psych opener "Sybil Green (Of the In Between)" and the propulsive "There She Goes." "All the Better to See You With" and "Chicken Wire Lady" provide a harder edge and sit well beside the notable Brit pop vibe of "I Wanna Be There." "I Can Move a Mountain" is a long-lost jangle pop side tinged in a darkness recalling "Love Seems Doomed" from the Magoos' debut, Psychedelic Lollipop (1967). On the other side of the spectrum is the affective baroque-tinged "Yellow Rose." The refined acoustic ballad is unlike the majority of the album's aggressive amplified excursions. Sadly, Basic Blues Magoos failed to join their earlier LPs on the charts, as it is debatably their most solid effort. Japan only issue + obi just does not surface at all!!. Price: Offers!!!!
30. BOA: “Wrong Road” (Snakefield – SN-1) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint). Top condition US original pressing of crude, full blown basement primeval smacked-out lo-fi deranged psych slide with snarling fuzz, cavemen rhythm section, cheap roaring keys, wasted vox. Hailing from the Detroit suburb of Auburn Heights, Boa recorded this little gem in 1971, completely live and on a Sony TC-200 in a Tupperware warehouse, giving their psych/garage a little punk twist. They did everything themselves: recording, pressing, packaging, and the marketing (which at the time was simply not done). A mere 200 copies of the original edition were pressed on their own label, Snakefield. Music-wise this outfit are the unheralded “Kings of White Trailer Trash Psych!!!!”. Just plain viciousness and uncut melancholy all embalmed into one fireball of demented filthy crude amphetamine infested psychedelic mayhem. I just love this one! Original US first pressing – private press issue – of insanely wild off-the-edge heavy psych artifact. Blessed with deliriously insane howling vocals and a gloriously addictive, smacked-out garagey basement vibe. Top copy with no defects, no small feat as many copies out there are a bit trashed – which is strange as upon listening to this gemstone it is hard to imagine anyone could safe this one from total destruction! In short psychedelic trailer trash of the upper level oozing out a “real underground” vibe!!! Rare in such clean nick as this one here, sleeve is also virginally white with no foxing or stains. Near perfect. Price: Offers!!
31. BOWIE, DAVID: “S/T” (Deram/ King Records Japan – DL-44) (Record: Near Mint – catalogue sticker on label/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Freakingly rare very first Japanese pressing of Bowie’s debut LP, all complete with the insert and obi. Although released in the UK in 1967, Bowie’s first LP did not come out in Japan until 1973. Top condition!!! “David Bowie’s first ever LP -- the 1967 set that introduced the world to the likes of "Rubber Band" and "There Is a Happy Land" -- is an intriguing collection, as much in its own right as for the light it sheds on Bowie’s future career. Nobody hearing "She's Got Medals," for instance, can fail to marvel at the sheer prescience displayed by a song about gender-bending. Even within Bowie’s subsequent world of alligators, starmen, and astronettes, however, there are no parallels for the likes of "Please Mr. Gravedigger," with its storm-swept lament for a murdered little girl, or "Uncle Arthur," the archetypal mommy's boy, whose one stab at snapping the apron strings shatters when he realizes his new love cannot cook. There's also a frightening glimpse into future Bowie universes, served up by "We Are Hungry Men," a tale of a world in which food is so scarce that the people have resorted to cannibalism. Not all of the songs are such sharp observations of human frailties and failings, while the distinctly family-entertainment style arrangements make it clear that, whatever audience Bowie was aiming for, rock fans were not included among them. But songs like "Love You Till Tuesday" and "Maid of Bond Street" have a catchy irresistibility to them all the same, and though this material has been repackaged with such mind-numbing frequency as to seem all but irrelevant today, David Bowie still remains a remarkable piece of work. And it sounds less like anything else he's ever done than any subsequent record in his catalog.” (All Music Guide). Hardly ever surfaces Japan original pressing that sold domestically quite badly, hence copies are so hard to find these days – all complete with rare first issue OBI. Top shape, freakingly rare and damned so good. Price: Offers!!!!
32. BOWIE, DAVID: “The Rise and Fall of Ziggy Stardust and the Spiders From Mars” (RCA Victor – RCA-6050) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint/ 4-Paged Insert: Near Mint). First original Japanese pressing with FIRST issue obi (there are 4 obi versions of this one and this one with the “2 Channel High Quality” marking is very first issue). Also on the label of the record is the “Victor Company Of Japan Ltd., Yokohama” printed indicating the very first pressing as later issues that came hereafter changed address from Yokohama to Tokyo. Top condition, mint all the way. The music needs no explanation I think, it simply is one of the greatest albums ever recorded during that period in time. Every track is a winner and spinning this one again put me in a state of transcendental bliss. Awesome. Price: Offers!!!!
33. BRAST BURN: “Debon” (Voice Records – VO-1001) (Record: Near Mint/ Jacket: Near Mint). Original Japanese private press copy that came out in an edition of 500 way back in time of a completely vanished Faust/ Amon Duul inspired spaced out brain ripper of the highest level and housed in an acid leaking cover. Has been ages – maybe well over a decade – since I last saw a copy of this beast. So what or who was Brast Burn? Actually sprung out of the mind of Mr. Sakamoto, Brast Burn was a one-man project just like Karuna Khyall was a one-man brainchild project of Mr. Takahashi. Both were long friends since kindergarten (as was Mr. Nemoto) and upon moving to Tokyo in the early 1970s they happened to accidently move into the same building, living above each other. Incidentally both men were – without each other’s knowledge – recording some music basically out of sheer boredom. Sakamoto’s Brast Burn was the 1st project to get canned but upon its completion an outlet was sought to release it and since no one showed any interest, old time pal Mr. Nemoto was called in and together with another Tokyo enthusiast, the two of them set up the Voice Records label in order to release their friend’s hobby projects. The year was 1974~5. The sonic nebula of Brast Burn was unlike anything that had scorched the Japanese earth or the outside world for that matter. Gone are all the heavy poser rock and roll antics, making way for an introvert and intuitive approach attempting to map out the empty canyons of your crumbling mind. Fired up by psychedelic nocturnal hitchhiking sounds interfolding with monosyllabic autistic wailing vocals, Brast Burn jacks into and snarls around your skull, unleashing hypnotic brain-numbing mantras in order to weed out and crush the last stale remnants of any sense of reality. Desert winds blows viciously over shamanistic exorcist rituals, channeled through dislocated and disenfranchised guitar strummings that eventually interlock with high-wired obscure fertility rites of times long gone, creating a feeling of being soaked to the bones after sitting in a pool of mashed liquid peyote juice. The sole glimpse of sanity looming beyond the yonder is that vaguely distinctive but asymmetric strangled bottleneck guitar groove breathing a jangle mixture of defiance and despair down your neck. The unusual polyphonic swirl brought by Brast Burn is dissonant, chaotic, abrasive, scary and yet beautifully compelling and mind-numbing intoxicating, bringing you to the brink of being disintegrated into chaos, drunkenness and the kind of muffled hysterical fatigue that comes from spending too much time in the blazing red-hot sun of the Mojave Desert. So, now you know you just need something potent like this, it will make the larger part of your collection totally obsolete. Killer!! Getting impossibly scarce and much sought-after original pressing. Price: Offers!!!!!
34. BRAVE NEW WORLD: “Impressions On Reading Aldous Huxley” (Vertigo – 6360.606) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint, sole minor defect is a ultra small crease on back sleeve near opening). Awesome copy, original 1972 German 1st pressing, Vertigo Swirl. Filled with long stretched out tracks, spiced up with spaced out psychedelic exotic vibes and blessed with a gracefully stoned-through-your-head emotional atmosphere, Brave New World succeeded in creating a highly original overall sound. The music floats through mainly instrumental bits spiced up with lots of flutes, strange percussion rattles, studio sound effect manipulations and intricate arrangements of fluid guitar mixed with dreamy atmospheric parts. This was no ordinary instrumental fusion, rather a druggy kind of excursion through folk, rock and jazz in a dramatic and/or melancholic mood. Brilliant all way through and great copy to boot. Getting increasingly difficult to dig up in such a nice condition as this one. Next to impossible to upgrade upon this one!!! Price: Offers!!!
35. BRIERLEY, MARC: “Welcome To The Citadel” (CBS Records – S-63478) (Record: Excellent ~ Near Mint/ Laminated Jacket: Excellent ~ Near Mint – clean cover sole defect is on back sleeve near left bottom an inconspicuously white on white small price tag tear). Original 1968 UK first press issue in exquisite shape of much in demand and acclaimed UK copy of Nick Drake styled deep folk with intricate arrangements, arcane lyrics & deep-felt vocals, and superb backing. The end result is a great underground singer-songwriter albums, from the driving Vagabond Of Sleep to the eccentric Over The Hills, beautiful Symphony and ethereal Thoughts And Sounds, it was thoroughly engaging and idiosyncratic, with a cryptic, mystical edge, blending expert acoustic guitar with jazzy backings from some of Britain's leading contemporary jazz musicians, like Henry Lowther, Tony Reeves and Mike Travis lending the proceedings a live, jazzy feel, with hard-hitting drums, spirited brass and occasional cello bolstering Brierley’s gentle vocals, his psychedelic lyrics and nimble guitar picking. Despite playing sessions for DJs including John Peel, the LP and extracted single (Hold On, Hold On, The Garden Sure Looks Good Spread On The Floor / Autograph Of Time) both failed to sell. So the album failed to attract much attention and became an obscurity. Still, it is a beautiful lysergic folk slide, dreamy and deep! All comes housed in one of the best acid leaking covers to grace your eyes! Great copy! Price: Offers!!!
36. The BRITISH NORTH-AMERICAN ACT: “In The Beginning …” (Now Records – RSS-6700) (Record: Near Mint/ Jacket: Near Mint – still housed in shrink). First original Canadian private press issue in outstanding condition. “This album sounds earlier than it is; it’s closer to British beat, or at least mid-‘60s Paul Revere & The Raiders – type garage rock, than to late-‘60s rock. The band’s name is quite appropriate as two members were Brits. It’s a nice little pop album, unpretentious but confident, with consistently good songwriting and singing. Some of it is in a fine dreamy folk-rock mode with lots of reverb and echo and a strong backdrop of organ and choral backing vocals. Very nice” (AM – Acid Archives). To these ears a fantastic album, beautiful popsyke tunes, psychedelic feel allover, innocent vibe and great songs. A highly recommended Canadian dreamy pop psych classic with awesome songwriting, blessed with the right 60’s innocent feel…top level in its field. Top-notch original pressing of ever scarce artifact!!! Price: Offers!!!
37. THE PETER BROTZMANN TRIO: “For Adolphe Sax” (Bro Records – Bro-1) (Record with hand stamped labels: Near Mint/ Top Loader Silkscreen Jacket: Near Mint) Original 1967 private press in silkscreen jacket and hand stamped labels, the first release on Brotzmann own ignited Bro Records imprint, predating the 2nd and final issue on this label being Machine Gun. Much rarer as Machine Gun on a ratio of 1 by 10 and released in an edition of a mere 100 copies max. Machine Gun does turn up, “For Adolphe Sax” just about never. One of the most auspicious debuts of free music, and a trenchant tribute to the inventor of the saxophone. For Adolphe Sax is a roundhouse punch of European free jazz, delivered in1967 by the saxophonist's first classic trio featuring drummer Sven-Ake Johansson and bassist Peter Kowald. Initially issued in a tiny private run on Brotzmann's own BRO label -- silkscreened cover designed by Brotzmann, with hand-stamped inner record labels -- it was later reissued on FMP as one of the earliest in the Berlin-based label's extensive, essential catalogue. Again, it is a gut-wrenching affair. The music is as devastating as a giant bloodsucking leech plowing through your spinal cord and the only way to keep him from working his way up to your brain and taking over your nervous system is injecting some uncut crystal meth into your medulla oblongata. It will slow him down and make you go totally ballistic. So fierce and unrelenting is this disc. You are up for a wyld ride? Well then, this medicine will do the trick for ya, I can promise you that much and advice you to take this one uncut in one session. Satori will only be just around the corner after that. Price: Offers!!!!
38. BROTZMANN/ VAN HOVE/ BENNINK: “Balls” (Free Music Production – FMP-0020) (Record: Near Mint ~ Mint/ Silk screen Jacket: Near Mint). Original 1970 Top Copy FMP pressing. First time ever I have a genuine first pressing of this beast – comes housed in fragile silkscreen jacket, which came out in an edition of 200 copies ONLY!!!! (Only 1st press has stated on back “200 prints of this album for the 3-/3-/3- edition of VERLAG”). Comes with rounded edge opening on back as only 1st edition has. THE SECOND FMP release and as rare as Machine Gun – if not rarer!!! Comes with rounded edge opening on back as only 1st edition has. THE SECOND FMP release and as rare as Machine Gun – if not rarer!!!Recorded August 17th, 1970 in Berlin. BALLS isan excellent example of early European free improvisation. It was one of the first releases on the then newly erected and now legendary German FMP label (Free Music Production) following upon on BRO Records, and was the first recording by the Brotzmann/Van Hove/Bennink trio, which continued to play together throughout the 1970s. It was a true trio, not just a vehicle for Peter Brotzmann -- Fred Van Hove's blend of avant and tonal pop piano and Han Bennink's wild percussion, vocals and the periodic blasting on shells and horns play an equal role in the group's sound. This masterpiece of a recording orbits into the more daredevil end of European improvisation with Fred Van Hove splintering enough ivory keys to allow Brotzmann’s machine-gun-toting horn and Bennink’s percussive rattle and shakes access to some singularly oblique tonal regions without never ever losing their collective interlocking connection with the overall narrative drive that gels them together. This trio simply catapults the disc beyond the reach of conventional established jazz strategies and into an adrenaline rush of subtle subconscious logic that makes up this sonic whirlwind of “axing through ice” like melodically obscure hair-raising ferocity. And like the title already suggests, this is a “ball” crushing disc…not for the faint of heart. , but so hard to get as a true first pressing so…Price: Offers!!!!
39. BROTZMANN/VAN HOVE/ BENNINK PLUS ALBERT MANGELSDORFF FMP 3 LP BOX: “S/T” (FMP – FMP-0030-0040-0050) (3 LP Set: Near Mint ~ MINT/ Silk Screened Outer Box set with back closing lid w/ metal clasps intact: Near Mint ~ MINT/ Large Poster: Mint). Most perfect condition ever and ALL COMPLETE with giant POSTER and METAL CLAPS still attached to closing lid!!!! Massive 3-LP set on FMP Records 0030, 0040, 0050, recorded August 1971. Comes housed in fragile slip case box set, with back closing flap complete with metal clasps and the always-missing POSTER present. LPs are ELEMENTS, COUSCOUS DE LA MAURESQUE, and THE END. Original deluxe packaging for this now well-circulated music, this was also the first deluxe edition released by FMP. A white box that opens on edge (with removable metal clasps--also original) includes the very plain jane first pressings (before there was even an FMP logo on the label) of the three LPs, all in immaculate condition and without any damages or foxing on outer box. The poster is present as well and in TOP condition. This box is a splendid copy, one out of the very limited and very prized edition. Only 300 copies were pressed and some were hand numbered on the silkscreen jacket. The music is fire breathing wrecking ball styled hardcore jazz that will drive your neighbors and loved ones insane – either with envy or despair. A killer item that does not come better as this one. Hyper rare and hardly ever – if almost never – offered up for sale. Top condition, box and records seem hardly to have been touched by mortal hands, next to impossible to upgrade upon this copy. Highest possible recommendation and cleanest copy imaginable – impossible to ever upgrade upon!!! Price: Offers!!!
40. BRUSH aka ESCAPE: “S/T” (SEKIMEN G.O.D. Famous Co. Ltd - TPR-1176) (Record: Excellent ~ Near Mint/ Jacket: Excellent – no defects or splits, perfectly preserved but some visible foxing on white sleeve visible due to age/ Booklet: Near Mint). Impossibly rare 1971 original all complete with booklet and pressed on light blue colored wax. Only around 200 were ever pressed but far less has survived the times and it seems that only a handful seem to be still around. One of the most musically accomplished and all-time rarest psychedelic-progressive acid fried rock private press LP to seep out of the Japanese underground scene of the early 1970s!! Of course this is THE original press issue that has the word "SEKIMEN" imprinted on the spine of the sleeve!!! (the bootleg version on Shadoks does not have this printed on the sleeve) As could be expected, the white sleeve has some sings of age spots visible against the whitish background. The record itself on the other hand is original light blue vinyl!! (there where the boot was colored dark blue). And of course, it comes all complete with rare original booklet! This booklet is also 100% ORIGINAL! Another difference is that the sound quality of the original surpasses the muffled sound of the boot so…Escape was the pre-Flied Egg group that was lead by Tanaka Masayoshi. Escape is one of Japan’s most elusive vinyl artifacts and copies just do not surface and if they do it is at a rate of one every decade or so. The music on the other hand is just mind shatteringly great for a private press LP and sounds fully accomplished, filled with psychedelic fuzz and wah-wah attacks spiced up with colored mind-drops and lysergic sound clusters that are set against a heavy rocking background. Great Japanese heavy psych disc and comes highly recommended but is sadly extremely rare…. Price: Offers!!!!
41. BUCKLEY, TIM: “Lorca” (Elektra/ Victor Records – SJET-8320) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Insanely rare Japan original press issue in immaculate condition. Red label PROMO issue. With the release of Lorca, Tim Buckley stunned and, to a rare degree, alienated fans with the dissonant, at times wearying, avant-garde exercises in vocal gymnastics that took up the entire first side of this LP. Side two was far more accessible, though Buckley’s fusion of folk instrumentation with jazzy improvisation on extended compositions continued to take him further away from his folk-rock roots. It seems Tim knew that the record would be doomed from the start. Larry Beckett, Tim’s early songwriting partner, said that he wanted to purposefully alienate his fans with his new direction. Tim was once quoted saying that Lorca is a record that “you can’t put… on at a party without stopping things; it doesn’t fit in.” For the time, there aren’t many albums to which you can compare Lorca. The 1970s weren’t a time when popular folk artists were incorporating avant-garde and jazz elements into their sound. Buckley’s use of the chromatic scale sets Lorca apart from the more conventional and melodic folk music, which lived as the norm. The most obvious contemporary of Lorca’s would be Nico’s ‘Desertshore’, but even that record doesn’t have the desolate and stark qualities of Lorca. Top condition Japanese original press with obi, seriously rare on these shores and so damned beautiful!! Price: Offers!!!

42. BUCKLEY, TIM: “Goodbye & Hello” (Victor Records/ Elektra – SJET-8183) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Outer LP sized Cut Out Obi: Near Mint). TOP COPY!!! The obi, a rare feat these days considering that obis make a unique, attractive addition to the overall package and are becoming increasingly rare, especially on LPs from the 1960s and 70s. Their delicate and disposable nature meant that very early obis were routinely discarded, so that now they can often be worth several times more than the record they accompany. And this 1969 copy has the obi present, given an all-different aura to the disc in question here. Maybe lots of you out there fail to see the unique nature of this paper strip but here in Japan it is a big deal. The music I am sure, most of you are fully acquainted with, one of the key releases out of the totally essential Tim Buckley discography. Top copy mega rare original Japanese high quality pressing with never seen before jacket-size cut-out obi present. Speaking of rare major label records by renowned artists? Well I guess this will do it then. Price: Offers!!!

43. BUDD, ROY - OST – GET CARTER: “S/T” (Odeon – OP-80424) (Record: Near Mint ~ Mint/ Jacket: Near Mint with faintest trace of foxing on back/ Obi: Near Mint). TOP copy, original Japan only 1971 issue. Freakingly rare original pressing, only released in Japan in 1971, never saw a UK or US release. Top condition. As Herbie Hancock's "Blow Up" soundtrack matched the director, I can't think of a soundtrack that better matches the cool of Michael Caine than "Get Carter". Roy Budd, a jazz and “easy listening” specialist, who worked well outside his previous boundaries for this film, composed the distinctive music in the film. The theme tune features the sounds of Caine's train journey from London to Newcastle. Budd and two other jazz musicians, Jeff Clyne and Chris Kara, played all the music. The soundtrack was only been released in Japan. The ODEON-label, mainly known for its Japanese Beatles releases is said to even have some releases, including the famous Roy Budd-score "Get Carter", starring Michael Caine in one of his best performances (advertisement slogan on British buses, when the movie was shown in GB: "Caine is Carter and Carter is Caine"!), to melt them down due to a vinyl shortage and in order to repress some Beatles LPs ... Most likely only a rumor, but at least a scaring one and considering the amounts, Japanese "Get Carter"-copies went before its vinyl and CD-re-issue by the British Castle-label, a possible explanation for its incredible scarcity ... and bloody scarce it is. Never seen a mint copy up for sale – let alone with obi present – of this funky butt-shaker, but here is a complete copy finally. Top condition, funky ass-kicking music and in order to wheel it in, you better kick your own ass and make a solid move. Never ever saw a mint copy offered before for sale complete with obi, hideously rare as you might know, so act accordingly. Price: Offers!!!!!!!
44. BYRDS: “Turn! Turn! Turn!” (CBS Japan – YS-597-C) (Record: Near Mint ~ MINT/ Tip Back Jacket: Near Mint/ OBI: MINT). Freakingly rare Japan only issue from 1966 complete with NEVER offered before genuine OBI, first complete copy ever for grabs. Japan only jacket issue on the 360 Sound CBS label. Probably the rarest Byrds LP around is this Japan only issue. Second Byrds album, following their self titled debut. The album was released in Japan in April 1966. Comes housed in a laminated – Japan ONLY - alternate jacket and complete with always missing OBI. TOP COPY, no defects, best copy around and impossible to upgrade upon. Rarest Byrds release!!!! TOP COPY with obi, which makes this item damned rare indeed!!!! Offers!!!!!!

45. The BYRDS: “Younger Than Yesterday” (CBS – NIPPON COLUMBIA – YS-824-C) (Record: Near Mint ~ MINT/ Jacket: Near Mint ~ MINT/ 360 OBI: Near Mint ~ MINT/ Company Inner Sleeve: Near Mint). Bloody rare first original Japanese pressing from July 1967, complete with seldom seen OBI and in PERFECT virginal condition. Never seen a more perfect condition copy as this baby here. Younger Than Yesterday, the Byrds' fourth album — and in some people's eyes, the pinnacle of their art — wastes no time, bursting out of the gates with still another national smash, "So You Want To Be A Rock 'N' Roll Star." Spotlighting the jazzy trumpet of Hugh Masekela, this paean to outrageous rock stardom was a highlight of the Byrds' appearance at the Monterey Pop Festival, possibly the most thrilling gathering of the musical tribes, ever. Every bit as exciting was "Have You Seen Her Face," the album's second radio hit. A return to space-rock, "C.T.A.-102," should have been nominated for a Hugo, the annual prize for the best work in science fiction. The standout track of Yesterday, nevertheless, is "My Back Pages," a good bet as the best-ever blend of lush Byrds harmonies and jangling guitar with Bob Dylan at his Finnegan's Wake lyrical best. Insanely rare FIRST ORIGINAL Japanese Pressing of 1967 with never offered before FIRST ISSUE 360 Columbia OBI!!! Top condition. Price: Offers!!!

46. CAEDMON: “S/T” (Private Press - 1978) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ 7 Inch Single: Near Mint). Top condition & all complete with insert + the always-missing single present!!! Original beautiful copy of mega rare Scottish privately released electric acid folk underground beast that roamed the highlands around 1978. This is a bewitching original private press copy of their sole privately released album. This gem is considered to be one of the greatest psychedelic folk albums to seep out of the British Isles and is as good as Mellow Candle, Trees and Fairport Convention for sure. And indeed, it is. The band created a hybrid form of simmering electric folk-rock, spiked with ethereal female/male vocals emerging in between haunting atmospherics and fuzz ignited guitar soundings. A classic and one of the best psychedelic folk albums ever to seep out of the UK. Released in a tiny run, copies are scarce especially in top condition and all complete with the insert, fragile sleeve in great nick and the 7-inch single. Here you have one to satisfy your ataractic needs that will float upon the wave of this progressive guitar based folk rock classic. Superb femme vox, lysergic guitar soloing & steady rhythm backing. A truly superb album. Next to impossible to ever upgrade upon! Price: Offers!!!!
47. CARAVAN: “S/T” (Verve – SVLP-6011) (Record: Near Mint/ Laminated Flip Back Jacket: Excellent ~ Near Mint). Stupidly clean UK 1969 first original stereo press issue with A-1 and B-1 matrix numbers to match & housed in clean pillar cover. By now almost impossible to dig up super clean UK original stereo copy of brilliant debut which should please any UK psych & Canterbury-fleeced space-cadet. Music-wise one of the finest albums to seep out of the British Isles. Copies in such an almost virginal condition for both sleeve and record are no small feat and are getting next-to-impossible these days. Price: Offers!!!!
48. CHENE NOIR: “Aurora – Theatre Du Chene Noir” (Futura – FUT-2033) (Record: Near Mint/ Jacket: Near Mint). First original pressing on the legendary Futura label. One of the hardest to come by Futura titles as you all know and this one is as perfect as they come. Another insane artifact from that most desirable Futura label. Recorded in 1971 by a theatrical troupe/musical commune led by 
percussionist Gerard Gelas (and still active after 32 years in the 
French province of Avignon), "Aurora" runs the gamut from tribal 
improvisation to grandiose operatic chanting to medieval 
psychedelic woodwind swirl. Blend one part Magma with a jigger of 
Third Ear Band, fold in a dash of Popol Vuh and agitate with a 
pinch of Brigitte Fontaine and we're talkin' one tasty melange! As 
seen on the Nurse With Wound list. Highest recommendation!” [John Gibson]. Top copy and original press of this mega rare French experimental/ psychedelic/ avant-garde disc that every NWW-list adept is craving for. The music is balancing on the very fringes of weirdness, which one can classify next to Taj Mahal Travelers and Tenjosajiki with J.A. Seazer at helm. Total killer with no filler!!! Has been ages since I had an original copy of this beast. Price: Offers!!!
49. CHICK COREA & HIS FRIENDS: “Nichirin – The Sun” (Express – ETP-9016) (Record: Near Mint/ Jacket: Near Mint/ Obi: Excellent ~ Near Mint). Freakingly rare and never-ever before 1970 Japan only issue that is all complete with mega rare obi. So far only a handful (3 to be exact at this point that I know off) complete copies are accounted for. To make it even more salicious, this one offered here is the WHITE label PROMO only issue that comes on BLOOD RED WAX!!! Without obi it surfaces from time to time – as does a 2nd pressing with different cover art - and is very affordable. With the 1stissue obi gracing the sleeve on the other hand, it is a slightly different ballgame. That said, this is a vicious, tear-gas-smoking fuck-around spiritual free jazz slide from start to finish. Corea gets flanked by Steve Grossman – tenor saxophone, Dave Holland on bass, Jack DeJohnette on drums and Steve Jackson manhandling miscellaneous percussive instruments. The group gels together like butter on toast and right from when the needle hits the groove they steer into telepathic interplay that just never stops, combining propulsion, eloquent ornamentation and cosmic phrasing to create a bewitchingly asymmetric groovy vibe that sweats out a psychic aura. Choice cuts are the deep and aggressive “Moon Dance” that propels forward without loosing its addictive liquid and hypnotic swing, “Slumber” and the side-long free jazz masterpiece “The Sun” pushing its scope intergalactically and aiming to find the kingdom of heaven within and, on its journey there, finding the face of God to be highly irresolute. In short, utterly jaw-dropping amazing record but sadly an all-complete near mint 1st press original with obi present is rare beyond belief. Just never surfaces and here is a pristine copy for you, a spiritual jazz milestone record! Highest possible recommendation! Price: Offers!!!
50. The CHITINOUS ENSEMBLE: “”S/T” (Deram Records/ King Records – DL-3011) (Record: Mint/ Jacket: Near Mint/ Insert: Mint/ OBI: Near Mint). Freakingly rare first original 1972 Japanese pressing complete with mega rare obi – all is in TOP condition. This long lost Brit-jazz release is a much sought-after collector's item as the original vinyl LP almost never turns up. Released in a small quantity in 1971 on the British Deram label (a Decca company), Chitinous has attained near legendary status amongst British jazz collectors. Many will remember Buckmaster from the pop/rock world as he arranged the strings and orchestral parts (and often played the cello, too!) on such famous recordings as David Bowie's "Space Oddity", The Rolling Stones "Sticky Fingers", The Bee Gees "Odessa" and many Elton John albums including "Tumbleweed Connection" & "Madman Across the Water". In 1972 Buckmaster was introduced to jazz great Miles Davis, which led to a friendship and to Buckmaster's involvement on Davis' landmark "On the Corner" album! In addition to the usual "jazz" instrumentation of keyboards, guitar, bass, drums, sax & trumpet, this uses a large 'classical' ensemble of 18 violins, 5 violas, 7 cellists (including the solos played by Buckmaster himself), 2 double basses, 2 trumpets, trombone, bass trombone, tuba, bass clarinet, baritone sax, and percussion! Then there is the jazz-rock ensemble which reads like a who's who of Brit-jazz: Ian Carr (Nucleus)-trumpet & flugelhorn, Brian Smith (Nucleus)-soprano sax, Peter Robinson (Quatermass, Brand X)-electric piano, Dave Richmond (Manfred Mann) & Brian Odgers (Vangelis)-bass guitar and John Marshall (Nucleus, Soft Machine)-drums - among others!!! Musically this is best described as the perfect marriage of contemporary classical music & the world of jazz-rock. Hints at Nucleus or Soft Machine here & there, some hints at Miles Davis' electric work (which was certainly a general influence on Buckmaster's work) and the classical elements are certainly influenced by a myriad of composers of the latter half of the 20th century. Certainly this was very avant-garde for 1971 and doesn't really sound that dated today. And it is, for something described as a marriage of jazz-rock & 20th century classical music, much more restrained and even beautiful than that might make you think. In conclusion it is fair to say that if you are a fan of British jazz-rock or the Brit-jazz scene then you will simply love this album. If you are a fan of fusion or adventurous rock music then you should know that this is closer to Miles Davis than it is to Brand X. Especially if you love the marriage of an orchestra with the jazz or rock world in a very integral way, that is to say not just window dressing like strings on an Elton John album, then this is right up your alley! BTW, Chitinous comes from chitin meaning the "substance forming horny cover of beetles & crustaceans". (ZNR-cds). Never offered before mint copy, Japanese first original pressing all complete with “Deram” OBI. Price: Offers!!!!
51. The CHRIS MCGREGOR Group with BARRE PHILIPS – LOUIS MOHOLO – MONGEZI FEZA – MIKE OSBORNE – EVAN PARKER & JOHN SURMAN: “Recorded in London, England – August 1968) (No Label/ Witchseason – RGG 1107-8) (Record: Near Mint/ Paste on Sleeve: Excellent, no defects at all but has some mildew spots visible against the white background due to age). Bloody rare unreleased recording that only was briefly in the running as a test pressing only and of which only a handful of copies exist!!! Never seen a copy before and this is a beast of a slide. The music is nothing short of astonishing, which producer Joe Boyd almost glibly claims that he doesn't know exactly why this session by pianist Chris McGregor’s transnational septet initially went unreleased. He claims he was on poor terms with Polydor at the time, and that Chris Blackwell’s Island Records was "not exactly a jazz label." Still these sessions were recorded in August 1968 in London with trumpeter Mongezi Feza, drummer Moholo and McGregor flanked with then-young Brit saxophonists Evan Parker, John Surman, Mike Osborne and Barre Philip. These tracks certainly walk on the outside edge of jazz and more than flirt with plenty of free playing. Still great structure is abound to the music, inspired arrangements that allow a maximum of freedom without an ounce of self-indulgence. McGregor’s piano work on his pieces creates not only themes, but vast colorful scales and extended chord reaches for the soloists to work out from; where Parker plays right toward the piano as Moholo creates a specific adrenalized rhythm toward all three players. It's Feza and Surman who respond to McGregor’s South African folk themes with something akin to glee. Then there are the joint sections where all the horns, stretched in boundary-breaking harmonics, are paying composed lines as an ensemble. This was a new kind of free jazz -- one seldom heard in America -- with great humor, warmth, and a genuinely celebratory vibe from the South Africans, who were establishing their own rules; it's a safe wager that Parker and Surman haven't played like this since then either. This session is one with excellent sound and presence. Awesome!!! Price: Offers!!!!
52. CIRCUS 2000: “S/T” (Rifi Records – RFL ST-14049) (Record: Near Mint/ Jacket: Near Mint). Original Italian pressing in great condition. A band from the Turin area, Circus 2000 debuted in 1970 on RiFi label with an eponymous LP that, although it did not represent a new level of sound, it fell like a bolt from the blue on an Italian scene still anchored to the beat schemes of the '60s. Circus 2000 was not a real progressive album, since it derived from the psychedelic and west-coast scenes from the USA, but it's still considered one of the LPs that opened to the florid Italian 'pop season,' which would explode just a couple of years later. The album cover artwork, the English lyrics, the psychedelic sound supporting the beautiful voice of singer Silvana Aliotta, all these ingredients made Circus 2000 an unique phenomenon in the musical Italian panorama, and many believed that the band was actually American. Top condition, 1st press original and hard to improve upon. Price: Offers!!!
53. COB: “Spirit Of Love” (Epic Japan – ECPL-25) (Record: Near Mint/ Jacket: Near Mint – still largely housed in shrink/ CAP OBI: Mint – still housed in shrink/ Japan ONLY 4 paged illustrated insert: Mint). Bloody rare Japan 1st original pressing from 1972 on high quality vinyl – so fooking rare!!! TOP COPY and all complete with insanely rare OBI + housed in shrink!!! One of the most beautiful acid folk albums ever to seep out of the British Isles. What makes this copy such a true treasure trove find is that is a truly dead mint copy complete with OBI + Japan only 4 paged picture booklet. Man upon locking my eyes upon this one for the first time, I could not believe mint copies of COB albums existed – you know as in mint in the true sense of the word. As far as the music is concerned, I guess you all know the deal. COB were ex-Incredible String Band founding member Clive Palmer’s band and after quitting the Incredible String Band when their debut album was canned he simply vanished from the scene, only to surface again a year later in the disguise of COB, which aptly stood for Clive’s Original Band. “Spirit of Love” has a hymnal, rural English vibe attached to it that is definitely heading towards folk infested waters instead of cross-mutating into a folk-rock sound. Palmer’s vocals are just exquisite, calm, soothing, levitating even at times which only attributes to the completely acoustic nature of this disc. “Music of the Ages” and “Serpent’s Kiss” are some of the tracks on the LP that are just mesmerizing in their beauty and execution. But it would be totally unfair to slag of COB as just another folk band. Nope, they sound quite exotic at times, otherworldly and even lysergic due to enriching their tonal palette with unusual instruments for that day like the harmonium and dulcitone. It makes the group sound at times even completely spaceward bound and psychedelic such as the track “Evening Air” will show and unveil upon spinning it. But it’s this naive charm and willingness to sound different that makes Spirit of Love such a magical album. Although maybe too low-key for some, it is definitely to these ears one of the best English folk albums out there. The band effectively hit a rural English country folk-psych sound that’s visionary and highly original, completely different to the String Band. To me it is a classic UK psych tinted folk album that defies even the greatness of Trees, Mellow Candle and Spirogyra and you know when you are catapulted into those regions you better sound good and deliver the goods. And COB definitely lives up to that promise. They are stellar. Rare 1st original Japanese pressing all complete with bloody rare OBI (only 2nd time I ever see a copy with obi) + with 4 paged insert – insanely rare so…. Price: Offers!!!!
54. COB: “Moyshe McStiff and the Tartan Lancers of the Sacred Heart” (Polydor – 2383161) (Record: Near Mint/ Extremely Fragile Gatefold Jacket: Near Mint). TOP Original UK copy of monster acid folk gem. As far as the music is concerned, I guess you all know the deal. COB were ex-Incredible String Band founding member Clive Palmer’s band and after quitting the Incredible String Band when their debut album was canned he simply vanished from the scene, only to surface again a year later in the disguise of COB, which aptly stood for Clive’s Original Band. “Moyshe McStiff and the Tartan Lancers of the Sacred Heart” has a hymnal, rural English vibe attached to it that is definitely heading towards folk infested waters instead of cross-mutating into a folk-rock sound. Palmer’s vocals are just exquisite, calm, soothing, levitating even at times which only attributes to the completely acoustic nature of this disc. “Let It Be You” (the best love song ever recorded, every time I play it makes me cry like a baby) and “Heart Dancer” are some of the tracks on the LP that are just mesmerizing in their beauty and execution. But it would be totally unfair to slag of COB as just another folk band. Nope, they sound quite exotic at times, otherworldly and even lysergic due to enriching their tonal palette with unusual instruments for that day like the harmonium and dulcitone. It makes the group sound at times even completely spaceward bound and psychedelic such as the track “Martha & Mary” will show and unveil upon spinning it. But it’s this naive charm and willingness to sound different that makes Moyshe McStiff and the Tartan Lancers of the Sacred Heart such a magical album. Although maybe too low-key for some, it is definitely to these ears one of the best English folk albums out there. The band effectively hit a rural English country folk-psych sound that’s visionary and highly original, completely different to the Stringband. To me it is a classic UK psych tinted folk album that defies even the greatness of Trees, Mellow Candle and Spirogyra and you know when you are catapulted into those regions you better sound good and deliver the goods. And COB definitely lives up to that promise. Probably the best copy for light-years around. Price: Offers!!!!
55. COLEMAN, ORNETTE: “Town Hall – 1962” (ESP DISK/ Victor Records – SMJ-7420) (Record: Near Mint/ Jacket: Near Mint/ VERY FIRST OBI Issue: Mint). Bloody rare, never seen or offered before very first Japanese pressing of Ornette’s masterpiece, all complete with the very first obi design, an anomaly since this series all has blue obi’s except this one. Next to impossible to find this one and so far I know only of 3 copies out there that exists with the very first obi attached to it and this is one of those three. Yes it is that rare. But what a slide: “The bright spirit stemming from Coleman's youth permeates the sound of the four-track recording with innovation. Coleman's searing stepped scale ascension on his alto bursts open the music to carve out his sonic territory; he is accompanied by light touches and constant motion on the snare and cymbal and a relaxed rich pizzicato on the bass. Coleman carries the weight of the music through an endlessly changing tuneful line until he rests and lets bassist David Izenzon's arco fly and Charles Moffett's stick work map the way into a snare/cymbal rendering of the tempo. Coleman holds a high pitch on his horn to wrap up the first song, "Doughnut." The memory of that pitch transfers to the jaw-dropping purity of tone that Coleman illustrates on "Sadness." "Sadness" has to be one of the best models for evoking the meaning of its title, besides Coleman's classic composition "Lonely Woman." At age 32, having mastered his instrument, Coleman plays unwavering, potent single notes and melodic phrases of compelling poignancy. Contrast the gripping soundscape emanating from the alto with tonal arco vagaries on the bass, precise brushwork on the drums and expansive sibilance on the cymbals and the result is unforgettable. The presence of a piece for string quartet is no less a distraction than a Rembrandt portrait would be hanging next to a Picasso collage abstraction. The instrumentation may seem antithetical to expectations brought to Coleman's music. But, following the path of every string instrument in relation to one another on "Dedication to Poets and Writers" substantiates the integration in which Coleman staunchly believes. The final 23-minute "The Ark" widens the distance among the instruments in a true test of improvisational limits. Coleman presses through a loosely defined middle range in the form of ostinatos and relentless melodic bounce. Moffett can only respond with bold polyrhythmic moves and Izenzon with deep pizzicato splurges and assiduous bowing. Nineteen minutes in, Coleman slowly squeezes out a seemingly strained high pitch, a signal for the tonal climb that ensues until closing with the bass's fast paced bowing in its upper register.” (All About Jazz) Took me only 14 years to find a copy of the very first Japanese pressing all complete with obi of this beast and here it is, one of the rarest Japanese pressings with obi documenting free jazz. Impossible to lay your hands on…. Price: Offers!!!!
56. COLTRANE, JOHN & ALICE COLTRANE: “Cosmic Music” (Coltrane Records – AU-4950) (Record: Near Mint/ Gatefold Jacket: Excellent – fain trace of ring-wear). Amazing condition first sleeve issue with first issue labels original pressing. Rare Coltrane’s self-released private press album that came out in 1967. This is the very first pressing of the record, which came housed in a “Black & Grey” unlaminated gatefold jacket design with a black margin on the right-hand side. So this copy here is the very first pressing! It also has the original, first label (pink Coltrane label with ‘paisley’ motif on the label) and was the first, unmixed version of the album which was the original, Coltrane-approved mix – the one he personally supervised. The second version is very similar to the first, but with some significant differences. The second pressing has a cover with a black and later a white right-hand margin on the front cover with a dedication to Martin Luther King. This means that it was issued after Martin Luther King’s assassination (April 1968). This later version uses second label (all-pink label with black print, without paisley motif) and utilizes the Alice Coltrane, which is slightly different from this very first issue. This one here is just a top near perfect copy, sounds stellar and is just too beautiful too handle almost. Amazing music which to these ears sounds light-years better and more interesting as compared to the even later altered mix that was used for the Impulse edition which added strings and other stuff. So, First original private press on Coltrane’s own imprint … great copy. Price: Offers!!!
57. COLTRANE, JOHN & ALICE COLTRANE: “Cosmic Music” (Coltrane Records – CRS-5000) (Record: Near Mint ~ Mint/ Thick Laminated Gatefold Jacket: Near Mint ~ Mint). Rare 1st original private press issue. This copy here is the best one I have ever seen, impossible to ever upgrade upon. Cosmic Music, originally self-released by Alice Coltrane in 1968 and later issued by Impulse!, features two tracks ("Manifestation" and "Rev. King") by John Coltrane’s legendary final quintet that were recorded in San Francisco on February 2nd, 1966 and two more ("Lord Help Me To Be" and "The Sun") from Alice Coltrane’s very first session as a bandleader, recorded six months after her husband's passing. "Manifestation" opens with the group already in mid-flight: Trane's fierce tenor leads the way with Pharoah Sanders' blistering sax and Alice’s powerful chords hearing his call. On "Rev. King," Coltrane introduces a lyrical theme and then the composition erupts into fiery incantations, while Jimmy Garrison's bass throbs alongside the propulsive, gravity-defying drumming of Rashied Ali. Foreshadowing her majestic debut, A Monastic Trio, "Lord Help Me To Be" brings Alice’s celestial piano playing and inspired improvisations to the foreground with Sanders, Garrison and drummer Ben Riley rumbling in tow. "The Sun," a meditative ballad with subtle urgency, perfectly closes the album's contemplative circle. As John Coltrane recites on the final track, "May there be peace and love and perfection throughout all creation." Best condition possible, 1968 original private press issue that came out before Impulse Records reissued it that same year. Hardly ever seen such a pristine copy. Price: Offers!!!
58. COLTRANE, JOHN: “Ascension” (Impulse Japan – SH-3076) (Record: Mint/ Flip Back Laminated Jacket: Mint/ OBI: Mint/ Promo Picture still of 65 ~ 9 cm: Near Mint/ Additional Big PROMO Picture: Mint). Original Japanese 1st original pressing from 1966 IN TOP condition and all complete with FIRST ISSUE OBI. To make it even more droolingly salacious is that this one here is the mega rare WHITE label PROMO issue, just never ever offered for sale before!!! Comes with TWO B&W PROMO pictures one big sized one and one small sized one. Never encountered before first issue is bloody rare, no question about it. For thirty-five years Ascension has stood as a monument - either as John Coltrane's supreme, ecstatic statement of his musical liberation from chord changes or as his abandonment of all jazz tradition. Here he has reached the summit. Although the influence of other musicians is evident in his music, it stands apart, now as then, from everything else in jazz. It is of unprecedented force and feeling. Top copy with OBI and one of the finest free blowing jazz records ever to have been put down on wax! The condition is mind-blowingly clean, best copy imaginable. With Obi and WHITE label PROMO with 2 PROMO ONLY PICTURES STILLS??? Just forget it – a one-off chance to clutch this one into your mittens. Price: Offers!!!!
59. The COMMON PEOPLE: “Of The People/ By The People/ For The People From” (Capitol – ST-266) (Record: Near Mint/ Jacket: Near Mint – WITHOUT the ever present cut out or drill hole). Top condition 1969 US first original press issue. A well-known major label psych rarity, The Common People’s Of The People/By The People/For The People is one of the more collectable Capitol releases. The group hailed from Baldwin Park California and played the local club circuit. “Lord” Tim Hudson, of Lollipop Shoppe and Seeds fame, managed this mysterious psychedelic outfit. Of The People/By The People/For The People is blessed with an interesting mixture of garage pop and orchestrated psych whose reputation has soared in recent years. The first three tracks of the album were arranged by David Axelrod and are an amazing mixture of swirling strings and raw lead vocals. The overall sound of the album varies between a unique brooding downer vibe with Axelrod-like string arrangements, and a more typical West Coast garage-psych trip, dreamy overall atmosphere with weird arrangements, with some garage guitar injected at crucial intersections. Top shape without the ever-present drill hole or cut out – pristine all the way. Price: Offers!!!!
60. COSMIC EYE: “Dream Sequence” (Regal Zonophone – SLRZ-1030) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). UK first original pressing in top shape of classic Brit jazz slide that always has been an elusive one. Recorded in 1972 at the legendary Landsdowne Studios in London and released that same year, Cosmic Eye was the result of an innovative studio experiment led by is Indian born guitarist Amancio D’Silva. Setting out to create a ‘Jazz Meets World’ kind of approach, D’Silva was following in the footsteps of other pioneering jazz men such as Joe Harriott & John Mayer who created the illustrious Indo Jazz sessions. Cosmic Eye is an under-pinned, cross-pollinated, hybrid jazz slide that brims over with traditional Indian instrumentation and structure interlocking with modal jazzy vibes. This mixture and blending of styles fuses neatly into a hypnotic, psychedelic jazz excursion. Constructed into two conceptual pieces (Dream Sequences), two side-long jazz ragas showcasing D’Silva’s soulful guitar playing reminiscent of his earlier 60s sessions, Hum Dono and Integration. Featuring a host of UK and Indian musicians, Dream Sequence is a true concoction in which the jazz players and the traditional Indian players worked in a complementary fashion. As a result the sounds have a distinctly organic feel as if the music was not in fact a fusion but a cohesive, natural ‘whole’. In all it is just jaw-dropping beautiful sonic marvel that should appeal to free improve headz as well as to swinging butt-shaking chicks. Truly astonishing and fantastic. Cosmic Eye is a unique sounding, birthed out of that fertile British jazz scene of that day. Amazingly clean copy without any noticeable defects, best one I have had or seen for ages. Highest recommendation! Price: Offers!!!!
61. CROSBY, STILLS, NASH & YOUNG: “Déjà Vu” (Atlantic Records – P-8036A) (Record: Near Mint/ Textured Gatefold Jacket: Near Mint/ Rock Age Flower Obi: Near Mint/ Lyrics Insert: Near Mint). Freakingly rare Japanese press original with rarest obi variation, the “Rock Age” Flower Obi. Just never surfaces with this obi as it was only briefly available for sale in 1971 and quickly disappeared. First time I have a copy of this version up for grabs with the Rock Age ‾ Flower obi present. Top condition. Price: Offers!!!!
62. WOLFGANG DAUNER TRIO: “Dream Talk” (CBS Records - CBS 62478) (Record: Near Mint/ Triple Gatefold Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Original 1965 West Germany 1st original pressing in top condition. An early session from German pianist Wolfgang Dauner – one with a sound that's every bit as great as you'd expect from the title! The "dream talk" component here is one that comes from Dauner's gentle, yet modern approach to the keys – one that's clearly learning lessons from 50s modernists like George Russell or Bill Evans, but which is stretching out here in some of the bolder freedoms of the European scene at the time – a precursor to later modes on MPS and Saba, but performed here with a bit more careful restraint. The record's nicely free from some of the overindulgences of some of Dauner's 70s sides, and is an acoustic effort throughout – extremely imaginative, with a "set free" quality that's also never too "out", nor too full of itself – a bit like the best early recordings by Steve Kuhn. Wolfgang's approach to the keys is nothing less than revelatory – and he receives well-matched accompaniment from bassist Eberhard Weber and drummer Fred Braceful. Stunning clean original German pressing. Impossible to upgrade upon this one, they do not come any better than this copy here. Killer. Price: Offers!!!!!
63. The DEEP: “Psychedelic Moods” (Cameo Parkway Records – P-7051) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – has a little minor drill hole on the bottom left corner, otherwise clean all way round). Bloody rare original US STEREO copy. Mono copies surface regularly but STEREO issue is the rarest and the ultimate version to enjoy this brain freeze! Rusty Evans discovered the nascent psychedelic scene during a brief stop in Los Angeles, where he also recorded the 1965 Musicor single "1983"; upon returning east, he landed in Philadelphia and formed his own psych band, the Deep, with Mark Barkan, David Bromberg and others. Signing to Cameo-Parkway, over just two days in August 1966 the Deep recorded their lone official album Psychedelic Moods of the Deep, one of the more rare and fascinating byproducts of its time; virtually the same lineup later reunited as Freak Scene, releasing 1967's Psychedelic Psoul on CBS. “Take A Trip – Freak Out – Blow Your Mind – You’re On Your Way to the Psychedelic Mood – A Way of Life – A State of Mind.” So begins the blurb on the cover of Psychedelic Moods: A Mind Expanding Phenomenon. An album recorded, if the blurb is to be believed, in pitch darkness in the “wee hours of the morning” at Cameo-Parkway Studios, Philadelphia by studio-only band, The Deep, back in August 1966. Pitch black or not, Psychedelic Moods is still an impressive, if not unusual, piece of Psychedelia. Unusual in that only one of its twelve tracks weighs in at over three minutes, with several not even going beyond the two-minute mark. Stunning clean original stereo issue of full blown psych extravaganza filled with effects, snarling leads, totally wacked and spaced out vocals…dementia for weeks on end!!! Price: Offers!!!
64. DEFIANT ONES: “Golden Hit Pops” (Victor – SWG-7151) (Record: Excellent – has a scuff on side B that causes a few clicks/ Gatefold Jacket: Near Mint/ Attached Insert: Near Mint/ OBI: Near Mint). Freakingly rare Japan only issue. WHITE label PROMO that comes with never offered before OBI present! Graded with 5 bloody stars in the Pokora book. So far the story on these guys is a bit shady to say the least but apparently these kids where on a tour of duty towards Vietnam. During a stopover in the Far East, they were stationed in Japan for a while at the Atsugi Naval Air force base. Apart from gearing up for war, they gigged around the local bar scene surrounding the base, which is where a talent shout of Victor Records noticed them and signed them up for an on the spot one-off recording deal. As might be expected, The Defiant Ones brought forth a string of cover tunes, just like any well-greased and oiled garage combo. The five-piece band (aged all between 19 and 22) recorded their usual live set during two sessions, respectively on April 27th and May 17th, 1969. Next to bringing forth the usual Beatles’ covers, they also launch into some wicked cheesy organ infested and wicked fuzz derailed covers such as “Hello, I Love You”, “You Keep Me Hanging On”, “Purple Haze”, “White Room” and the totally lysergic mind-twisted version of “Fire”. The whole album sounds gloriously primitive – like your typical one single only Mid-West US garage sensation at that time, except that these dudes were allowed and lucky enough to cut a whole LP while being stationed in Japan. Snotty vocals pop up here and there filled with teenage angst and acne-infected unanswered love, cheap and paraplegic farfisa organ key action, derailed crude anthropoid fuzz riffage, embryonic bass throbbing and postnatal drum action. “Purple Haze” sounds nothing like the recount of an acid trip but instead is the sonic variant of getting high on cheap kerosene and downers, making it just an infectious listening experience, brimming over with almost barbarian simplistic fuzz action. Glorious. “You Keep Me Hanging On” is vibrating with a coital longing that sounds almost fetal in its teenage rendition. It just gives me the chills and I do get off on it, just marvelous. When the needle hits “Fire”, things get truly spastically insane, apoplectic and maniac in its execution as if facing the firing squat while being high on acid. Fuzz, Acid and Bullets (here swapped for that sneering felonious farfisa wailing organ). The vocalist goes AWOL here, the guitarist riffs through his membranes and the farfisa player is dodging mushrooms flying through his head. Primitively demented and caveman like it its performance, this is gold dust in sound here! When they charge into “Jumping Jack Flash”, the Uncle Sam-supplied amphetamine is finally kicking in and it shows, they are off the tracks now and aiming for the natives. These guys were just high on acne medicine and rocked it out, hoping to make it back alive from Vietnam if sent there and in the meantime dodge any bad bullet vibes by rocking out. They were after all the Defiant Ones…and they ride hard in my book. Total ace in a primitive, teenage snotty and nerdy psyched out kind of way. Highest recommendation if vintage teenage garage angst gets you off. It sure gets my rock off…never offered before all complete with OBI WHITE label PROMO issue. Price: Offers!!!!!

65. DEMA: “S/T” (CBS Sony – SOLL-28) (Record: Near Mint/ Gatefold Sleeve: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Bloody rare 1st press original, all complete with rarely seen OBI and with the insert all complete. Only 2nd time in my career I see an all complete copy with OBI. This feels like bringing out one of the Navarone guns now, a disc whose rarity is heavy enough to bounce the Richter scale out of balance and cause seismic tremors to erupt, setting landslides in motion, heading straight for your safe sanctuary. Dema was a one time off session band in the style of Satoh Masahiko’s previous one-off adventure with the Soundbreakers. Based around the likely named avant-garde science-fiction story by writer Yasutaka Tsutui Dema got set to music. For this project, star rock and jazz players were assembled into Kohsuke Ichihara All Stars(which included Kohsuke Ichihara, Takao Naoi, Kimio Mizutani, Akira Ishikawa, Masaoka Terakawa and Hideo Ichikawa) and free jazz players assembled under the Sato Masahiko & Garandoh banner (including Masahiko Sato, Keiki Midorikawa and Hozumi Tanaka). The result of bringing all these heavy weight veteran players under one studio roof was a double casting of two groups assembled adhoc in order to create a sonic atmosphere to Yasutaka’s SF story which resulted in Sato Masahiko acting as center mediator for it all and guiding the smoldering interplay into well glued psyched-out spiritual epic sounding manifest that till this day is regarded as a masterpiece within the dark underworld of Japanese jazz rock. So if Sato Masahiko & Soundbreakers “Amalgamation – Showa Kokotsu Genroku” was up your alley, then this smothering psychedelic spaced out jazz funk brain melter might just be the follow-up you need. Hideously rare on these shores, first copy I have to spare in like a decade that comes all complete with OBI. Highest possible recommendation, just a vicious slab of Japanese psyched out Bitches Brew styled space-age Albion jazz. Awesome and one of the top 10 greatest discs to come out of Japan. Pristine virginal condition!!! Price: Offers!!!!!


66. The DESCENDANTS OF MIKE AND PHOEBE: “A Spirit Speaks” (Strata-East – SES-19744) (Record: Near Mint – outstanding/ Jacket: Near Mint – still in original shrink with no discoloration of defects, perfect sleeve). 1974 US first original pressing of classic spiritual jazz slide. Probably best condition possibly. One of the most unique albums on the Strata East label – and that's saying a heck of a lot, given the creative energies flowing through that legendary jazz outlet! Descendants Of Mike & Phoebe is a righteous little project put together by Spike Lee's father, Bill Lee, and his brothers and sisters (Cliff Lee, Grace Lee Mims, and Consuela Lee Moorhead) – working here in a group named after their slave ancestors, who are paid tribute in a beautifully flowing batch of tunes! Lee's round, warm bass tones are firmly at the head of the group on most numbers – recorded at a similar level to his excellent work with Clifford Jordan on Strata East during the same time – and other instrumentation includes piano from Consuela, flugelhorn from Cliff, and percussion from Sonny Brown and Billy Higgins – all used in a wonderfully evocative style that's even better than some of Lee's later soundtrack work. A few numbers feature vocals from Grace – singing wordlessly and with a really heavenly sort of quality – and together, the whole group have a undeniable sense of power and majesty, yet also one that's touched by a really personal sense of poetry too. All killer and no filler. This one is in pristine condition, virginal from start to finish so need to have a nice offer on this one. Was sealed, played once and filled away. Price: Offers!!!!
67. DESPER, BOB: “New Sounds” (Rose City Sound) (Record: Near Mint/ Jacket: Near Mint – still housed on original shrink!). Bloody rare & still in shrink top copy original of this suicidal downer folk masterpiece. “The Pacific Northwest is a dark, dank place, with a suicide rate higher than Keith Richards on a four day binge. Even their most articulate native son, Kurt Cobain, drowned in the sea of despair and offed himself. And what’s the cause of this environmental depression??? It may be the constant grey skies and rain, it may be the extremely high runaway and homeless rate or it just may very well be the music of Bob Desper. Bob recorded his New Sounds LP in one take at the local Rose City Sound studios. Just him, his acoustic guitar and an amazing insight to the dark side of the human psyche. So dark in fact, that only a blind man can see it. Bob is that man, and on this LP he taps into a place that very few people have visited. His voice is quiet with an edge sharper than a Ginzu knife. His lyrics reflect a lonely man who recognizes the shortcomings of human kind. This LP gives me goose bumps each and every time I play it. Side one starts off with “Darkness Is Like A Shadow”. A spooky, echoey tune where Bob introduces a topic that becomes a re-occurring theme throughout the entire LP, the fact that people with eyesight are blind to the things that are truly important in life. “It’s Too Late” and “Lonely Man” follow and continue the introspective soul search, all accompanied by Bob’s extraordinary guitar playing. The fourth and last cut on side one is “To A Friend Of Mine”. This is where I usually start thinking about going into the bathroom and slitting my wrist with a razor blade just to prove to Bob that I could begin to understand what true suffering is. This 15+ minute journey is, in my opinion, the most flawless chunk of downer/loner folk music ever recorded. Side two is good, but pales in comparison to it’s flip side. Songs are “Let It Shine For You”, “Don’t You Cry For Me”, “Liberty” and “Time Is Almost Over”. (RH – Acid Archives). Spot on, just a massive LP of higher-key and loner folk. Talking about real feelings, then this beast is not holding back. This album is so down, everything will look like up to you. Tremendous slide…and this being a perfectly clean original copy. Price: Offers!!!
68. DEVIANTS: “S/T” (Transatlantic – TRA-204) (Record: Near Mint ~ Mint/ Laminated Jacket: Near Mint ~ Mint/ Booklet: Near Mint ~ Mint). Absolutely prefect copy in perfect condition. 3rd and last Deviants record, this one comes complete with the always-missing booklet. 1st original UK pressing in NM ~ M condition. It’s usually a bad sign when a band releases successive LPs on different labels, but in The Deviants’ case, signing to Transatlantic for their third LP resulted in their most economic and punchy work. With new guitarist Paul ‘Blackie’ Rudolph aboard (bringing a distinctively jagged and aggressive guitar style with him from Vancouver, despite having a withered right arm from childhood polio), the band entered its most musically coherent phase. Mick Farren has remarked of the album: “I was convinced in my gut that it sucked. It was the first one created by committee rather than the dictatorship of my personal megalomania,” adding that “I had one idea and the rest of them wanted to be a kind of Led Zeppelin guitar band.” Nonetheless, it’s the concise tracks in the latter style that stand up best today. Produced with admirable crispness by Farren, the album certainly isn’t free of the self-indulgence that marred its predecessors, but it contains some ace proto-punk, most notably the vicious Broken Biscuits, twitchy Billy The Monster and lean First Line (whose new-wave sound is a good decade ahead of its time). As Farren told Melody Maker at the time: “We’re not interested in dexterity, or this big technical thing represented by people like King Crimson. That’s so sterile. The function of rock and roll is to get out and have a good time, not to stand in groups marveling at the guitarist’s technique.” the tiny booklet that accompanied its UK release (in September 1969) has become intensely desirable, pushing the price of complete copies ever higher.” (Galactic Ramble). And ramble it is indeed. That aside, the record is total killer, top copy, 1st UK pressing housed in laminated cover with booklet. The Deviants ruled my world and still do, all of their 3 albums. But sadly enough, this 3rd one with booklet is getting damned rare and hard to get. So you either roll the dice and play or get immersed in this notorious Ladbroke Gove LSD & Crystal Meth soaked bunch of social delinquents. Brutal killer LP nevertheless and all complete + in top condition which is getting near to impossible for this LP with the booklet present so it has to go for…Price: Offers!!!
69. DOLPHY, ERIC: “Outward Bound” (Prestige New Jazz – NJLP-8236) (Record: Near Mint ~ Mint – not even a single spindle mark in sight/ Jacket: Near Mint ~ Mint) Top condition US first original MONO press DEEP GROOVE issue on purple colored New Jazz labels with RVG machine stamped in the dead wax and the Bergenfield N.J. address on the labels. Coated sleeve with coating extending to the spine and unlaminated white back cover with “Preview Copy” stamp on back making this a scarce PROMO issue. Comes with the wax paper inner sleeve as well. Eric Dolphy's first album ever as a leader, recorded almost immediately after his arrival on the New York scene! The sound here is already bolder and stronger than the Dolphy experiments on the west coast – sharp-edged and freely exploratory, in a way that pushes the playful lyricism of the Chico Hamilton years aside, and reaches out into the new territory hinted at by the title! The group is a quintet that features Freddie Hubbard on trumpet, Jaki Byard on piano, George Tucker on bass, and Roy Haynes on drums – and the overall sound is a beautiful mix of modernist hard bop and some of Dolphy's later freer styles. Dolphy plays his usual mix of alto, flute, and bass clarinet and sounds magnificent. Top condition original US copy, I doubt one can ever upgrade upon this baby here, just perfect on all fronts. Rarely seen such a pristine and perfect condition OG, classic jazz slide whose value can only but go up seen the condition. The music is ace so…don’t hold back, a one of chance to wheel in a near perfect copy. Price: Offers!!!
70. DON RENDELL & IAN CARR 5TET: “Dusk Fire” (Columbia – SX. 6064) (Record: Side A = Near Mint & Side B = Excellent with a couple of inaudible sleeve lines visible/ Laminated Flip Back Jacket: Excellent – lower left corner lamination crease). Clean original UK first press issue. Bloody rare 1966 UK original 1st press issue of this UK jazz beast. Great condition, all is EX ~ NM for the record and EX without any major defects for the laminated flip back sleeve. Solid keeper copy! UK MONO issue from 1966 that comes on the original Blue and Black Columbia label. One of the key pieces of mid 1960s British jazz. For Dusk Fire, the band was augmented with the addition of Garrick and composes some of the cuts on Dusk fire, resulting arguably the quintets best release ever. British visionary jazz never sounded as bewitching as on this recording here. Total face melter!!!! Getting tough to find clean and acceptable UK pressings of this UK jazz cornerstone record. Great condition!!! Price: Offers!!!!!
71. DON RENDELL & IAN CARR 5-TET: “Dusk Fire” (Philips – RJ-5017) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Insert: Near Mint/ CAP OBI: Mint). Bloody rare 1972 Japan original 1st press issue of this UK jazz beast. Comes all-complete with never offered before first issue OBI – making this beast three times as rare as the UK pressing. Had pristine copies of the UK press a couple of times but a top copy with obi just never so…. Rare does not even come close to stress the scarcity of this monster. Top condition, all is Near Mint and impossible to upgrade upon! Just super clean and eye-poppingly amazing condition. Japan Stereo issue from 1972 that comes on the original Philips label. Stunning copy!!!!! One of the key pieces of mid 1960s British jazz. For Dusk Fire, the band was augmented with the addition of Garrick and composes some of the cuts on Dusk fire, resulting arguably the quintets best release ever. British visionary jazz never sounded as bewitching as on this recording here. Total face melter!!!! Top condition & mega rare Japan high quality issue from 1972, just about never surfaces!!! Obi is totally unique and never offered for sale before so need no bullshit serious and generous offers for this one. Price: Offers!!!!
72. The DON RENDELL/ IAN CARR QUINTET: “Phase III” (Philips – RJ-5029) (Record: Near Mint/ Jacket: Excellent ~ Near Mint, minor discoloration through age on back side of the jacket near the left side against white background – jacket is still in SHRINK/ CAP OBI: Near Mint – still housed in original shrink). Original 1972 Japanese pressing in top shape, just perfect and all complete with mega rare OBI in place! Just never surfaces all complete, making it so much rarer that the UK version. Having won the Melody Maker best British Jazz Group poll in 67 the Rendell / Carr Quintet had gathered a reasonable following of fans de spite the decline in popularity of jazz amongst music lovers as they continued to opt for other forms of experimental music. By now the quintet was on a roll, soaring the skies and right about then they ventured into the studio to record “Phase III”. By now, Carr’s trumpet tonal color was world class and his phrasing and shading was spot-on, right on the mark all the time, making him one of the finest UK performers on the instrument. Rendell is on the other hand extraordinary on the soprano and he weaves undulating swirling lines that flourish into bloom during the epic “Black Marigolds”. This is one of the finest slices of UK jazz ever recorded – as is most of this band’s output. TOP Condition stupidly rare Japan 1st original pressing housed in nice thick and sturdy. Comes with OBI!!! And in SHRINK! Price: Offers!!!!!
73. DONALD BYRD: “Byrd’s Eye View” (Transition – Trlp-J-4) (Record: Excellent – without hardly any use, high luster and shiny surface/ Jacket: Excellent with no splits or damages – solid seams and spine – no corner wear – has some neatly and faint blue color spots restauration on back that does not stand out – if it wasn’t for that the sleeve would grade NM). Clean and great condition US first mono pressing from 1956 – rarely surfaces in such clean shape. Of course, as always, the booklet is missing. A wailer! This rare 1955 album is one of Donald Byrd's first records as a leader – recorded for the tiny Transition label in Boston, but with a hardbop groove that's right up there with his early work for Savoy and Blue Note. The record is practically a Jazz Messengers session – as it features Art Blakey on drums, Horace Silver on piano, Hank Mobley on tenor, and Doug Watkins on bass – and it's also got the unique aspect of a two-trumpet frontline, as the young Joe Gordon joins Donald on the instrument for the session. Tracks are long and open-ended – with incredibly well-crafted playing that really keeps the set fresh, despite the young age of Donald at the time. Amazing condition and you know how hard it is to find this one in acceptable condition so… Price: Offers!!!!!
74. DORHAM, KENNY: “Quiet Kenny” (Prestige/ Nippon Victor – RANK-5086) (Record: Excellent ~ Near Mint/ Flip Back Jacket: Excellent ~ Near Mint/ Obi: Mint). Stupidly rare 1966 Japanese very first pressing with rare original obi. First obi issue was yellow colored, the subsequent press with different catalogue number became blue colored. This here is the mega rare 1st press issue. Just never surfaces and this one is seriously rare. Top condition.  “The title of the 1959 date, Quiet Kenny, is almost redundant, less descriptive of the session than of Dorham himself, who plays no differently here than in the explosive groups of Blakey or Silver. Thoughtful, playful, lyrical but never effusive, Dorham is, as Dan Morgenstern calls him in the notes for this latest RVG edition, the most "poetic" of trumpet players. The playing is on a level with Dorham's best work elsewhere (Whistle Stop, Blue Note, 1961; Una Mas, Blue Note, 1963), but there are two undeniable bonuses: Dorham's is the only horn, giving him more valuable time to tell his compelling stories; and the pianist is Tommy Flanagan, whose dynamically nuanced, carefully sculpted lines are the perfect match for the trumpet's exquisitely crafted statements.” (all about jazz). Top condition & next to impossible to get very first press issue with obi. Took me over a decade to unearth a copy all complete with obi. Price: Offers!!!!
75. DOYLE, ARTHUR PLUS 4: “Alabama Feeling” (AK-BA Records – AK-1030) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). TOP COPY!!! The Holy Grail of the free jazz pantheon, this one being a fantastic copy. Released in 1978 on Charles Tyler private Ak-Ba Records imprint, “Alabama Feeling” is an intense ride from beginning to end, a mind-boggling debut that still sounds as vigorous today as it was nearly 35 years ago. Doyle, along with musicians Richard Williams (bass), Rashied Sinan (drums), Bruce Moore (Drums), and Charles Stephens (trombone), gathered for what may still be one of the most grueling jazz performances ever. His over-the-top abrasive squawking, paired with the dual drummers and bass, is simply ear-shatteringly beautiful as well as a right-in-yer-face sonic attack that will obliterate all the preconceived conceptions you might behold of what free jazz was and is supposed to be. This is hardcore stuff. Doyle has made an art form out of lo-fi free jazz recordings, as well as serving up a unique style of sax playing: the cat can sound like he's playing multiple reeds with just one instrument, and views the various instruments he plays (tenor sax, bass clarinet, and flute on this album) as an extension of the human voice. His approach to the instrument is unique and sounds like no one else out there. Discovering the extraordinarily gritty sound produced by singing and blowing into the horn at the same time, Doyle was soon in demand as a free player, sitting in with Sun Ra's Arkestra at Slug's Saloon on several occasions, and joining saxophonist Noah Howard on the mythic 1969 Black Ark album. In the early 70s he played with Bill Dixon, Sam Rivers, Andrew Cyrille and Dave Burrell, and recorded Babi live with Hugh Glover and Milford Graves in 1976. A beast of a disc that will have you gasping for air every time you spin this one because it simple sucks all the oxygen right of the room when he starts raping his horn to pieces. One of the rarest and all-time greatest free jazz recordings out there. Getting next-to-impossible to locate a decent copy. TOP CONDITION. Massive!!!! Price: Offers!!!
76. DRAKE, NICK: “Bryter Layter” (Island – ILPS-9134) (Record: Near Mint ~ Mint/ Textured Jacket: VG++ ~ Excellent – as always faint & minimal storage wear & wear on spine/ Island Company Inner Sleeve: Excellent). Top condition UK very first original pink rim press issue with 1U/1U (10:1H) matrix numbers machine-stamped in the dead wax. Comes housed in fragile textured cover. The record itself is the cleanest and best condition possible. The textured sleeve has as always some minimal wear, mainly visible on spine in this case. In all a fantastic copy with the record itself near perfect condition. Second of three Nick Drake albums, following disappointing sales of Five Leaves Left, both Joe Boyd and Nick were keen to produce a less pastoral sounding follow-up. According to Robert Kirby the plan was to make an ‘up, good, happy album’. As a result, Fairport Convention’s Dave Pegg and Dave Mattacks were called as rhythm section and Kirby was brought in to provide string and brass arrangements. This would be the first, and last, album Nick would record with a rhythm section. As well as the rhythm section the sessions included piano, electric guitar (played again by Richard Thompson), saxophone, brass and strings (with arrangements by Robert Kirby) and John Cale of The Velvet Underground on celeste, piano, organ, viola and harpsichord. Cale was producing an album with Boyd for Nico at this point and persuaded Boyd to let him join the sessions after becoming intrigued by Nick and his songs. The rest is history. Beautiful from start to finish and amazing shape as well. Price: Offers!!!
77. DRAKE, NICK: “Pink Moon” (Island – ILPS-9184) (Record: Near Mint/ Gatefold Jacket: Near Mint – faint lower corner left corner rubbing on back seam/ Company Inner Sleeve: Excellent ~ Near Mint). Top condition original 1st UK pressing. Truly 1st press with matrix number on side one ending as A-1U and 2nd side ending as B -1U and Side 1 and Side 2 printed on label (Second pressing has Side A and Side B printed on label). Comes housed in near flawless gatefold sleeve, first print issue with “Island Records Ltd., Basing Street” address on back – which second porint issued do not have as Island moved offices. Amazingly clean and beautiful first pressing just brain-blowingly amazing condition. No spindle marks, no hairlines, just virginally clean! Drake’s last album before he plunged into the afterlife and again a slice of essential fragile folk. Clean copies as this one are a tough score these days; most copies do have some condition issues or are 2nd and 3rd pressings. This one comes as close to the original master tape as you can get (see matrix numbers) and hence I believe you have a deal here. Top copy – next to impossible to ever upgrade upon. Price: Offers!!!!
78. DUB SPECIALIST: “Bionic Dub Part One” (Studio One – CN-3049 as dead wax matrix) (Record: Excellent/ Silk Screen Jacket: Excellent). Top condition 1975~76 Jamaica original pressing that comes housed in awesome silkscreen sleeve art. Hard to find in this condition, next to impossible to improve upon. Dub Specialist is a ‘catch-all’ name that was basically used as a label for a series of dub releases that came out of Studio One and were produced Coxsone Dodd during the 1970s.All the releases in the Dub Specialist series were issued in limited editions and were mixed and arranged by a collection of engineers like Scientist, Sylvan Morris, and others. Bionic Dub was released in 1975~6, and features a minimal but striking cover showing a Steve (Bionic Man) Austin type character slamming his extended fist into the viewer’s face. This is pretty hard to get hold of now! Price: Offers!!!
79. DULCIMER: “And I Turned As I Had Turned As A Boy” (Penny Farthing/ Philips Records Japan – Y-1004-P) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Original 1971 Japanese original pressing in top condition. Never offered or seen before original with mega rare OBI. WHITE LABEL PROMO. Originally released in the UK on the Nepentha label, the Japanese issue came out on the Penny Farthing label, a subsidiary of Philips Records. Dulcimer first came to the attention of producer and manager Larry Page, who signed them to his own newly founded Nepentha Records -- they recorded their debut album, And I Turned As I Had Turned As A Boy at Landsdowne Studios in London with Page producing. Mercury Records picked up the American distribution rights to the LP, and Philips did the same for Japan and released it under the penny Farthing banner. The trio's sound was a strangely haunting mix of acoustic, very traditional-sounding folk-inspired originals, which were often set as more ambitious (and dramatic) suite-like pieces. The melodies were stunning, and the playing and timbre of their music were as well, while their lyrics were steeped in antiquity and fantasy -- somewhere midway between Amazing Blondel and Renaissance. The U.K. rock press of the period, enamored as it was by folk music and progressive rock, gave it enthusiastic reviews, praising their harmony singing as well as their ambitious musical structures, and the trio seemed to be on its way. But it was not to be. Their first LP remains their masterpiece and is a prime example of UK folk galore. Top copy – white label promo with OBI!!! Seriously rare! Price: Offers!!!!!
80. DYLAN, BOB: “Vol. 2 – Dai Ni Shu” (Nippon Columbia – YS-585-C) (Record: Excellent ~ Near Mint – has 3 sleeve lines on side A/ Flip Back Jacket: Near Mint/ Imprinted Company Inner Sleeve: Near Mint/ Obi: Near Mint). Wow, grail alert! Rarest Dylan LP to seep out of Japan – all complete with insanely rare first issue OBI! And the whole affair in in amazing condition! This baby came out in March, 1966 and is crammed with stellar early-Dylan tracks such as Highway 61 Revisited; Tombstone Blues; It Takes a Lot to Laugh, It Takes a Train to Cry; From a Buick 6; Ballad of a Thin Man; Queen Jane Approximately; Maggie’s Farm; Just Like Tom Thumb’s Blues; Desolation Row. This has always been a tough one to find in decent nick and impossible to dig up with the 360 Sound Obi present. Awesome shape and madly rare. Price: Offers!!!!
81. DYLAN, BOB: “Vol. 2 – Dai Ni Shu” (Nippon Columbia – YS-585-C) (Record: Excellent ~ has a couple of faint sleeve lines/ Flip Back Jacket: Near Mint/ Imprinted Company Inner Sleeve: Near Mint/ 4 Page Insert: Near Mint). Wow, grail alert! Stupidly rare Gold colored label TEST PRESSING issue with hand written/ stamped blank labels. This never came with obi as it as a pre-release test pressing – making it one of the scarcest Dylan LP to seep out of Japan! And the whole affair in in amazing condition! This baby came out in March, 1966 and is crammed with stellar early-Dylan tracks such as Highway 61 Revisited; Tombstone Blues; It Takes a Lot to Laugh, It Takes a Train to Cry; From a Buick 6; Ballad of a Thin Man; Queen Jane Approximately; Maggie’s Farm; Just Like Tom Thumb’s Blues; Desolation Row. This has always been a tough one to find in decent nick and impossible to dig up as a TEST PRESS issue. Awesome shape and madly rare. Price: Offers!!!!
82. DYLAN, BOB: “The Freewheelin” (CBS SONY – SONP-50181) (Record & Jacket & Insert: & Capsule Obi: SEALED). Impossibly rare SEALED Japan very first original press issue! Never seen a sealed original one before with OBI still firmly under the shrink…one of a kind item in this sealed condition. Dylan landmark recording that made headz being turned and tuned in. The world was never the same again after this. Recorded in 1963, this is the bloody nice Japanese original pressing from the late 1960s all complete with salacious capsule obi. In most cases always missing but here proudly showing its colors without the sealed shrink being cracked for over a half a century. Museum & time-machine archive quality and stupidly rare in this condition. Price: Offers!!!
83. DYLAN, BOB: “Bringing It All Back Home” (CBS Sony – SONP-50326) (SEALED original complete with Insert and Cap Obi). Impossibly rare Japan very first press issue – SEALED. One Dylan slide you never put in your rear-view mirror ever! When Dylan entered Columbia Records’ Studio in mid-January 1965 and instantly blew out an 11-song LP in three days, he didn’t merely go electric, invent folk rock and transition from an acoustic troubadour to a boundary-pushing rock & roller. He conjured performances that would completely reimagine how pop music communicated – not just what it could say, but how it could say it. “Some people say that I am a poet,” he wrote coyly in the prose-poem notes on the back cover. Now, he was ready to test the limits of what that meant, rewiring himself for a singularly revolutionary moment. The fallout-shelter sign in the cover shot was on point: Bringing It All Back Home was the cultural equivalent of a nuclear bomb. It was here that he eclipses any conventional sense of folk and rewrites the rules of rock, making it safe for personal expression and poetry, not only making words mean as much as the music, but making the music an extension of the words. Still sends the chills down my spine. Obligatory ear candy and mind food. Still sealed Japan 1st original press issue… go ballistic! Price: Offers!!!!
84. The E-TYPES: “I Can’t Do It b/w Long Before” (Link Records – POM E-1) (7 Inch Single: Near Mint/ Fragile Picture Sleeve: Near Mint). All time garage punk classic in outstanding condition and with picture sleeve present. US first original pressing from 1966. Salinas, California: a locale more likely to produce vegetables than rock ‘n’ roll. Nevertheless, the farm town was responsible for scarce but mighty garage and psych sounds of The E-Types. Relatively unknown, (unless you caught the ‘60s flick Blond On A Bum Trip, which includes their original “Put The Clock Back On The Wall”their recorded output consists of four singles and a host of demos, live cuts, and covers, all featuring their distinct sound of Beatles-esque influenced garage rock. Price: Offers!!!!
85. EAST BIONIC SYMPHONIA: “Recorded Live” (ALM Records – AL-3001) (Record: Near Mint/ Jacket: Near Mint/ 2 Inserts: Near Mint). Ultra rare original, top-notch copy. Officially released as a graduation effort in an edition of only 300 copies way back in 1976 by Kosugi Takehisa, this one copy here is one of those, the real thing and comes complete with insert having detailed liner notes by Yuasa Yoji. Not really an outfit with Takehisa Kosugi in its ranks, but consisting out of a collaborative effort of his students and recorded under his auspices was this improvisational ensemble baptized as the East Bionic Symphonia. Its line up consisted out of 10 members, of which some are still active in the today Tokyo underground scene. The band consisted out of Ozawa Yasushi (Fushitsusha’s long time bass player until he passed away this year) Okabe Kaoru, Hamada Kazuaki, Imai Kazuo (Imai Kazuo was the sole person who graduated from Takayanagi Masayuki’s guitar school and remains till this day active as a solo guitar improviser and as a member of the improvisational clitter clatter unit Marginal Consort.), Tada Masami, Koshikawa Kazunao, Sui Hajime, Mukai Chie (Mukai Chie is a legendary figure still today in the Tokyo underground scene, although that she originated from Osaka, still active solo as well as with her outfit Che-Shizu) Minegishi Masaharu and Hattori Tatsuo. Their sole recorded output was registered live and presented in the form of a graduation concert staged at the Kanda-Shi Bigakkô on the 13th of July 1976. Their sound was centered around an avant-garde, improvisational amalgamative sound of different percussion and various snare instruments such as Imai Kazuo’s guitar and Mukai Chie’s kokyu drones, establishing a hypnotic and minimalist sonic universe, reminiscent to the Taj Mahal Travelers. The record itself was released in that same year by the independent record label Kojima ALM Records. Soon thereafter the ensemble ceased all of its activities, until they regrouped in 1998 under the name of Marginal Consort, performing some concerts in the Tokyo area. Although that the group remains active on an irregular basis, some of its key figures retrieved from its ranks due to conflicting interests and personal objectives. Ultra rare original pressing in top-notch condition. First time ever I have a copy to spare of this gem. Just turns up around never…and if TMT is up your alley, you cannot pass up on this one. Highest possible recommendation and rare beyond belief. Price: Offers!!!!

86. EAST NEW YORK ENSEMBLE DE MUSIC: “At The Helm” (Folkways – FTS-33867) (Record: Near Mint/ Jacket: Near Mint). Original 1974 US pressing in top condition and one of the oddest records to seep out of the Folkways label. Sold my last copy but luckily could dig up another one but this one is in ever better shape than my last one so… eargasmatic music gel perfectly with amazing condition. East New York Ensemble de Music came out of the diverse community of Bed-Stuy, Brooklyn, where African, West Indian & black American cultures converged. First and foremost, this is a deep Spiritual Jazz record, that succeeds in incorporating elements of the West Indies, and both the Near and Far East. Released as very small pressing by Folkway Records in 1974, it sounds loose and free – spiritually building in a manner that recalls the work of Ahmed Abdul Malik, Phil Cohran, and some of the AACM.. The elaborate tracks brings out the core group that prominently features soprano sax and Korean reeds by Bilal Abdurahman and vibes by Ameen Nuraldeen – plus guest work on bass by James Smith, and appearances by a lot of different world percussion players. Multi-reed player Bilal Abdurrahman was best known for his musical partnership with the trailblazing bassist/oudist Abdul Ahmed Malik from the late '50s into the mid-'60s. At The Helm is the only surviving document of Abdurahman's own Black Magical Music and was mainly a collaboration between Abdurahman and vibraharpist and composer Ameen Nuraldeen. Nuraldeen's compositions deftly mix the somewhat loopy, exotica-derived sounds one might find on Sun Ra's early recordings with an authoritative, groove-oriented, early-'70s Afro-modal jazz sensibility. The cover of Freddie Hubbard's "Little Sunflower" daringly opens with an extended improvisation on a bizarre-sounding non-tempered Korean reed instrument. This is not done merely for exotic effect; Abdurahman plays the untamed, unnamed instrument with the same soul and passion he displays on his main axe. Nuraldeen is a forceful, percussive player who revels in the vibraphone's bright bell-like tones while eschewing the clanky, clangy sounds that many players of this ilk fall prey to. The supporting players provide an organic propulsive rhythmic base throughout. At The Helm presents a convincing fusion of jazz, African, Asian, and Middle Eastern ethnic musics in which the immediacy and power of jazz is never diluted by the ethnic influences, and vice versa. Could dig up another copy but in a slightly even better shape than my last copy so…don’t hold back. Price: Offers!!!

87. EAST OF EDEN: “Mercator Projected” (Deram – DL-14) (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint/ Uncut Advance Obi: Near Mint). Bloody rare 1st original Japanese pressing out of 1969. WHITE label PROMO issue that comes with advance-OBI copy with uncut serated edges! East of Eden's debut LP is one of the hardest rocking albums to come out of the progressive rock movement, and maybe the best non-Rolling Stones albums issued by English Decca during all of the late 1960s. It's also one of the most daring debut albums of its period, less tightly focused than, say King Crimson’s Court of the Crimson King but otherwise equally bold and maybe more challenging. The whole record is eerie -- coming from a pop culture where most psychedelic rock tended toward the light and airy -- the way the high-impact bass, drum, and guitar parts interact with the distinctly Oriental and Central/Eastern European classical influences. The title track is a surprise coming from any British psychedelic band of the period, opening with a pounding heavy metal beat pumped out on Steve York’s bass and Dave Dufort’s drums, while Dave Arbus’ electric violin subs for what would normally be the rhythm guitar part and Geoff Nicholson’s guitar twists a blues riff around before setting a Jimi Hendrix like wave of tonal pyrotechnics ablaze for the finale. Though most of the rest isn't as hard rocking as that, it is still progressive rock with balls. "Isadora" may have a few flute flourishes too many, but it also has a beat, and "Waterways", after a meandering opening, breaks loose in a hard-edged piece of heavy metal raga rock (with a sax part that fits in perfectly), something like what the Yardbirds’ might've attempted if they'd stayed together through 1969 and forsaken their pop pretensions -- and then it finishes with the kind of brooding, violin-based ballad that anticipates the 1973-era King Crimson. And "Centaur Woman" takes us back to almost a mid-1960s blues-rock mode, reminiscent of the Graham Bond Organization, except that East of Eden quickly kicks out the song structures, taking Coltrane-like sax excursions before throwing in an extended bass guitar solo. Side two of the album opens with the brooding "Bathers," perhaps the most conventional progressive cut on this album and, not coincidentally, the least interesting song here. "Communion," by comparison, is a composition whose inspiration was aa Bartok string quartet, and is dominated by Arbus’ violin. The album finishes with the high-energy "In the Stable of the Sphinx," a blazing showcase for electric guitar, violin, tenor, and alto sax that's worth the price of admission by itself and must've been amazing to hear on stage.” (All Music – Bruce Eder). Very rare 1st pressing with 1st issue DERAM obi present, first copy I see in over a decade. Sold nothing at the time here in Japan, making it now – all complete with obi a highly sought-after & collectible item. TOP copy!!! Price: Offers!!!
88. EDWARDS, WINSTON: “Natty Locks Dub” (Fay Music Inc. – F2004) (Record: Excellent – some faint sleeve lines can be seen under a bright light – cheap private pressing so plays with faint crackle in quiet parts/ Jacket: Near Mint). Holy bloody smokes!!! White whale alert! One of the most-sought after UK dub releases out there, unleashed upon the sleeping masses in 1974 through the small privately run Fay Records label and sank into obscurity right from the onset on. In the following decades it reputation began to spread and the record became stuff of legends as is turned out to be the very first dub slide to be released on UK soil. Flash forward to the 21st century Natty Locks Dub has become a bonafida premium dub album. It was also Winston Edwards’ earliest album, thriving on his beautiful melodies and sophisticated arrangements using flutes and organs, steadfast ingredients that would continue to pop up onto his later Lovers Rock arrangements. The rhythm section for Natty Locks Dub was recorded in Jamaica at Lee Perry’s Black Ark Studio, and the dub mix was done at Joe Gibbs studio in the UK studio. Only a year after 1973, when Jamaica's first dub album was first released, Natty Locks Dub was dropped on the UK’s still infantile reggae scene. But already you could feel the innovation brought forth by Edwards making it a dub album too far ahead of its time. In short, a historically and a too important dub album floating on a vibe of Lovers Rock beauty and the vibrating essence of early deep rootsy dub with some jazzy undertones thrown in for good measure, a fuckin’ lethal mixture. Such a bloody killer slide!! Rarely seen first original pressing, released in tiny numbers and elusive ever since 1974. Here is a nice original copy for you. Rare forever! Price: Offers!!!!

89. The ELECTRIC PRUNES: “Underground” (Victor Records/ Reprise – SJET 8000) (Record: Mint/ Jacket: Mint/ OBI: Mint/ Insert: Mint). First original Japanese pressing and one of the rarest SJET number releases that never surface with obi present. To boot this is a white label PROMO issue that came out in January 1968!!!!! This one is nothing short of being a masterpiece. The Prunes certainly succeeded in combining a big studio production with an anything goes attitude and make it work. This beast is filled with fuzztones, sound effects and a whole pallet of studio gimmickry that really elevate the record to the next level, as it will do with the listener. Some of the material on display is nothing short of being pure magical, especially “The Great Banana Hoax” and “I happen To Love You” and tracks like “Dr. Do-Good” contain some fearsome fuzz sound blasts!!! For the rest most of the album is filled with psychedelic touches that carry the whole and the prunes did something different on every song, making this a true classic. Hopelessly rare Japanese first pressing with OBI and white label promo. These babies sold nothing when they were released in Japan in 1968, making them now hopelessly rare and a bitch to wheel in. Just give it a try. TOP CONDITION. Price: Offers!!!!

90. The ELECTRIC PRUNES: “Mass in F Minor” (Reprise/ Victor Records Japan – SJET-8059) (Record: Mint/ Jacket: Mint/ FIRST ISSUE OBI: MINT). Never offered before original MINT copy Japanese pressing with FIRST ISSUE OBI in top condition. Never surfaces!!!! 1st original rare Japanese pressing. The Electric Prunes themselves had little to do with this album. Their quintessential garage philosophy wouldn't let them come up with the concept themselves; the idea of an 'electric mass' sung in Latin and combining gospel and Gregorian elements with distortion and feedback and rock energy belongs to the band's "spiritual godfather" of the time, David Axelrod. He himself 'wrote' all of the 'songs' on here and took care of all the arrangements. Their third LP, Mass in F Minor, resulted in a quasi-religious concept album of psychedelic versions of prayers; a definitively excessive period piece, its best song ("Kyrie Eleison") was lifted for the Easy Rider soundtrack. Top of the line 1st original Japanese pressing pressed on high quality vinyl. First time ever a copy gets offered with the 1st pressing OBI from 1968. Mega rarity in the best condition imaginable. Price: Offers!!!
91. ELIAS HULK: “Unchained” (Youngblood – SSYB-8) (Record: Near Mint ~ Mint/ Fragile Laminated Jacket: Near Mint ~ Mint). Original 1970 UK 1st press. Top copy, rarely turns up in whatever condition, but this one is just clean beyond belief. Record is probably only been played once or twice, NM~M condition – time-machine condition. Same goes for the fragile sleeve which is just perfect without defects, looks like it rolled off the imprinting press just yesterday with only one tiny crease on right upper side corner. Just impossible to find any better. This copy came from one owner who got it when it was released, played it once to tape it and filed it away for half a century. Heavy deranged underground amphetamine intoxicated psychedelic blues-rock from beyond the grave. Heavy and totally berserk going blues psych underground moves impregnated with howling vocals, wrist slashing guitar action and a caveman rhythm section ready to bash some skulls. Neanderthal heavy doped up and psyched out blues-rock from next to the Thames. And you thought the Mississippi was the stream of consciousness? Look no further; these guys are going for the kill, cut throat action from start to finish. Awesome UK original pressing, getting next to impossible to dig up these days in such a nice nick as this one here. Brutal and total Killer. Looking for the perfect copy? Well here it is…. Price: Offers!!!!!
92. EMBRYO: “Embryo’s Rache” (United Artists Records/ King Records – SR-774) (Record: Mint/ Gatefold Jacket: Mint/ OBI: MINT). Bloody rare and never before offered for sale TRUE FIRST press of Embryo complete with 1st press OBI. To make it all even more salacious – this is the WHITE LABEL PROMO test issue from 1970. Everything is mint here, and needles to say the 1st Japanese issue is damned rare, only a few copies of this one exist. Embryo, formed by ex-Amon Duul II member Christian Burchard, consisted of Edgar Hofmann (sax, violin), Ralph Fisher (bass, organ), John Kelly (guitar). Their first album, Opal (Ohr, 1970), showed Embryo to be influenced by the mystic free-jazz of John Coltrane and the Canterbury sound amongst others. But the group’s characteristic jazz-rock didn’t took shape until their second album “Embryo’s Rache”, officially released in 1971.The disc is a splendid and fascinating juxtaposition crisscrossing between psychedelic jazz-rock of early embryonic Embryo together with embracing a love and predilection for ethnic music and eastern flavored tunings. It starts off with some tribal drumming, and moves onward into complex rhythms and lots of sax and flute solos that fuse with a lonely violin snare here and there. With some odd vocal chanting on “Sitting At The Moon” and lots of high-energy jazz-funk grooves throughout, Embryo’s performance is quite baffling, especially when the hand percussive rattles move in and add an exorcist rite kind of touch to the timbral palette, only to get squeezed out by eerie and spasmodic organ drones. Stunning all way through, this is the viciously rare 1st original Japanese press out of 1971, complete with never seen before 1st issue OBI. Top-notch condition. Classic album and highest recommendation. Seriously rare and never ever offered for sale before anywhere. Price: Offers!!!
93. EMERAUDE: “Geoffrey” (Private – KO/81.0907) (Record: Near Mint/ Jacket: Mint). Bloody rare and obscure French private press acid folk masterpiece that saw the light of day in 1981. This was only released locally in a tiny run of 500 copies, all of which dried up like snow in the sun. Till this day, hardly detected by the masses but that may chance once ears get attuned to this beauty. The music floats on exotic instrumentation, long spun out tracks and dreamy vocals and blessed by a truly haunting vibe that pulls in a magical touch. Light-years better than Book of AM, Subway or Vashti just to name a few. And don't be fooled by the release date, this sounds like it was 1972 all over. A major favorite of mine and one of the best acid folk discs ever to have waxed my ears. I haven't seen a copy for over 8 years now and these babies are damned rare. Top copy. Private press French acid folk records are far and few, they just slipped of the face of the earth. Probably the best disc on this time's list. Highest possible recommendation!!!! Price: Offers!!!
94. EUROPEAN JAZZ ALL STARS: “Jazz Festival ‘70” (Liberty Records – LPC-8045) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Freakingly rare Japan only release of a groovy free jazzing document that is just out of this world. Very first press issue all complete with first issue obi present! The line-up is honey-dripping finger-licking great, bringing together the finest of the European scenesters of that day such as Jean-Luc Ponty; Albert Magelsdorff; Daniel Humair; Eddy Louis; Francy Boland; John Surman; Niels Henning Oersted Pedersen; Karin Krog and Joachim-E. Berendt. The music is top notch, brimming over with loose fire-breathing improvisational licks without being too overly right-in-yer-face free and instead bordering on a hard driving liquid free form groove that is nothing short of being infectious. The whole sounds borders on improvisational fusion, hard hitting free moves, experimental corking drive that at times gets injected by the bewitching vocals of Karin Krog, just adding some extra icing to the already salacious cake. Especially the groove-oriented organ of Eddy Louis brings at times an almost southern soul-like sensibility to the already volatile mix that drives the audience completely nuts. Surman is as always on fire, interlocking with Louis, Krog and Mangelsdorff and ejecting the whole ensemble towards a next level of auditory bliss. Just a killer set!!! Took me ages to unearth an all-complete copy of this irresistible, hard-hitting spell-binding session LP. Just nothing short of pure amazement. Top condition copy all complete with hideously rare first issue obi flashing is colors. Highest possible recommendation!!! Price: Offers!!!
95. EVERYONE INVOLVED: “Either/ Or” (Arcturus – ARC-48) (Record: VG++ ~ Excellent – has some faint paper sleeve lines visible under bright that that do not affect the play back/ Embossed white sleeve with group name and title: Excellent/ Poster Insert: Excellent ~ Near Mint). Original 1972 UK private masterpiece of acid folk psych LP with haunting male & female vocals. Beautiful pastoral folk slide not unlike Heron in some ways, displaying a rural open air pastoral feel and blessed with great innocent and slightly naïve songwriting, dreamy garagey playing spiced up with flute, electric leads at times and a strong backing. Housed in fragile embossed sleeve. Minimal general wear on sleeve and record, as can be expected with this micro private pressing. Has rare lyric insert. original UK privately released folf psych oddity. Stoned hippie ramblings in the Incredible String Band realm. Nice document of those halcyon daze. Clean copy and still largely under-the-radar great UK folk psych that is in urgent need of mass appraisal!!! Price: Offers!!!
96. FAIRPORT CONVENTION: “S/T” (Polydor Japan – MP-2211) (Record: Mint/ Gatefold Jacket: Near Mint ~ MINT/ OBI: MINT) Stupidly rare Japan 1st original pressing, Polydor pressing, complete with Japan only Gatefold sleeve and NEVER SEEN BEFORE OBI!! Impossible to track down Japanese pressing with obi. Has been over a decade since I last saw a complete copy of this one! England's Fairport Convention were wielding West Coast harmonies long before any other European band. Released in 1968 and in 1970 in Japan, Fairport Convention's debut album owes more to the Byrds than to let's say Pentangle, since it is brimming over with soaring harmonies and psychedelic infested guitars. Recorded pre-Sandy Denny, Judy Dyble sang like a siren and then left to form Trader Horne. Among the other original material, some of it dating from Richard Thompson's previous band, is a fair smattering of well-chosen songs from contemporary performers. The disc shows the band in a very embryonic form although you can already hear the superlative musicianship that would characterize their glory years. The music is half group compositions and half cover versions of songs by Bob Dylan and Joni Mitchell among others. The band showed their characteristic good taste in their choice of cover versions, kicking off the album with a storming cover of Emitt Rhodes' “Time Will Show The Wiser”. This is one of the many highlights on the album such as the brilliant “Jack O' Diamonds”, an exceedingly pleasant “Chelsea Morning” and the Dylan pastiche “It's Alright Ma, It's Only Witchcraft”. Historically seen, the inclusion of Joni Mitchell covers is quite surprising seen that she was virtually unknown and unreleased on record in 1967 when this album was recorded and her own versions of the two songs here did not appear until her second album, Clouds, in 1969. The Fairports knew her as she had been in the UK at the invitation of their producer, Joe Boyd, and she had played some British dates supporting the Incredible String Band. In all, this debut album is just as magical as the rest of the output the band would become known for, be it that at this point in time they were more harmony and psychedelic tinted as opposed to the folk trademark sound they would become renowned for. Still, elements of things to come do resonate through this album, make no mistake and this LP is just one of the finest to seep out of the UK at that time. This copy here comes with hideously rare beyond belief obi in mint condition. Top condition, impossible to dig up these days with obi intact, so start trembling! UNPLAYED & UNTOUCHED copy! Highest recommendation. Price: Offers!!!!
97. FAIRPORT CONVENTION: “S/T” (Polydor Japan – MP-2211) (Record: Near Mint/ Gatefold Jacket: Near Mint / OBI: Excellent) Stupidly rare Japan 1st original pressing, Polydor pressing, complete with Japan only Gatefold sleeve complete with OBI!! WHITE label PROMO issue. Released in 1968 and in 1970 in Japan, Fairport Convention's debut album owes more to the Byrds than to let's say Pentangle, since it is brimming over with soaring harmonies and psychedelic infested guitars. Recorded pre-Sandy Denny, Judy Dyble sang like a siren and then left to form Trader Horne. Among the other original material, some of it dating from Richard Thompson's previous band, is a fair smattering of well-chosen songs from contemporary performers. The disc shows the band in a very embryonic form although you can already hear the superlative musicianship that would characterize their glory years. The music is half group compositions and half cover versions of songs by Bob Dylan and Joni Mitchell among others. The band showed their characteristic good taste in their choice of cover versions, kicking off the album with a storming cover of Emitt Rhodes' “Time Will Show The Wiser”. This is one of the many highlights on the album such as the brilliant “Jack O' Diamonds”, an exceedingly pleasant “Chelsea Morning” and the Dylan pastiche “It's Alright Ma, It's Only Witchcraft”. Historically seen, the inclusion of Joni Mitchell covers is quite surprising seen that she was virtually unknown and unreleased on record in 1967 when this album was recorded and her own versions of the two songs here did not appear until her second album, Clouds, in 1969. The Fairport’s knew her as she had been in the UK at the invitation of their producer, Joe Boyd, and she had played some British dates supporting the Incredible String Band. In all, this debut album is just as magical as the rest of the output the band would become known for, be it that at this point in time they were more harmony and psychedelic tinted as opposed to the folk trademark sound they would become renowned for. Still, elements of things to come do resonate through this album, make no mistake and this LP is just one of the finest to seep out of the UK at that time. This copy here comes with the OBI (a few lower side wrinkles so EX) and hardly ever seen WHITE label PROMO. Highest recommendation! Price: Offers!!!!
98. FAPARDOKLY: “S/T” (UIP Records – LP-2250) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint – still housed in original shrink + with Frankhauser signature on the shrink of the back sleeve). Top copy, US original MONO pressing from 1967 of damned rare Frankhauser psych classic! Complete with Merrell Frankhauser signature on shrink on back!!! “A legendary LP, both for its rarity and the appearance of future Mu-wizard Merrell Frankhauser. This is mid-1960’s pop-folk rock rather than the psych it gets hyped for, the hazy “Gone To Pot” excluded. Pretty classy stuff with traces of the Byrds and the Beatles but also obvious remnants of an earlier, pre-Invasion pop era of Buddy Holly and the Everly Brothers. Merrell’s talent is on clear display even at this early stage, with each track being a finely tuned and completely realized pop song. Personal fave tracks include the dreamy opener “Lila” and the weirdly inspired “Mr Clock”. Enjoyable all through, as long as you don’t expect Lemurian hippie psych magic.” (PL- Acid Archives). Longtime favorite around here and finally a clean original still housed in shrink up for nickel and dime grabs. Indispensable genre piece of the highest order! Top condition & Impossible to ever upgrade upon. Price: Offers!!!
99. PIERRE FAVRE TRIO: “Santana” (Globe – SMJX-10121M) (Record: Near Mint ~ MINT/ Jacket: Near Mint ~ MINT/ Insert: Near Mint/ OBI: Mint). Rare Japan original 1st press, all complete with never offered before OBI. TOP COPY!! Another free jazz rarity that always slips through the cracks. Rarest issue of this beast. That said, killer slide with jaw breaking line-up consisting out of Pierre Favre on drums, Irene Schweizer on piano and Peter Kowald on drums. The whole affair was record in 1968 in Zurich and is an excellent example of early European free molting jazz action. The trio is on fire, bringing forth an animated strive of high-tension music and high voltage counter reactions. The recording is crystal clear and this original pressing brings it out loud and crystal clear and makes you feel like witnessing the whole thundering outburst from out the first trench facing the battleground. The trio rips the jazz system as known till that day apart like a pile of cheap hay. Fabulous free roaming fire music, showing that the early day European scene was totally hardcore. Impossibly rare Japan original pressing with never seen OBI present. Price: Offers!!!!
100. FINN, SIMON: “Pass The Distance” (Mushroom – 100MR2) (Record: Near Mint – seems unplayed condition/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint). Original 1970 UK pressing and one of the best condition copies I have encountered so far. Jacket is always prawn to ring-wear and damages and this one is exceptionally clean! Also first copy with insert I see without a folding crease on insert! The music can be best described as "apocalyptic folk", in the vein of the second Bill Fay LP. Simon Finn's sole recorded album originally released on the UK Mushroom label in 1970 and withdrawn shortly after its release is as influential as recently rediscovered obscurities such as Comus, The Trees and Jan Dukes de Grey. To name but a few. Personally, Simon Finn's album is a unique album, be it for its unorthodox musical content, and for its rarity. Just like Bill Fay's output, “Pass the Distance” simply evades any easy categorization. The music is filled with melancholy, doom-laden prophesying (just like Fay), but on tracks like "Jerusalem" and "Big White Car," Finn enters uncharted waters of an unequalled vocal rage, madness and hysteria in an attempt to avenge deities and unleashing a never before encountered ethereal wrath, all combined with primitive but poignant acoustic backing that were contributed by the young multi-instrumentalist David Toop. Toop and percussionist Paul Burwell were given free-reign in order to extrapolate on Finn's songs as a blank slate for experimentation and improvisation. It resulted in a free from constraints, anarchic and nihilistic setting for Simon Finn's songs to take shape unto. Mandolin and harmonium lines that defied and neglected any melodic concerns are all over the place, only attributing to the already apocalyptic atmosphere to hover over the session. Add to that the use or misuse of heavy echo, stereo fading and phasing and you get a totally dislocated sense for structure, song which only alters the tension and greatness of the music that resulted out of it all. Just murderously beautiful and one of the best folk albums to seep out of the UK. Originally released as a limited pressing of only 500 copies so no time to drool over this one. One of the nicest and best condition copies out there so… Price: Offers!!!!
101. FLAMIN GROOVIES: “Flamingo” (Kama Sutra/ Columbia Records – YS-2444-KS) (Record: Near Mint ~ Mint/ Heavy Gatefold Jacket: Near Mint/ Obi: Near Mint). Stupidly rare Japan 1971 first original press issue – all complete with insanely rare obi. To make it even juicier – this is hardly ever seen stock copy. So far, in the last 12 years about 5 copies have surfaced of this one and all were promo issues as the record barely made a dent on the sales front when it was released in Japan, making that the copies that did make it unto the market were almost always promo issues. Sales were just non-existent. Killer slide from these sophisticated R&R and punk-avant-la-lettre primitivists that features a raucous selection of originals and covers that pay tribute to '50s rock pioneers—Little Richard, Chuck Berry, and Jerry Lee Lewis—with the raw pre-punk electric energy added by those artists' English admirers. Flamingo is passionate, stripped-down teenage anger as it should be: It's riveting through and through, and brimming with a conviction contrary to the indulgences that marked San Francisco's music scene at the time. The Flamin' Groovies are proof that willpower and snotty attitude can make up for being born at the wrong time. So bloody good! Insanely rare Japan original with rare obi present!!!! Price: Offers!!!!
102. FLAT EARTH SOCIETY: “Waleeco” (Fleetwood – ECLP-3027) (Record: Near Mint ~ Mint/ Jacket: Near Mint). Top copy, first original US pressing. Well-known Bostown teen psych garage mind ripper. “Well-known local moody teen psych LP, originally sold as a marketing device for candy bars! There are three tracks with an outstanding flowing melodic west coast feel and acid guitar runs, also some downer introspections and a few longer instrumental passages, which show obvious ambitions. The only non-original is a unique deconstruction of “Midnight Hour”. “Portrait Of Grey” goes on a couple of minutes too long, while “Satori” is an unexpectedly atmospheric peak time instro with sitars and backwards masking. A cool transition item from the MA prep-garage scene into the Freeborne – Ill Wind Boss-town psych style, better than most. Stellar sleeve too!” (PL – Acid Archives). Normally, most copies of this LP always have moderate wear on the cover, and the record is not a hi-fi pressing and most copies offered are just simply in bad shape. However, this copy on offering here is the best possible condition imaginable! No ring wear or shelf wear on the cover, which makes the sleeve just near perfect. The record also is amazingly clean with no noticeable crackles as most copies have! In short, best condition imaginable. Price: Offers!!!!!
103. FLOWER TRAVELLIN' BAND: “Anywhere” (Philips – FX-8507) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Insert: Mint). Best condition imaginable, just perfect!!! Top copy, near mint to mint stock copy all complete with insert. Best copy I have seen in ages, final upgrade quality. Comes with always-missing insert!!! First Original pressing of this subliminal album. Original copies are just a bitch to dig up and just do not surface here anymore. They are as rare as a hen’s teeth. So here you have a top copy. As far as the music goes, allow me to use the words of the good people over at Aquarius Records to do the talking since they just could cut it with enough passion and love for this beast. “Along with a great take on "House Of The Rising Sun", this album also explicitly demonstrates, via covers, these Japanese freaks' radical recognition of the genius of two of their Western contemporaries, Black Sabbath and King Crimson. Like many other great artists, with humble beginnings Japan's Flower Travellin' Band cut their teeth on the material of their mentors. Though Anywhere is primarily a covers album, it's also quite a testament to both the band's veracity in their reproductions and their creativity in realigning the building blocks of rock & roll. Their cover of Black Sabbath's self-titled track was actually recorded in the same year as the original and their version of King Crimson's "21st Century Schizoid Man" only a year after its release. And they aren't merely content to play only the "Schizoid Man" opening riff, like so many other bands that have attempted to cover it, but take on the entire piece in all its schizophrenic freaked out glory, getting waaay into the improv element of the mid-section. The same is true for "Black Sabbath" and you have to appreciate singer Joe's take on the unique Ozzy voice. The most interesting track on the record though has to be their attempt at straight-up blues rock -- while their "Louisiana Blues" starts and finishes almost pedestrianly enough on the "Minglewood Blues" riff by Gus Cannon that was popularized in the rock scene by the likes of The Grateful Dead and Captain Beefheart, the interior of the song is a complete departure of sorts. Not only devoid of the original progression, it's not even "bluesy" at all. Here in the extended jam that makes up the meat of this musical sandwich, the Flower Travellin' Band's Eastern roots surface a bit. It's a precursor to the sound of their later albums Satori and Made In Japan.” (AQ) Just an essential – if not one of the single most essential Japanese psyched out rock artifacts of all time. Hideously rare 1st original pressing. Rare as HELL freezing over on a hot summer day. Highest recommendation & best condition I have ever had all complete with rare insert. Price: Offers!!!!
104. FLOWER TRAVELING BAND: “Satori” (Atlantic – P-8056A) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint – small indentation on upper side of spine for rest perfect/ Rock Age Obi: Near Mint/ Insert: Mint/ Company Inner Sleeve: Near Mint/ Rock Age Insert Card: Near Mint). Without a question, this one is the rarest Flower Traveling Band LP around, complete with the hideously rare “ROCK AGE” flower obi in top condition. Comes all complete with insert, company inner sleeve and rare Rock Age card! Hideously much in demand recently, which had as result that copies are hard to come by here in Japan. What makes this copy so special is the presence of the 1st limited edition original version of the Rock age flower obi!! Only the second time in a 15-year span that I have a copy with this obi. There are 3 different editions of the FTB’s “Satori” album which all came out almost at the same time. First you have the regular version with the black and white obi, then you had the version with a sticker attached on the obi depiction a small version of the Rock Age obi and then you had this ultra-limited edition decorated with one of the most beautiful obi designs the world has ever seen, making it – due to the fact that only a very few copies survived with this type of obi intact (initial run graced with this obi was already miniscule to begin with). So, a monster heavy-duty ultra-collectible timepiece that is shooting up in the collectible heavy price charts like a super nova. Mercurial second album by Japan's best known seventies rock outfit. The record itself is an all-time classic psychedelic masterpiece, maybe the band's greatest output they have released during their lifetime. It is my humble opinion that the album (and a band) that is not celebrated enough. Original 1971 pressing!!!!, Satori is the band's second and arguably best album, alongside their debut “Anywhere”. Hyper rarity status since it is complete with the Rock Age obi all in TOP condition. A monster you are bound to see never again or maybe – if lucky – once every decade. Best condition imaginable so… Price: Offers!!!
105. FLOWERS: “Challenge – Yuya Uchida & The Flowers” (Columbia – YS-10063-J) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Near Mint). Best copy I have ever had so far, Japan 1st original pressing from 1969! Without a single doubt the cleanest copy I have had so far as far as the LP is concerned, NM condition…seems to have been played only one or twice. Heavy-duty monster rarity, one of the 5 top heavy psych rarities to seep out of Japan, copies just NEVER turn up. This is the 1st and only original pressing as released in July 1969. Hard riffing psych ball buster with female vocalist Aso Remi at helm. Vicious acidic and lysergic interplay that surfs on the foam crested skies bordering on an intoxicated psychedelic meltdown in Valhalla. Booming rhythm section, insanely deranged fuzz assaults and screaming guitars that spew out ecstatic shards of amped up distortion, bound to leave your mind scattered all over the place. The whole combo surmounts the edges of psychedelia with a lumbering beauty of an all-out assault yet to be matched by anyone, pushing acid rock past the known limits of aural mayhem and balancing on the razor's edge between chaos and slow-burning but fully loaded collective synergy. In short, killer material and just impossible to come by. Jacket is in near mint condition; record is near mint and is the cleanest copy ever I have seen of this LP. One of the best and one of the heaviest insanely rare psych artifacts to seep out of here. One of the best nicest out there. Price: Offers!!!
106. FOR EXAMPLE: “Workshop Freie Musik 1969 - 1978 – Free Music production Akademie Der Kunste” (FMP - ) (3 LP Set: Near Mint ~ Mint/ Individual LP Sleeves: Near Mint ~ Mint/ Book: Near Mint ~ Mint/ Outer Slip Case Box Set: Near Mint ~ Mint). Top copy. Cleanest and most perfect copy to ever have passed through my hands. The fragile outer slipcase box set has NO wear at all – same goes for its contents. Impossible to ever upgrade upon this one. Released in an edition of 600 copies only in West Germany in 1978, “For Example” is the pinnacle of free jazz dementia housed in one eye-popping box set complete with thick as a brick booklet crammed with FMP related info and live action shots of all the artists involved in this set. The list of big name participants is hallucinational and includes all of the big players emerging out of the US and Europe late sixties and early seventies scene. “This package consists of three records (the first featuring soloists, the second groups and the third orchestras) and an album size book whose 136 pages are filled with photos, statements from artists as well as critical/historical views centering around FMP and the German free jazz scene in general. The impetus for the package stems from an annual event at the Academy of Arts which brings together musicians from all over the world, for a yearly get together. The photo sections of the book are arranged chronologically from the first festival/workshop in 1969, to the most recent and are introduced with a reproduction of each year's poster as well as a complete listing of the participating musicians and groups. The texts are quite excellent and self-explanatory. Discussions of history/philosophy/ramifications by Ekkehard Jost and Wolfgang Burde are informative for the uninitiated listener who is not familiar with how the free music scene developed in Germany and are quite objective unlike the often biased posturing by American "critics”. 
The statements by artists Peter Brötzmann, Steve Lacy, Misha Mengelberg, and Nino Malfatti are wry, driving and right on, as are the discussions of the interaction that the musicians had with children at the workshops.” (Milo Fine). First LP is reserved for soloists and includes amongst others: “Steve Lacy; 
Paul Rutherford; 
Hans Reichel; 
Fred Van Hove; 
Derek Bailey; 
Albert Mangelsdorff, etc. The 2nd LP is reserved for group recordings and features: “Schlippenbach Trio; Brötzmann/Van Hove/Bennink plus Mangelsdorff; Frank Wright Unit; Schweizer – Carl Quartet. The 3rd and final LP are recordings from orchestras and include: “Willem Breuker Orchestra; Globe Unity Orchestra; Vinko Globokar & Brass Group; ICP-Tentet. Killer set and one of the corner pieces of the European free music and free jazz scene of that day. Top copy and all complete!!! Never seen this one in such perfect nick as this copy here – without a doubt impossible to ever upgrade upon so has to go for…. Price: Offers!!!
107. FOUR UNITS (SATO MASAHIKO/ TOGASHI MASAHIKO/ ARAKAWA YASUO & AKIRA MIYAZAWA): “Four Units” (Teichiku – Union Records – UPS-2008) (Record: Near Mint ~ MINT/ Gatefold Jacket: Near Mint/ OBI: Near Mint). Bloody rare original 1969 pressing that came out in the same series that birthed out Takayanagi Masayuki’s “Independence” LP. PROMO issue. This one comes all complete with rare OBI, first time I could get a copy with obi. Brilliant one-time-off Japanese jazz album that throws together 4 heavyweight players into one session group. Sato Masahiko & Togashi Masahiko are both well known I guess by subscribers of this list since both have played extensively with either Takayanagi Masayuki and other free players out of the early Japanese experimental jazz scene. Tenor blower Miyazawa Akira is known to most for his excellent albums “Iwana – Trout” and “Kiso”, both also vicious slabs of embryonic outlaw jazz, there where bassist Arakawa Yasuo was a regular sideman of Sato Masahiko’s Trio. So this disc is a gathering of four veterans. The quartet mutual draw on lifetimes of experience from modern jazz bands to ferocious underground free jazz improvisations and sends them of here working as a well-oiled unit, disciplined freedom punctuated by episodes of controlled anarchy. On the B side, the quartet tackles some one Simon & Garfunkel cover tune combined with some modern pseudo mellow free pieces and it shows that also in these combinations only the bravest and highly schooled players could pull it off. Side A however is the free form efficiency in full action, muscular and fierce, with the rhythm section of Arakawa & Togashi Masahiko creating a trembling trampoline beneath Miyazawa’s tenor and Sato’s piano. Miyazawa sounds wonderfully gnarled and pugnacious, Sato on piano precise and unpredictable, with the music’s initial urgency ebbing and flowing but the overall sonic animated tension remaining constant. In all, the collective vigor that pulses through this deliriously played LP and paced set is nothing short from exhilarating. Just fantastic, original 1st issue in top condition with obi. Price: OFFERS!!!!

108. The FREDRIC: “Phases And Faces” (Forte Records – 80461) (Record: EX ~ Near Mint with small non-sounding scuff at end of track 3 & a hairline on the opening of Side B/ Jacket: Near Mint – still housed in shrink). Top-notch 1st original 1968 pressing of this eye-wateringly beautiful dreamy folk/ psych album. The Fredric heralded out of Michigan and on their sole recorded album they created some of the most beautiful ear candy ever to caress your earlobes, truly awesome popish songwriting dominated by dreamy harmony vocals and interlaced with wicked fuzzy leads scattered through the hazy late summer atmosphere. In all a solid masterpiece, quite diverse in its totality and leaning strongly towards fuzz-incited garage rock. In all very impressive album, especially seen the fact that it was released on such a minor and small label. Just listening to this, you feel like being in the presence of pure greatness. Total awe-inspiring and salivatingly astonishing teenage mystique. It is a prime example of sublime soft/ dreamy psych with great songwriting, beautiful harmony vox, some fuzz leads scattered through the breeze. Highly recommended and next to impossible to find a better copy. Price: Offers!!!!

109. FREE JAZZ WORKSHOP: “Interfrequences” (A.D.M.I. - /) (Record: Near Mint/ Silk Screen Jacket: Near Mint). Very rare 1973 French private press free jazz beast. The Free Jazz Workshop came into being in 1967 but their first album, Inter Fréquences, only appeared in 1973. Unfortunately there is no recorded trace of the group including the first drummer Pierre Guyon before he was replaced by Christian Rollet in 1970. One of the slogans doing the rounds at the time sets the tone: "Aesthetic liberation is but a prelude to the liberation of humanity." The trajectory of the Free Jazz Workshop (which became the Workshop de Lyon in 1975 with the arrival of clarinetist-saxophonist Louis Sclavis) is emblematic of the emancipation of the mindset of certain French musicians during this period. It has been an exceptionally long-lived trajectory a "half-century" as the members say, during which the group - in Christian Rollet's own words – went from being "an exploratory workshop who claimed to take no account of the musical certitudes of the majority" to becoming something of a classic institution. Right from this first album it is clear that the group would function as a collective with no designated leader. The legacy and influence of American free jazz can be heard throughout: Albert and Don Ayler, or Ornette Coleman and Don Cherry for the horns of Maurice Merle and Jean Mereu; Cecil Taylor for the pianist Patrick Vollat, absent from the group after the second album La Chasse de Shirah Sharibad; Gary Peacock and Barre Phillips for the bass; Sunny Murray or Milford Graves for the rhythmic agitation; but also the Art Ensemble of Chicago for the collective aspect. Cornerstone of the French free jazz underground that was ignited by the US diaspora of free players and it shows, this baby is on fire. Top condition and rarely seen original pressing that only came out in an edition of about 300 copies. Beautiful fragile silk screen sleeve, all is tops. Hardly ever surfaces but when it does the condition is always below any acceptable level. This one here is flawless…Price: Offers!!!
110. The FREEBORNE: “Peak Impressions” (Columbia – YS-2048-RM) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ OBI: Excellent – has discoloration due to age on upper and lower side). Bloody rare Japan original press issue. WHITE label PROMO issue. Comes in Japan only altered jacket art using different color-scheme as opposed to the US pressing. Comes with never ever before offered stupidly rare OBI present as well. So far only 2 copies with obi are accounted for, making this the 3rd one in existence so far! “With zero prior credentials, this young band created an album of remarkably original studio-psych in the dark, intricate east coast style. Dominated by keyboards and loaded with serious ambitions, Peak Impressions is somewhat similar to Mandrake Memorial’s Puzzle, but spookier in vibe and less cohesive in structure. It takes time to get into and it is not successful throughout but remains a mandatory experience for any fan of classic creative 60’s psychedelia. The quintet is somewhat lacking in the conventional songwriting department and handle this by invoking experimental elements from jazz and classical, along with audio and voice effects and elaborate arrangements. It is close to UK style art rock, but the emotional landscape is angular and eerie enough to suit adventurous psychedelic trippers. In recent years this has become one of the most expensive originals on a real label perhaps due to the high quality of the original mastering and pressing. Japanese release exists with altered sleeve” (PL – Acid Archives). In recent years, demand for this classic East Coast psych LP has increased sharply, and it is now one of the most expensive albums from the late '60s on a 'real' record label – in Japan released on Columbia of all places. Spooky like the 3rd Mandrake Memorial and intricate like the 2nd Fallen Angels, this is one of the big kahunas of the early psych era. It's a very good recording and excellent (if not the best) pressing around and sounds razor-sharp as expected. Extremely beautiful white label PROMO copy, with only the faintest signs of delicate handling & wear visible on jacket so strictly M-/M- grading. Comes with rare OBI in EX condition due to discoloration on upper and lower edge. Just never surfaces – high quality Japan first original pressing from 1969!!! Impossible to find all complete with obi so… aim high and don’t be shy! Price: Offers!!!!
111. FREEDOM UNITY: “Something – Freedom Unity First featuring Takeru Muraoka” (Liberty – LPC-8046) (Red Wax PROMO Record: Near Mint/ Jacket: Excellent – small upper spine & seam rubbing). Bloody rare free jazz beast, 1st original issue that comes on red wax. WHITE label PROMO issue. This was Freedom Unity’s first and all-time best album. In total they recorded only two LP’s but the first one, released in 1970 is nothing but a milestone recording. The line-up alone is already mouth-wateringly great and consisted out of Muraoka Takeru (tenor sax); Suzuki Hiroshi (trombone); Suzuki Hiromasa (Electric Piano); Inaba Kunimitsu (bass) and Ishikawa Akira (drums). Nothing short of a that-day All Star line up of seasoned funked out spiritual jazz spirits. This extremely accomplished super group immediately recorded this first LP after their formation and instantly showed that they could master and excel in whatever troubled jazz waters they decided to steer their raft in, tackling successfully modern jazz, funked-up jazz rock and spiritual intoned spiritual free jazz without even batting an eyelash. It isn’t surprising then that their minimal recorded output is these days high on many collector’s want lists focusing on assembling the Golden Age recordings of Japanese free/ spiritual and jazz rock out of the late 1960s and early 1970s. Their excursions into spiritual jazz territory are nothing but fierce, like a tsunami gushing in and engulfing all in its path, there were their jazz rock inspired compositions never lack a funky aesthetic blessed with brilliant electric piano play, swirling Ishikawa Akira drum moves and Takeru’s intoxicating tenor sax blowouts. A truly bewitching recording that touches on a variety of styles and moving through primitive echoes of free jazz, ethereal dynamic malevolent jazz funk and even laid-back cocktail-jazz blues but then the kind of blues more associated with high end strippers on cocaine, wrapped in barbed wire and tuned to the moon. The arrangements are delicate generating the kind of surreal headspace that would meld operatic Eastern sonorities with spiritual jazz funk stylings and progressive jazz. This recording immediately put all of its participants on the map and today it still stands as one of the greatest marriages of Japanese jazz ever sunk by a major label. Pretty fantastic and next-to-impossible to come by these days. Highly sought-after 1st original pressing that came out on red vinyl. Highest recommendation if you are into the more obscure side of Japanese early 1970s jazz mappings. Has been ages since I last had a copy…Price: Offers!!!!
112. FRESH MAGGOTS: “S/T” (RCA Victor – SF-8205) (Record: Excellent ~ Near Mint, NO scratches or hairlines, shiny and clean and hardly no bubbles – cleanest I have ever seen so strictly graded at EX~NM / Jacket: Excellent, only defect is some ring wear on the back as always but NO creases in the lamination – really fantastic copy). Just a top original UK copy in laminated sleeve. Really clean copy but presented as a typical low budget pressing. Genuinely rare totally right-in-yer-face UK underground folk rarity. Recorded in the UK 1971, Fresh Maggots is one of the best distillations of UK folk and psychedelia ever recorded. The unit was a British folk-rock duo comprised out of Mick Burgoyne and Leigh Dolphin, who were just 19 years at the time when their sole, self-titled album came out on RCA in 1971. Assembled out of original songs, the album turned out to be a perfect assimilation of heavy psych moves and austere pastoral folk attitudes, all embedded into one LP.  Interlaced with some heavily distorted ferocious fuzzed-out electric guitar and acoustic tribal strummings, Fresh Maggots succeed in delivering a killer slide where there is still room for poetic reflections, pastoral acoustic guitar folkiness, at frequent intervals junked up with frazzled fuzzed-out electric guitar riffage, demented soloing and naïve honesty, making it a highly unusual and powerful record. A totally unique wasted vibe hovers over it all, making it even more orgiastic than it already was. Most discs tend to be poor pressings but this one looks and plays superbly. Great copy strictly graded at EX~NM/EX with next to no bubbles. Next to impossible to ever upgrade upon so… Price: Offers!!!
113. FUMIO & OSAMU (FAR OUT): “Shinchuugoku” (Atlantic – L-6063A) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~Mint/ Insert: Near Mint/ OBI: Near Mint). TOP COPY!!!! Has been over a decade since I last had a copy all complete with OBI!!!! Bloody rare and much in demand copy of this hardly ever offered LP – especially with the OBI present – very first time an all-complete copy is up for grabs. Post Far Out and pre- Far East Family band psychedelic oozer by Fumio and Osamu. Released on August 25, 1972, “Shinchuugoku” lies also stylistically right and smack in the middle between Far Out, the “Mio & 11 Pikki no Neko” album and The Far East Family Band, meandering between a hippy laid back vibe and some molten psychedelic riffage. Fumio Miyashita (former Far Out) and Kitajima Osamu (Justin Heathcliff) get on this venture backed by some heavy scenesters such as Ishikawa Kei (Far Out), Arai Manami (Far Out), Sayu Eiichi (former Zunokeisatsu and Far Out), the Flower Travelling band’s Joe Yamanaka (chorus) and Yuki, the PA engineer of Far Out. So basically, for the recording of this album, the whole Far Out line up is present with some additional guests. Together the collective is responsible of creating and spellbinding beautiful album that embraces lush, childlike and dreamy folk moves but with disquiet seeping in at its edges, intertwines it with freely floating fractured Eastern sounding skirling guitar lines and riffing, injecting at times venom into the song’s melodic themes. Most of the time, it is just a hypnotic listening affair, sucking you back and putting you an a kind of mesmerizing laid back state. This is lysergic electric folk spiked with psychedelics and converting the whole package into a vehicle for musical levitation. Some of the acidic guitar licks transform the songs hayseed simplicity into a vibrant mixture of Oriental mysticism and hazy hash induced catatonics. Just love and sucking you in deeper and deeper with each successive session. Highest recommendation and bloody rare!!!! Never seen such a clean copy as this one and first time ever a complete copy with OBI emerges… Best condition imaginable!!! Price: Offers!!!!
114. GANDALF: “S/T” (Capitol – ST-121) (Record: Near Mint ~ Mint / Jacket: Near Mint ~ Mint WITHOUT the always perforated “Free” holes in the upper right corner). Original US 1st pressing. Best condition copy around and this one comes WITHOUT the “Free” perforation in the right corner!!! Probably one of the greatest mind-bending bewitching psychedelic slides ever recorded. “With spellbinding, atmospheric songs, which spin from soft dreamscapes into blistering fuzz guitar breaks, Gandalf casts a powerful spell. Led by singer/guitarist Peter Sando, the group was signed by Lovin’ Spoonful producers Charlie Koppelman and Don Rubin and conjured their sole, self-titled album for Capitol in late 1967. One of the rarest major label psychedelic releases, Gandalf features swirls of Hammond B3 organ, caressing vibraphone runs and electric sitar on Sando’s originals as well as imaginative recastings of songs by Tim Hardin, Gary Bonner/Alan Gordon, and Eden Ahbez.” (Sundazed review) and “Bands that focus on cover versions often lack identity, but that is emphatically not the case here. Though only two of the ten songs are originals, Gandalf have a strong sound, mixing Peter Sando’s ghostly vocals with intricate, keyboard-heavy arrangements and an echoing, spacey production to present a haunting, compelling experience. The material they tackle varies from old standards (‘Golden Earrings’, ‘Scarlet Ribbons’) to three exquisitely handled Tim Hardin numbers, while their densely psychedelic take on ‘Nature Boy’ is a revelation, complete with a ripping fuzz solo to rival anything from the era. Sando’s two originals, the spooky ‘Could You Travel In The Dark Alone?’ and thunderous ‘I Watch The Moon’, are pretty great too. On a first listen the album might seem shallow and sugary, but don’t be fooled. I have listened to it as often as anything in this book, and never tire of it. A measure of the esteem in which it is held is that, though it’s not especially rare, original copies always sell for hundreds of dollars – seemingly everyone into 60s psychedelia has to have one. And does it have the best sleeve of any US psych LP? It was in fact completed for release (as by Gandalf & The Wizards) in mid-1968, but its release was delayed for several months. A tiny number of copies that play the tracks in a different order have surfaced; this was presumably a pressing fault.” (RMJ – Endless Trip) This disc never fails to suck you in and seduce you. Massive killer slide. Best condition imaginable so….. Price: Offers!!!!
115. GANDALF: “S/T” (Capitol – ST-121) (Record: Near Mint ~ Mint / Jacket: Near Mint – still housed in SHRINK but with perforated “Free” holes in the upper right corner). Original US 1st pressing. Awesome condition copy around and this one comes housed still in original shrink and with the “Free” perforation in the right corner!!! Price: Offers!!!!
116. The RED GARLAND TRIO PLUS RAY BARRETO, CONGA: “Manteca” (Prestige Records – PRLP-7139) (Record: Excellent – has some faint non-sounding sleeve lines/ Jacket: Near Mint). Impossibly rare US TEST PRESSING for Prestige – with Abbey Record MFG. CO. printed on label + hand written annotations with date marked 6/ 25/ 58 and PRLP7139 A/B. never seen before original TEST PRESS. This is a great slide that differs from most sets by pianist Red Garland in that, in addition to bassist Paul Chambers and drummer Art Taylor, he employs Ray Barretto on conga. The Latin flavor does not affect the music much (other than on the title cut), but Barretto does light a fire under the other musicians. A nice, swinging session and one of the best by Red Garland for Prestige. The addition of Barretto makes it a totally cooking record that features some great added conga work. Ray's presence really helps the record live up to its Latin-styled title – and Garland's usual trio with Paul Chambers on bass and Art Taylor on drums seems to get a whole new life from the added percussion – really stepping things up with a bit more of a groove than usual! The title cut – "Manteca" – is an 8-minute jam that's gone onto become a real jazz dance classic. Test pressing comes housed in 2nd state cover as a bonus as originally it was handed out without any cover. Historical and one of a kind item in great shape. Price: Offers!!!!!
117. GAULOIS ASTERIX aka KATO HIROSHI: “INOCHI” (Tengu – LP-0002) (Record: Near Mint ~ Mint – not even a spindle mark/ Jacket: Near Mint/ Obi: Near Mint). TOP copy, complete with obi and best condition one to ever cross my eyes. Seriously rare and only the 2nd copy ever to cross my path with obi. Another Japanese psych cum rarity that seems a bitch to get a hold off. One of the weirdest and deep acid fried erotic psychedelic cum records to ever have seeped out of Japan is this effort by Kato Hiroshi (with the little help of some local musicians and a handful of French-Canadian freaks passing through town), also credited to Gaulois Asterix by some. Tengu Records was a privately run small imprint that operated out of Osaka back in the late sixties/ early seventies and only released two LP's and a handful of singles. The LP opens up with the side-long “Love In” and is basically what the title suggests, a sexed up moaning and groaning erotic experience by some hippie lady and some guys set out against an acid rock tinted slow-downed improvisation set against some jungle detuned drums and some defractured blistering lysergic guitar lines. The moaning and groaning, sultry orgasmatic ecstatic sounds never let down and make you wanna join the little orgy that is on display here. In a way it sounds like Ike Reiko on an acid trip, spreading her legs for whoever was present at the session. Erotics melted into psychedelic avant-garde sound art moves spiked up with hallucinogenic Bella Donna seeds until it all explodes into the final “cumming together” scene. Pretty voyeuristic and wild ride for sure! The B-side is a more frantic and wild psyched out ride, since everyone could unload their sexual pressures and fantasies, it sounds like a lot of pressure fell of their shoulders that now could get channeled into some serious acid drenched musical agitation moves. Again it starts of with the tribal drumming that soon melts down into an amalgam of wind chimes and bells, creating an almost religious experience. However, this doesn't last long, lost and found cheap electronic sequences drift into the mix, sounding like detuned fire engines that quickly fuse into some intoxicating bass moves. And with this the opening moves of the second side came into play. From then on, your typical almost West Coast styled hippie idealism sing a long drifts in, be it in snippets but soon boils down in some wicked deep fried fuzz-a-delic action, amphetamine indulging bass lines and cave man drumming moves, creating swirling freak out acid jam. Savage fuzz leads crawl all over this one, interlocking fists and knuckles with the second guitar, creating a pulverizing acid dripping, psychedelic tripped out stoned free improvisation like lysergic jam. No other Japanese psych record sounds as wasted as this baby here, that is in a freeform kind of way. Not as doped up as Speed Glue and Shinki, “Inochi” is more of a loose acid fried beast stampeding through the desolate canyons of your mind. A lethal mixture of free love, depraved hedonist sex, hallucinogenic drugs and orange-soaked fuzz pedals. Massive. First time ever I have a spare of this monster, next to impossible to dig up here and seen its scarcity status it still is quite affordable. Will double in price in the next 5 years, just mark my words… NM copy all the way, highest possible recommendation!!! Price: Offers!!!!!
118. GENYA: “S/T with BLUES CREATION, DEW, TAKAGI MOTOTERU TRIO, TAKAYANAGI MASAYUKI NEW DIRECTION UNIT, LOST AARAAFF, ZUNOKEISATSU” (TV Man Union – GNS-1001-2) (2 LP Set: Near Mint/Gatefold Jacket: Near Mint/ Obi: Near Mint) Woooow, baby, here is another heavy scorcher for ya! Without a single doubt, this one take place amongst the select club of true Japanese rarities, one of those discs that never surface but are nevertheless much rumored about – private ptress original pressing from 1971. And this is a copy with obi, rarely seen with obi attached but often whispered about. Legendary and historical recording that took place during three days in August 1971 as reaction against the scheduled enlargement of Tokyo’s Narita International Airport and subsequent expatriation of the farmers inhabiting the land. The festival brought together an amalgam of people, such as farmers, street beatnik hippies, student radicals and underground outsider musicians. This recording depicts the heated-up atmosphere of the festival with its ideological arguments, angry insults and doomsday desperation hovering over the event. However, some staggering recordings by legendary artists were recorded for posteriori and are all included here, making hard-core music addicts and scholars of Japanese underground history quiet delighted. Released privately in 1971 in a tiny minuscule run, the disc collects a great selection of material and without a doubt the most insane piece of music on it is the side-long contribution by Takayanagi Masayuki and his New Direction Unit, flooding the gates of hell with his sonic assault that shook up farmers and student radicals alike, both parties failing to get a grasp on this sonic whirlwind of unrelenting power and soul scorching dementia. Other wild contributions are delivered by the Takagi Mototeru Trio, another prime example of Japan’s kerosene fuelled fire-music that whipped out the tails of any Mig fighter or B-52 that happened to cross the stratospheres high above the festival grounds. But that is not all, another staggering recording to appear on this record is the right in your face sonic assault performance by the first ever recorded ear imploding performance by Haino Keiji’s Lost Aaraaff unit, radical politically charged folk duo Zunokeisatsu, the heavy blues hitters DEW and Blues Creation, delivering wailing and electrically heated up performances, balancing on the verge of sheer riot, chaos and collective frustration. But that is not all, also the interactions, comments, verbal fights of student radicals, farmers and locals add as a great document to fully illustrate the heated-up atmosphere of the festival. Listening to this, one comes to fully understand that Woodstock was for pussies. Great disc in top notch condition and rare as hell. Mint copy with obi and due to the always present obi, prices for this disc suddenly skyrocket into stratospheric realms…has been over a decade since I had a pristine one all complete with obi so…if you are in for a heavy fix of Japanese free jazz and underground freeform action with OBI, give me your best shot.... Price: Offers!!!
119. GERMAN ALL-STARS: “German All-Stars In Japan ---- Out Of Reach” (Columbia – YS-2500-N) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Near Mint). Seriously rare all complete issue with mega rare OBI! White label promo issue. Hideously rare and obscure Japan only issue of brilliant free jazz blast featuring the high priests of the German jazz scene in full blowing swing. The line-up of this super free growling group in action is just bewitchingly awesome and features the world-beating line-up of Wolfgang Dauner, Willie Johanns, Emil Mangelsdorff, Manfred Schoof, Ralf Hubner, Ack Van Rooyen, Albert Mangelsdorff, Michel Pilz, Heinz Sauer, Gerd Dudek, Gunter Lenz and Rudi Fuesers. Recorded live Columbia Studio on February 25th, 1971 The German All Stars – as they were dubbed for the occasion – came down to Japan for a month’s resident stay over following a tour they undertook through the Far East, India, Thailand and Vietnam that previous month. Right from the start, you are treated to some heady free blowing music of the highest order. The group operates as a well-oiled machine and the interaction between the players is flawless, without ever losing its high-tension feel for on-the-spot improvisational impact! A ferocious 12-tet performance recorded crystal clear that allows one to nosedive straight into the radically-formulated free improvisation that gives the nod to the high-wire school of wall destroying force while furthering the form with a heavy punk-blunt approach to instant composition. Still, it’s not all balls-to-the-wall force by any means, Hubner in particular is a very inquisitive player on percussion here, while Lenz let out sounding the odd aspects of the bass and worrying tiny textural details that means Dauner, Schoof and Mangelsdorff can really get into the exploration of their oozing horn textures that dominates throughout. And when they do take off, Schoof & Mangelsdorff comes on like a goddamn freight train. A great marriage of Mangeldorff’s orchestral compositional vision and break-out firebrand performances from these seasoned European free roaming improv punks, short-lived German All Stars remain – sadly an under-documented - key European free jazz side that only saw a release of their high powers in Japan in 1971, yet their sound is huge, with a reverberant feel that gives the music a heady devotional/testifying feel. Never seen a complete copy with OBI until now… KILLER!!!! Price: Offers!!!!!
120. The GHOST: “When You’re Dead – One Second” (Gemini – GME-1004) (Record: Near Mint/ Laminated Flip Back Jacket: Near Mint). UK original pressing in top condition. From 1970 the only Ghost that matters, heralding out of sunny Birmingham, it created one of the great UK psych rock monsters with male & female vocal interactions, spooky organ riffage, killer guitar leads and a pounding rhythm section that has in its ranks an ex-Velvett Fogg member. The group succeeds in creating an awesome sonic mixture of dreamy female vocals guiding their sound from folk psych towards loud and full-tilt hard prog brilliance that at times gets uglier than any group of mutants you’d see at a bad insane asylum, so you know you will be in there for a real auditory treat. The crude production values only add to its cult status. Very rare, especially in such perfect nick as this one here and comes housed in the original UK flip-back cover and graced with that beautiful Gemini label pressing. Amazing condition! Price: Offers!!!
121. GIVE PEACE A CHANCE: “Live At Imba!” (Doll Record – KSP-51254) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Impossibly rare 1977 Japan private press issue, released in an edition of 50 ~ 99 copies only. Well you can’t judge a book by its cover or a record/ group by its name as is the case here, but Give Peace A Chance is one hell of a fuck-around spiritual free jazzing combo that surely will set your ears and hearths on fire! Self-funded and privately released in 1977 Kyoto, Give Peace A Change was a mixed race Japanese quartet comprised out of three Japanese free jazz heads being Ikeda Norifumi (sax/ percussion), Beck Shujiro (bass/ percussion), Asayama Kotaro (drums) and Henry Star (trumpet, percussion and student of Nathan Davis and Woody Shaw) an American transplant who brought with him the reigning US spiritual jazz vibe to interbreed with the domestic Nipponised underground jazz narrative. A successful cross-pollination in texture and sound that adds the right musical spice and free-floating vibe to make Give Peace A Chance such an unique unit. The whole affair was recorded live at a small jazz club called Imba, Kyoto on March 27, 1977. Right from the get-go, they unleash an all-incinerating racket, an ominously heavy whirlwind of feverish, infernal blowing. Asayama is a standout in these sessions and exerts explosive and alternating churchy licks and furious clusters until the whole comes crashing down like the walls of Jericho under the blasts of the horns. Tight bursts of energy, ripping notes to pieces like there is no tomorrow. With the bell of Star’s trumpet pumping upward the notes seem thrust towards the ceiling of the club where they hammer each other creating deafening claps of unmitigated thunder. Percussive rattles bang and clatter with deliberateness, adding a tribal touch to the live concert session. Parsing out the extraneous sources of bass and percussive sound provides a brief breathing ground for a spiritual interlude, injected with delicate horn punctuations before the thorny vernacular of honks, growls and interval-obliterating skronk to erupt again. Star brings AACM influenced tonal colors to the jam, adding a defining American flavor to it all, creating a sparse, capacious canvas that allows notes singular status and silence its own riffs and accents, boiling down to a rich stew of pungent, gnarly horn passages. It gels the symmetry of the quartet into an elastic flow, with the playing bouncing between freeform freak-outs, frequently sparse interludes but yet ever virtuosic. The focus on fine-grained gestures and methodical placements continues across the concert even during the sections of bulldozing intensity & stripped down improv to create a welcome and varied contrast between the individual players and creating a cross-cultural free-jazzing sound. Highly unique record, impossibly rare and so far I only know of 2 people owning a copy, making this one the 3rd so far out there. Totally unknown to most, but fucking awesome free spiritual improvisation that upon playing it loud makes me toss and turn like a crack baby in a cold hallway. It is just that good! Price: Offers!!!
122. The GODS: “Hey Bulldog b/w Real Love Guaranteed” (Odeon – OR-2243) (Two Track Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Bloody rare Japan only issue with picture sleeve – WHITE label PROMO issue. Two killer tracks on each side, with the highlight being “Real Love Guaranteed”, a thundering freakbeat garage outburst that just rips the system apart like a pile of cheap hay and makes you feel as worthless as tits on a boar hog. Japan picture sleeve issue that just surfaces once every decade and this bay here is in pristine condition. Rare forever so…. Price: Offers!!!
123. GOLDEN CUPS: “Live Session – Recorded Live At Yokohama Zen” (Capitol Records – CPC-8009) (Record: Mint, not even a spindle mark in sight/ Fold Out jacket: Mint/ Attached Picture Insert: Mint/ OBI: MINT) Top-notch copy that comes on blood RED WAX!! Comes with OBI, the obi of this one is seriously RARE!!! First time ever I have a copy with obi to spare of this psych monster. Total dead mint. Rare 1st pressing. Without a doubt the single rarest Golden Cups disc is this one, their live album recorded at Yokohama Zen in 1969, an event for which they were joined on staged by Yanagida Hiro (Food Brain, Apryl Fool fame) and Speed Glue and Shinki's Shinki Chen. Blistering fuzz crescendos, heart pumping bass throbbing, nasal wailing vox, all the works. The disc is housed in a fold out jacket and comes on red wax. Quality all way round. The music is even more stellar and documents the Cups at the height of their glory, R&B, filthy greasy rock covers and just plain trashy surf punk in the best tradition like “I'm So Glad”, “Season of the Witch” and the 10 minute lysergic “Zen Blues” amongst others. Great late sixties Japanese psychedelic trash. Highest recommendation and getting almost impossible top track down on these shores with obi present, first complete copy I see in over a decade!!! Top and mint condition. Impossibly rare and hard to get with obi present....without obi it is an easy getter but complete with obi is damned near impossible. Price: Offers!!!
124. GOLDEN DAWN: “Power Plant” (International Artist – IA-LP-4) (Record & Jacket: Mint – Perfectly SEALED ORIGINAL). True 1st original pressing in unbelievable condition, impossible to upgrade on this one as this one is SEALED and in perfect shape, absolutely no defects – a time-machine copy. No discoloration, no defects in shrink, just as it came out over half of a century ago. Sealed copies of this beast are rare, only less than a handful seem to be around so the final upgrade copy for a record that is firmly on the rise these past years. “One of the Texas psychedelic '60s groups on the legendary International Artists label, most famous for the 13th Floor Elevators. In fact, the Golden Dawn sounded a lot like the Elevators, although their lead singer had a gentler, more fragile delivery than Rocky Erickson. The similarity wasn't terribly surprising given that lead singer George Kinney had grown up with Erickson, and had once played with him in a pre-Elevators group, the Fugitives. Kinney also played in the Chelsea, which for a time included 13th Floor Elevator Powell St. John. The Golden Dawn became a part of the International Artists roster with the Elevators' help. They released a decent album in the late '60s, Power Plant, that (again, like the Elevators) featured a florid cover, inscrutable liner notes, and inscrutable lyrics. George Kinney's role in the Rocky Erickson saga wasn't finished when the Golden Dawn broke up; he financed the publication of Erickson's book, Openers, which helped get Rocky out of Rusk State Hospital.” (Richie Unterberger, All Music Guide). One lost classic of Texas psych that rips through similar sonic wastelands as the 13th Floor Elevators. And it is easy to see why since many people exposed to this fabulous album rate it as the second-best International Artists album after “Easter Everywhere”. With a more youthful and energetic snotty-psyched out garage punk feel than the Elevators, the Golden Dawn recorded this classic way back in July 1967 and it has withstood the ageing process better than any other album. In all a dead stone classic of psychedelic garage punk out of an era when dope was great and the high long and lasting. A masterpiece. Recently demand is rising on this one and especially virginally clean copies are a bitch to dig up. This copy is perfectly SEALED and will be the much-needed incentive for your low-rider perverted wet dreams at night. Total classic. Price: Offers!!!!
125. GONG: “Magick Brother” (BYG Records/ Toei Geion Ongakukabushikigaisha – YX-6054/) (Record: Near Mint/Gatefold Jacket: Excellent ~ Near Mint – some foxing inside the gatefold and faint foxing against white background but minimal/ OBI: Near Mint) Bloody rare Japanese original pressing from 1971 complete with obi and housed in a Japan ONLY gatefold jacket art. Second copy I ever see complete with OBI – which makes this beauty seriously rare. Like you might now, some of the hardest Actuel records to come by are those of Gong. But still if you search hard enough and scout out e-bay they eventually turn up. What however never turns up are the Japanese pressings of Gong on the Actuel label. Those were released almost simultaneously with the French Actuel editions but had two different characteristics. One was the superior vinyl quality (Japanese vinyl as opposed to the crappy French pressings) and totally different cover art, like this copy here. What makes this one also different is that it is a rarely seen promo copy with again slightly different artwork as opposed to the version that was actually put out. The music needs hardly any introduction and is next to the band’s “Continental Circus” disc one of their finest efforts ever. Deranged psychedelic bliss meets with acid visions, lysergic wet dreams, pothead pixies and assorted flashbacks. Excellent music housed in extremely rare different jacket. Hardly ever surfaces and this copy is in great condition. Highly recommended and mega collectible. Price: Offers!!!
126. GRACIOUS: “S/T” (Vertigo/ Nippon Phonogram – SFX-7362) (Record: Near Mint/ Gatefold Jacket: Near Mint with the slightest and faintest trace of foxing near bottom seam/ Insert: Excellent ~ near Mint/ Obi: Near Mint). Ok, here you have it, one of the rarest Japanese press issues out there that just about never ever surface with OBI present – let alone in such pristine shape as this copy here. Japan press original copy on Japanese Vertigo Swirl label. Magisterial debut album by these UK psych proggers. The music is spiced up with loads of mellotron and harpsichord with floating mellotron lines and symphonic touches. Still along the way greasy and distorted organ riffage comes into the picture, baroque tinted elements zoom in and out of focus and the band takes you through many mood sets and atmospheres ranging from the earbleedingly beautiful to the disharmoniously energetic. In short, this all-time classic monster is an impressive and truly fabulous progressive rock album. Original Japanese Vertigo Swirl label, a TOP copy and complete with never offered before stupidly rare OBI. Massive and highly essential to these ears. Price: Offers!!!!
127. GRAPEFRUIT: “C’mon Marianne” Stateside Dunhill/ Toshiba Musical Industries – HP-8651) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Company Inner Sleeve: Near Mint/ Obi: Near Mint) Bloody rare Japan original pressing all complete with mega rare obi. Comes pressed on RED wax. “Like the fruit after it was named, Grapefruit's debut album was at times too sweet, but was on the whole a promising and worthy effort. Devoted almost wholly to songs written by leader George Alexander, the record featured tuneful, upbeat mid-tempo late-'60s British rock with good harmonies, creative ornate arrangements, and a very slight and very sunny psychedelic tinge. Certainly, similarities to the Paul McCartney-penned tracks from the Beatles’ own psych-pop era are evident, and if George Alexander’s songs weren't in nearly the same league as McCartney's, well, no one working the style was in McCartney's league. Grapefruit was at their best on the occasional songs in which they reached into slightly darker and more melancholy territory, particularly when they made creative use of strings, organ, baroque keyboards, and Mellotron, as on "This Little Man" and "Dear Delilah" and the instrumental "Theme for Twiggy." The latter tune sounds like something that could have been killer had words been devised; as it is, it seems like something that wasn't quite seen through to completion. There's also the Four Seasons cover "C'mon Marianne," which, although it wasn't one of their better tracks, was (along with "Dear Delilah") one of their two small U.K. hits.” (All Music Guide) Complete copies with obi are virtually non-existent as sales were depressingly low upon its release in Japan in 1968. First copy with obi to surface in 20 years’ time. Top condition. Price: Offers!!!
128. GRATEFUL DEAD: “China Cat Sunflower b/w St. Stephen” (Warner – BR-2334) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Bloody rare Japan only Grateful Dead EP release, by far the rarest Grateful Dead related item to seep out of Japan, even eclipsing the Dark Star single. Black wax stock copy! So, as rare as their Japanese EP single of “Dark Star”, but offered less frequently, “China Cat Sunflower” is one of the Dead’s rarest releases. Top condition, rarely seen or offered stock copy issue. Price: Offers!!!!
129. GRATEFUL DEAD: “China Cat Sunflower b/w St. Stephen” (Warner – BR-2334) (EP Red Wax Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Bloody rare Japan only Grateful Dead EP release, WHITE label PROMO only on RED wax. As rare as their Japanese EP single of “Dark Star”, but offered less frequently, “China Cat Sunflower” is one of the Dead’s rarest releases. Top condition, red wax promo issue. Next to impossible to unearth so… Price: Offers!!!!
130. GRATEFUL DEAD: “S/T” (Warner Bros. Japan – BP-8222) (Red Wax LP Record: Near Mint/ Flip Back Jacket: Near Mint ~ Mint/ Insert: Mint/ OBI: Mint) Impossibility rare 1967 original all complete with first issue OBI. Bloody rare 1st original Japanese pressing of the 1st Dead LP, as released in Japan in November 1967. Record is the rare Gold label Warner Bros version, earliest pressing and comes on blood RED vinyl. The 1st Dead album sold poorly in Japan, making that the surviving copies of this slide are quite rare and much in demand. This one here is a TOP copy, just stunning and the sound quality blows holes in your earlobes. One of the best LP’s out there, the Dead keep on ruling my world. Never turns up with obi, I guess an ultimate fetish object to accompany some of the best music ever recorded and in a condition that is impossible to ever upgrade upon. Complete 1967 original with OBI is just impossible to dig up these days. Museum quality!!!! Price: Offers!!!!
131. GRATEFUL DEAD: “Anthem of the Sun” (Warner Bros – Seven Arts Records Japan – BP-8522) (Blood Red Wax Record: Excellent/ Flip back Cover: Excellent ~ Near Mint). Freakingly rare WHITE label TEST PRESS on RED wax!!!. Toshiba pressing on red wax, 1st Japanese pressing of this Dead album, which is impossible to dig up these days. "Anthem Of The Sun" is The Grateful Dead's second album originally released in 1968. Even at this stage, the band was already turning new corners and had reinvented itself both in the studio and onstage. The original five-piece Dead line-up had expanded with the addition of second drummer/percussionist Mickey Hart and additional keyboardist Tom Constanten giving a fuller muscular sound to the entire band. This has simply got to be the most "far out" album to come out of the late '60s Bay Area. For this album, the band recorded a bunch of stuff in the studio, and included a bunch of live snippets, which they spliced in. Phil Lesh was apparently a big fan of avant-garde classical like John Cage and Karlheinz Stockhausen, and it shows here. The Grateful Dead were at their most experimental when they recorded this recorded in late 67 and early 68. This was their second studio record and they wanted to capture the energy and organized chaos of their famed live show in a studio environment. They decided that the best way to do this was to mix live versions and studio versions of the songs into one big sonic collage. Most of the live material was pulled from the 2/14/68 show and layered and mixed into the studio recordings. A truly psychedelic experience. The album flows from track to track, creating a swirling mind melting listening experience... Rare 1st Japanese pressing on Toshiba's famed BLOOD RED WAX & TEST PRESS Issue with Type-faced white label. Price: Offers!!!
132. GRATEFUL DEAD: “Aoxomaxoa” (Warner Bros – Seven Arts Records Japan – BP-8745) (Record: Mint/ Jacket: Near Mint/ OBI: Near Mint ~ Mint/ Insert: Mint). Bloody rare Japan ONLY RED WAX WHITE LABEL PROMO Issue and one of the rarest of all the Grateful Dead related releases is the 1st original Japanese pressing if their 3rd album, complete with 1st issue obi. Never offered for sale before anywhere – it is that rare. One of the rarest records to seep out of Japan and pressed on high quality old skool vintage audiophile vinyl. Total killer and totally unique item. White label PROMO ONLY – RED VINYL and with OBI….. go figure, never surfaces and in this pristine condition? One of the rarest Grateful Dead pressings out there together with Live Dead (which was also promo only red wax issue). Just never gets offered for sale, let alone in such pristine condition as this one here. Do not think twice it is all right… Price: Offers!!!
133. GRATEFUL DEAD: “Live Dead” (Warner Japan – BP-8899~8900) (2 LP Record Set: Near Mint/ Gatefold Jacket: Near Mint ~ Mint/ 4 Paged Insert: Near Mint/ Obi: Near Mint – with mega rare Hojugyo tag still attached on back of the obi). Monster rare Japan 1st original pressing – hardly ever seen stock copy (most copies that surface are promo) with the olive green colored Warner Bros labels. This issue sold so poorly upon its release in Japan that only a handful of promo issues and even fewer stock copies are around. HOLY GRAIL all complete with first issue obi – complete with Hojugyo, just never ever turns up, rarest of the rarest Grateful dead recordings and in Top condition. Just never surfaces, first copy I ever see after scorching wide and far for over 15 years. So here it is, all in its delirious splendor, white label promo, Japan high quality 1st press issue with insanely rare obi, what’cha gonna do about it??…. Price: Offers!!!
134. GRATEFUL DEAD: “Workingman’s Dead” (Warner Bros. Japan – BP-80022) (RED WAX PROMO LP: Mint/ Jacket: Excellent ~ Near Mint/ 4-Paged Insert: Near Mint/ OBI: Near Mint). Rarest of the RARE!!!! WHITE LABEL PROMO COPY on RED WAX complete with the very first OBI present!! Only the 1st issue promo came on red wax. This version is way rarer than the rock age obi one, predating it by more than a year!!! Never surfaces & never before offered for sale anywhere, it is that rare. White label – red vinyl PROMO only Warner label. “New Speedway Boogie” kills it time and time again, one of the best Dead albums ever. Rarest version in existence without a doubt. Condition is like virginally new…copies just never surface, heard about it but for more than a decade looking for it I never saw an actual copy until now. This 1st press version with FIRST ISSUE OBI is a true gem that fits the music perfectly. Killer album and sounding like a monster here on Japan’s audiophile 1970’s red wax…. Second time I see of copy of this one in real life and this copy is the most perfect one, next to impossible to ever upgrade upon!!! Price: Offers!!!!
135. GRATEFUL DEAD: “Workingman's Dead” (Warner Pioneer Japan – P-8096W) (Record: Mint/ Jacket: Mint/ Rock Age Flower Obi: Mint/ Insert: Mint/ Company Inner Sleeve: Excellent). Rarest of the RARE!!!! BLUE LABEL PROMO COPY!!! Another Holy Grail in the Rock Age Flower Obi saga is this Grateful Dead LP, never surfaces, this copy is just perfect. Blue PROMO only Warner label. “New Speedway Boogie” kills it time and time again, one of the best Dead albums ever. Rarest version in existence without a doubt. Condition is like virginally new…and only a handful of these with the Flower obi do actually circulate, making it rare for eternity. Only once a copy surfaced on eBay and sold for 1900….so go figure. I am not that greedy and reserve set at a fraction of that going rate. Still, rare as hell freezing over on a hot summer day. Price: Offers!!!!
136. GRATEFUL DEAD: “Workingman's Dead” (Warner Pioneer Japan – P-8096W) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Rock Age Flower Obi: Near Mint/ Insert: Near Mint/ Company Inner Sleeve: Excellent). Another Holy Grail in the Rock Age Flower Obi saga is this Grateful Dead LP, never surfaces, this copy is just perfect. This is the olive-green colored stock copy version on the Warner label with 1-A machine stamped matrix numbers. “New Speedway Boogie” kills it time and time again, one of the best Dead albums ever. Rarest version in existence without a doubt. Condition is like virginally new…and only a handful of these with the Flower obi do actually circulate, making it rare for eternity. Only once a copy surfaced on eBay and sold for 1900….so go figure. I am not that greedy and reserve set at a fraction of that going rate. Still, rare as hell freezing over on a hot summer day. Price: Offers!!!!
137. GRATEFUL DEAD: “Sunshine Daydream - Veneta Oregon, August 27, 1972” (Rhino Records – R1-536031) (4 Lp Record: Near Mint/ 4 Panel Gatefold Jacket: Near Mint) Released in 2013 in a limited edition of only 5000 copies. Soaring high and higher skies as of recent so here is a chance to wheel in a cornerstone Dead live set. “ "Sunshine Daydream is more than a simple concert, it’s been turned into a HD movie … an extensive documentary movie, a movie that many have walked out on, saying, “It feels like one long power point presentation.” But for Dead fans, Sunshine Daydream [a name taken from the lyrics of “Sugar Magnolia”] is a tour de force, an unparalleled vision of a Dead show at its very best, one laced with kaleidoscope images, bizarre animations, flower power on acid, and with more dripping tie dye and naked dancing girls, than one can stand.  Considering all this, unless you’r on some mild hallucinatory medication, the movie may at some point click into slow gear, and seem to drag on much too long. Of course … if you were there, like your high school yearbook, no matter how tedious it is, you’ll happily spend hours reading every handwritten remark, indulge every goofy picture, and smile with a sense of satisfaction when the last page is turned, and the book re-shelved. Though with Sunshine Daydream, it’s not necessary to re-shelve the entire package, you’re free to explore the concert music anytime you wish, jump in and out at any spot, and truly be treaded to a concert recording that stands heads above all other Dead shows you may, or think you may, have heard. The truth being the curtain is that this event has been around for a while, mainly as a bootleg of the August 27th, 1972 show at the Old Renaissance Faire Grounds in Veneta, Oregon, where in 103-degree temperatures, and with little water, 30,000 plus fans stood strong while The Grateful Dead ripped through twenty blistering numbers, often challenged by out of tun instruments, but hanging tight with the audience, delivering all, and giving no quarter. On the street where I live, there have always been two types of neighbors, those who love The Grateful Dead, and those who hate them … with possibly a third type waiting in the wings, those who are too young to know them.  In any event, this outing has something for everyone, and may just open the doors for a new generation to discover the essence, splendor, and makeup of the one true jam-band.” (Jenell Kesler). Top condition! Price: Offers!!!
138. GRAVES, MILFORD & DON PULLEN: “In Concert At Yale University – Vol.1” (SRP Records – P.G. 286) (Record: Excellent/ Hand-Painted Jacket: Near Mint / 3 Inserts: Near Mint. The rarest spiritual free jazz slide in Graves’ discography and one of the all-time rarest spiritual private presses around, released in an edition of 30 copies only that saw the light way back in 1966, all of those were hand-painted by Graves and each one of them is unique in its design. Great condition and all complete with the 3 always-missing inserts….present!!! Milford may be one of the most important players in the Free Jazz underground. He enforces the sense of community as a primary exponent of his freely improvised music. His drum kit is homemade and he rarely performs outside of his neighborhood. When he does perform he plays his kit like no other. Wild, slapping, bashing, tribal freak-outs interplexed with silence, serenity and enlightened meditation. This LP was manufactured by the artists in 1967 and is recorded live at Yale University. The interplay between Milford and Don (piano) is remarkable and very free. There’s a second volume, which also is as rare as hen’s teeth but this volume surpasses them all on the rarity scale. Great condition copy, impossible to to dig up and each one of them is utterly unique. And the music is absolutely killer without any filler, one of the cornerstones of the whole Free Jazz pantheon. The holy grail of privately released jazz fire-balls – hand-painted micro pressing of one of the greatest slabs of free music ever recorded! This is so much more than just a rare record, this is a piece of art, so offers are accordingly I guess. Price: Offers!!!
139. GRAVY TRAIN: “S/T” (Philips – SFX-7315) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Excellent/ Obi: VG++ ~ Excellent – has left side crease and a few wrinkles). Rare Japan 1st original pressing – WHITE label PROMO that comes with rare OBI present! Monster rare Japan original press with obi, just about never surfaces since it sold zilch when it came out on these shores. A minor classic hopelessly lost among all the innumerable "biggies" of the year 1970, it's also absolutely different from everything Gravy Train would do later, and too bad about it: no matter how much the group's limited following gushes over (A Ballad Of) A Peaceful Man or Staircase To The Day, their debut surpasses in my humble opinion both follow-ups and shows Gravy Train as a brave and daring underground band, heavily influenced by and derivative of other prog/hard acts of the time, yet actually trying to push the boundaries forward. Unfortunately, since the album bombed, the guys preferred to dump all the experimentation of these songs in favor of a smoother, more commercial sound later on, which totally destroyed their idiosyncrasy and forever nailed them as second-rate good-for-nothings. Killer debut and bloody rare Japan original pressing with obi. Price: Offers!!!
140. GROUPOID: “Debut” (Private Press/ Groupoid Records – PLS-305-NP/ Groupoid-0001) (Record: Near Mint/ Jacket: Near Mint). Still largely undiscovered Japanese privately released free jazz beast from June 1980, a release that came out in an edition of 200 copies. Finally, a spare so for once I have a copy to offer of this killer free jazz beast that incorporates wailing Shakuhachi flutes in its improvisational interplay. Pure FIRE!!! Groupoid was a collective active in Osaka at the end of the 1970s and the early 1980s but only recorded and privately released this one masterpiece called “Debut”. The collective consisted out of 9 free form players being Tomoaki Itoh (tenor saxophone); Toshimichi Kubo (drums, percussion); Shinji Nozaki (bass); Fumiaki Kurokawa (Trombone and handmade bamboo flutes, shakuhachi); Etsuo Yamada (Alto saxophone, baritone sax, soprano sax, piccolo, flute, oboe & shakuhachi); Akira Kurimoto (cornet, drums, percussion); Mitsuru Nakamura (tuba, euphonium, sopranino recorder, tenor recorder); Emi Inoue (cello) and Tomotaka Nishitani (soprano saxophone, clarinet, bass clarinet, contrabass, etc). From the first notes on of the sidelong opening track, Tomoaki Itoh’s tenor howlings recall the brute but lyrically charged force of Takagi Mototeru and splutters the whole collective slowly into existence and overdrive. A turbulent ensemble binge gets initiated, Itoh’s slower tenor saxophone stubbornly tests the boundaries of how much unlimited freedom he can get away with and the Groupoid collective bites back in return with sudden holes and vast disembodied expositions of highly charged static energy and a collective rise to the surface, all gasping for air. There is something shockingly unique about Groupoid’s approach to free music, which melts the cries of Takagi/Abe and the fire-breathing tsunami approach of the 1st generation howlers into an intoxicating strain of sentimentalist deconstruction that melts down into a massive brain-buzzsaw bordering on spiritual salvation. Side 2 is also blessed with a sidelong slab of super breathe throne but now more room and air are generated to leave beautiful and delicate passages that slowly flower into all-star collectivism. This is just a jaw-dropping great recording and the sole one to document the short but highly charged existence of Groupoid, again providing poof that most of the 2nd generation free jazz blowouts were occurring in the Kansai region, getting document on small private press labels like this one here. This record was mostly sold at gigs and only very sporadically turns up these days. A true testament of musical greatness that most European and US improvisers could only wish for of having even a fraction of. Just brilliant. Rare to say the least and next to unobtainable since the day it came out. Price: Offers!!!!
141. GROWING CONCERN: “S/T” (Mainstream – S/6108) (Record: Near Mint/ Jacket: Near Mint). Original 1968 pressing of this getting scarcer by the minute psychedelic masterpiece. Top condition copy! This self-titled album by The Growing Concern curiously first saw the light of day in 1968 on Bob Shad's Mainstream label. This mystery band was an odd one on the label with its emphasis on beautiful vocal harmonies and fantastic guitar and organ work, drenched in never-ending reverb, creating an arresting listening experience. Still, for the label it was a bitter sonic pill to swallow and the band was quickly dropped after their eponymous debut. The album, which is brilliantly recorded, is of a consistently high musical quality and the band surely deserved a better fate than the obscurity the Mainstream label indifference consigned them to. Used to be a very affordable album a decade or so ago but as of recent clean originals are getting scarce and are much in demand. Easy to understand why as it is a stone-cold classic! Top copies are getting tougher to dig up these days and they are getting insanely thin on the ground. Price: Offers!!!
142. HANI MIO & KITAJIMA OSAMU with MIYASHITA FUMIO, SAYU EIICHI, ISHIKAWA KEI and ARAI MINAMI (basically FAR OUT backing up): “Mio To 11 Piki no Neko” (Warner – L-8014W) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint has some faint mildew spots on cover/ Obi: Near Mint/ 12-Paged Booklet: Mint). WHITE LABEL PROMO in top shape!!!Hideously rare and impossible to get Japanese psychedelic masterpiece by ex-Far Out and Far East Family Band main man assisting a 7 year old kid on his trip through the love and death of 11 beloved cats. Original 1972 pressing that comes on the green Warner label and complete with OBI and the hugely detailed picture booklet. Basically this by Kitajima produced album was completely backed up by the band FAR OUT, who did not record their eponymous album until the following year in 1973 but their slowly acidic drenched lysergic jamming is already present on this monster album, only to fully explode when the second side rolls in and which they would perfect for their sole album the following year. The whole affair starts off with a distinct Far Out vibe backing up this young kid singing and talking about her cats. So basically this is a children’s disc where the musicians are tripped out lysergic gunslingers and although it may be deceptively innocent at beginning to dive into this album, it slowly grows darker and darker and acidic intoned. Mio starts singing off in an upbeat, playful and joyous style, interrupted by instrumental breaks where she lovingly raps away about her beloved cats. The scenery is almost folky but with some stoned laidback vibes shimmering throughout. The mood is light, upbeat and optimistic but as soon as side a draws to a close and side b begins the whole affair gets darker and darker as one of the cats gets sick and eventually dies, sucking you into a distorted perceptive and hallucinational vortex of slow bubbling paranoid dementia. And on that moment the true lysergic downer jam-infested riffage of the backing band comes shining through, revealing the true identity of the hired, longhaired acidic gunslingers that are Far Out in the making. Just a splendid record that till this day is still undetected by non-Japanese psychedelic music lovers. The reason for this is that it is a hideously rare album and that it basically always got rightly labeled as a children’s album but no one bothered to point out the lysergic nature of this gem. Largely unknown, but mind-blowingly great, this is one of my all-time treasured and favorite Japanese children/ psychedelic/ hybrid records of all time. Just never shows up on these shores since the album sold so depressingly badly upon its release that only a handful copies remain in circulation. Still affordable at a cheap price until a larger crowd will get air of it and push it through the roof. Just a massive disc and possibly the one to pick up out of this list. Filled with great acid deranged guitar licks and that will please everyone who is into Far Out and Far East Family Band discs. Simply a MUST!!!!! Price: Offers!!!
143. HAPPENINGS FOUR: “Magical Happening Tour” (Capitol – CP-8416) (Record: Excellent/ Gatefold Jacket: Near Mint/ Obi: Mint). Original 1968 pressing on blood red wax. Complete hyper rare item complete with the Obi, which is always missing. The icing on the cake however is that the whole group signed the album inside of the gatefold, making this a highly unique and one of a kind item!!! Comes with beautiful psychedelic designed obi. Comes in a gorgeous fold out jacket, depicting the members of an old 10.000-yen note. Happenings Four were a group centered around Kawauchi Kuni (Kirikyogen fame). This was the band's first released artifact that came out in July 1st, 1968. Great GS psych combo that build up their sound around great vocal harmonies, ripping organ leads, fuzz guitar breaks and has some Sgt Peppers feel attached to some of its compositions such as the track “Happenings Theme” and “Magical Mystery Tour”. Like every self-respectable GS outfit, they sucked in the necessary Beatles influences but managed to transform them and reshape them into their own sonic conquest. European exotism blends neatly with oriental concepts of early psychedelic music, attributing the music with even more mind-bending qualities. Ear candy of the upper echelon that fuses soft rock with garage, psych and swirling sonic excursions. Just so bloody great and an old time favorite of mine. Highest recommendation. Rare original pressing on blood red wax!!! Copies with obi never surface – let alone fully signed ones so…serious offers invited. Price: Offers!!!!!
144. HARTH, ALFRED with Thomas Cremer; Dieter Herrmann; Johannes Kramer; Peter Stock; Thomas Stowsand & Franz Volhard: “Just Music” (ECM – 1002) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Never offered before TEST PRESS issue – one of a kind! Damned scarce first print with first edition sleeve ECM pressing. “Just Music was the moniker for a rotating West German collective whose musical “happenings” were a nascent challenge to mainstream sociopolitical strictures. Although the classical training of these musicians is readily apparent from their technical prowess, the opening outburst tells us we’re in for something less rule-bound. Alfred Harth tears the ether with his sax amid wordless chanting as a cornucopia of musical ideas is thrown into our ears. That said, these two 20-minute free-for-alls weave a quietude broken only by the occasional peak of intensity. Released in 1969, this self-titled date was the second for ECM Records and is still out of print. It remains a veritable zoo of musical languages in which each dialect is its own animal: caricature of an impossible ideal. Sax and trombone roar like elephants; the flute is a bird that would just as soon go into feathery convulsions as fly; the cellos are reptilian; the bass lumbers like a lion from its den; drums trip over themselves like a drowsy bear; and a guitar chatters with the insistence of an agitated monkey. This leaves only the human voices, a mockery in and of themselves. Just Music flips through a mental file of everything learned at the academy, scribbling in addendums of extended techniques for good measure. Where one moment finds us in our comfort zones, the next proves our power of direction to be fallible, forcing us to wander everyday streets as if for the first time.” (ECM) Only pressed in an edition of 300 copies in 1969, it quickly evaporated into thin air. It was later reissued on ECM again with different sleeve. This is the never offered before TEST PRESS press issue and an impossible to dig up these past years. Top shape and one-of-a-kind unique item and probably only a few copies (2 to 3??) in existence of this test pressing!! Price: Offers!!!!
145. HAVENSTREET: “The End Of The Line” (Rissole Records – KAB-1034) (Record: Excellent ~ Near Mint/ Jacket: Excellent with no splits or damages, has some faint ageing spots visible against white background/ Booklet: Near Mint) Original 1977 UK private press record released in 1977 in an edition of only 250 copies. The genesis of Havenstreet goes back to 1969, when Phil Ridgway and Jeff Vinter played in The Gas, an experimental psychedelic band heavily influenced by Barrett-era Pink Floyd. The two friends started to write songs their own songs, ending up as a folk duo. With the offer to record some of their material at a friend's studio, they recruited more musical friends…so Havenstreet was born. The influences had expanded now to bands and artists such as Peter Hammill, Strawbs, Traffic, Procol Harum, Stackridge, Keith Tippett, Bert Jansch…In the early-mid 70s they recorded a couple of albums which circulated as private cassettes among friends and relatives. Havenstreet became a competent little folk duo who released two albums as private cassettes before making The End Of The Line in 1977. Very much in step with the prog-folk of the time, and ably augmented by an array of instrumentation, the pair weren’t too far away from a minor-league Canterbury sound – and, indeed, Vinter does sound like Caravan’s Richard Sinclair… a bit. In 1977, Havenstreet released 'The End Of The Line', a self-released album in a private edition of 250 copies. It was collection of very English songs with evocative, literate lyrics and a stunning progressive folk-rock sound. It featured one of the earliest known tributes to Syd Barrett on the song 'When the madcap meets the world'. Price: Offers!!
146. HELPFUL SOUL: “The Helpful Soul First Album” (Victor – SJET-8118) (Record: Excellent/ Gatefold Jacket: Near Mint). One of the rarest Japanese psych records. First original 1968 pressing in amazing condition that just about never surfaces on these shores. One of the cleanest copies I have had so far, gatefold sleeve is NM, record is EX with only a couple of non sounding very faint hairlines so graded at EX~NM. In 1965 three students from the American School of Kyoto, being Junio Nakahara, guitarist and singer, Charles Chei, bass and Tsukasa Eiichi drums, formed the high school combo The Youngbeats. The trio’s song repertoire at that point consisted mainly out of covering hit songs from that period such as songs by the Shadows, the Rolling Stones and the Beatles. Around March 1968 the trio evolved into a quartet with to the addition of fellow student-musician Gene Shoji, who filled the gap of lead guitarist. Simultaneously with the opening up of the band’s ranks was the name of The Youngbeats also being altered in The Helpful Soul. Apart from having appeared already one time on the popular youth television program “Young 720”, the band’s action radius covered was mainly restricted to go-go clubs in the Kansai area (mainly Osaka and Kyoto). While roaming the nightclub and Go-go scene around Osaka, the band’s most eye-catching achievement was taking the stage at an event that took place in Osaka’s Date Line Club on November 24, 1968 when they acted as backing band for the famous singer Shoumeike Arima Hirotoshi. This combined performance was repeated once more for a concert taking place in the Kansai region, at which the show was opened with a light spectacle consisting of psychedelic liquid and fluid light projections, just like their American equivalents had done before them at such illustrious places like the Avalon Ballroom and the Fillmore Auditoriums. All their efforts of gigging paid off eventually and The Helpful Soul was finally noticed by Victor, who enabled them to release their first album in April 1969, entitled plain and simple “The Helpful Soul First Album”. The album clearly depicted the band as a knowledgeable psychedelic combo deeply rooted and familiar with the reigning American fuzzed-out rock trends. They clearly surpassed most of their contemporary G.S. fellow practitioners by bringing forth an album brimming over with skillful craftsmanship, originality and deeply rooted psychedelic undertones. As a worthy successor, the Helpful Soul’s second album “Senya Ichiya Monogatari”), that was also the soundtrack for the likely named animation movie, appeared three months later in July 1969. Apart from some orchestral insertions in between tracks, the band ventured into some heavy fuzz mayhem infested territory, dripping over with greasy heavy fretting, acidic riffage and distorted slow burning tracks. Sadly enough the band disbanded during the summer of 1969, but still their 1st ever record is seen as a demented and fuzz deranged masterpiece of early Japanese vintage psychedelia. Impossible to score these days, this is a rare original copy in nice condition. Filthy fuzz licks, wasted vocals, delirious playing. A masterpiece. Great condition. Price: Offers!!!!!

147. HELPFUL SOUL: “Senya Ichiya Monogatari – A Thousand and One Nights” (Victor Records – SJET-8150) (Record: Near Mint/ Gatefold Jacket: Near Mint ~ Mint/ Attached Illustrated insert: Near Mint/ OBI: Near Mint ~ Mint/ Additional Promotional 31 cm ~ 23 cm & 34 Glossy Paper Booklet: Near Mint/ Attached 55 Cm ~ 22 Cm Poster attached in Booklet: Near Mint). Top condition copy, impossible to ever upgrade upon, perfection!!! Comes with additional Never seen before PROMOTIONAL booklet with poster for the release of the film with cool pictures of the animation and the Helpful Soul in action!!! Well, here you have it, one of the unsung Holy Grails of the Japanese psych pantheon, the second LP (and last) by the Helpful Soul. COMPLETE with always missing OBI and never seen before additional booklet with Poster!!!! This wailing fuzz-drenched and acid-soaked mind bender was used as the soundtrack for the animated film of “A Thousand and One Nights”, designed by and Tetsuka studios released (as a soundtrack LP) in July 1969. After the album's release, the band broke up and Juni Rush went on to form Too Much. But this psychedelic monster was without a doubt the highlight of Juni's short-lived career as spearheading a bluesy hard psych combo with lethal doses of raw guitar assaults, wah-wah lashings, fuzz drenched bass, insane caveman rhythm blasts, you know the real Owsley thing. On this slide, these guys nearly went for the throat. First and only original pressing on the green Victor SJET label. Wilder and lysergically spiked up as their debut album, hallucination induced cover art and blindingly beautiful fold out jacket. Housed in splendid nightmarish acid-leaking cover art in great nick. Copies are virtually impossible to find these days and when they pop up, they are beaten up in most cases. This copy here is near mint, just beautiful and ooh so bloody rare. Hyper collectable screaming fuzz wah-wah blaster that in the years to come will skyrocket through the roof. Copies do not surface anymore and they are getting rarer with each breath you take. If monster oriental psych blasters are your thing, then look not further, this is lysergic madness encapsulated in a time capsule. One of my fave Japanese psych artifacts, this one will frazzle your brain and jacks open your skull, deliriously insane and great greased up fuzz guitar riffage. Hard to believe this was the soundtrack to an animation movie, which in its own right was visually a mind trip. Highest ever-possible recommendation. All complete copies with OBI just do not surface anymore, it has been ages since I had an all-complete copy with attached booklet and additional promo book with poster. Best condition imaginable & with never offered before additional promo book with poster so …. Price: Offers!!!

148. HERBIE HANCOCK, YARDBIRDS - OST – BLOW UP: “The Original Soundtrack Album Of Blow Up” (MGM – NIPPON GRAMOPHON – SMM-1138) (Record: Near Mint ~ Mint/ Fragile Flip Back Jacket: Near Mint ~ Mint/ Colored Picture Promo Only Booklet: Mint/ Picture Booklet: Mint/ Additional 48 page booklet with B&W Pictures – Promo Only: Mint/ OBI: MINT). Hideously rare 1966 Japan first original pressing of the Blow UP – comes housed in Japan ONLY Alternate jacket art. This one here is the never offered before WHITE LABEL PROMO issue and comes with promo only appendices such as 2 booklets. To make it even better, this one here also comes with the impossibly mega rare OBI as well. TOP CONDITION and impossible to ever upgrade upon. The music of this soundtrack, serendipitously, is provided by jazz composer/keyboardist Herbie Hancock. His songs, as well as a rare Yardbirds’ tune, play a digenetic role in the film, which means that when you’re hearing the music, the characters are hearing it themselves as well during the film. There’s no incidental, omniscient orchestral bursts or keening strings. Thomas – the main character of the movie, plays an LP and we hear it; it’s just that it’s mostly Hancock. The remainder of the soundtrack is the wind, traffic, the rustling of fabric, the snap of the camera’s shutter – the sounds of the day and some live club recordings seeing the Yardbirds in action. Killer soundtrack to Michaelangelo Antonioni’s masterpiece. For the recording, Herbie Hancock, Freddie Hubbard, Joe Henderson, Ron Carter and Jack DeJohnette entered a New York studio to capture the vibe of 'swinging London' in a jazz mode - with grooves that create effective bluesy moods on the slow pieces and funky ones on the up-tempo tracks. Meanwhile in London, the Yardbirds (with Jeff Beck and Jimmy Page) were recording additional material for use in the Blow-Up movie soundtrack. Young Herbie Hancock contributed the bulk of the score, evoking the ambience of swinging London with grooves that create effective bluesy moods on the slow pieces, and funky ones on the up-tempo tracks. The soundtrack also includes a rare Yardbirds number, "Stroll On", one of only three songs they recorded with both Jeff Beck and Jimmy Page on guitars. Sheer brilliance. The whole affair here is in Near Mint to Mint condition. Never seen before rare Japanese 1st press with alternate jacket art, white label PROMO issue with appendices and freakingly mega rare OBI…making this copy genuinely rare. Virginal condition on all fronts, impossible to ever upgrade upon. Price: Offers!!!!
149. HERON: “S/T” (Dawn Records/ Nippon Columbia – YS-2499-YD) (Record: Near Mint/ Gatefold Jacket: Near Mint/ 4 Paged Insert: Near Mint/ Obi: Near Mint). Seriously rare Japan 1st original pressing all complete with rarely seen obi on the collectible Dawn Records imprint with the matching obi. First copy to surface in over a decade… “Recorded in the open air at their Berkshire farmhouse (complete with live birdsong and chat between tracks) this is mellow and good-natured folk-pop. Gentle, melodic openers “Yellow Roses” and “car Crash” set the tone, with delicately strummed guitars and warm vocal harmonies that neatly capture the bucolic vibe.” (Galactic Ramble). Great piece of UK folk, a classic…love this album to death. Impossibly rare Japan original in top condition!!! Price: Offers!!!!
150. HERON: “Madman/ The World Of Heron” (Pye Records/ Teichiku Records – UPS-597-Y) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Hardly ever seen Japan first original pressing of the 2nd Heron album all complete with damned rare obi. These never surface as sales were so depressingly low at the time that only a handful seem to have survived and remain in circulation. Released in the UK in 1972, the Japanese press came out two years later in 1974. The 2nd Heron LP picks up where their debut left of but shows a greater variety of musical styles than its predecessor, building on it’s the acoustic folk-style, mixed with some more rocky tunes. Most of the album was recorded out in the open outside of a Devon country cottage, which gives the album its unique pastoral atmosphere with its truly authentic 'back-to-nature' sound. This is non-abrasive, laidback agrarian folk of the highest caliber, allowing the listener to either get lost in its lyrics, the instrumentation, or the Sunday-afternoon unpretentious blessedness it radiates out. Awesome record!!! Price: Offers!!!!

151. HILL, ANDREW: “Point Of Departure” (Blue Note – BST-84167) (Record: Near Mint/ jacket: near Mint/ Company Inner Sleeve: Near Mint). US original 1st press issue – Stereo – in outstanding condition. Comes with New York address on both labels + Van Gelder stamped in dead-wax. Ear mark or Plastylite "P" etched in runout groove. A classic "new thing" album recorded with the cream of Blue Note's avant 60s players – like Eric Dolphy, Joe Henderson, and Tony Williams – standing out with Hill as some of the most adventurous players for the label at the time! The album's awash with jagged piano likes from Hill – supported by a modernist 3 horn frontline of Henderson, Dolphy, and Kenny Dorham – skittishly working their way into territory that's never truly free, but wonderfully expressive and exploratory – a clear summation of the sense of "modern" in modern jazz! Price: Offers!!!!


152. HORANCE ANDY: “In The Light Dub” (Hungry Town - ) (Record: Excellent ~ Near Mint/ Silk Screen Jacket: Excellent – no defects, beautiful condition only faint trace of shelf wear against white background). Original Jamaican pressing of killer dub slide. “Regarded as one of reggae's most distinctive voices, vocalist Horace Andy had wild success early on with his career-defining single "Skylarking" as well as a host of other hits. As far as full-length statements are concerned, Andy's 1977 album In the Light may be his strongest. The album's ten tracks found Andy's quivering vocals floating in a dreamlike tension above tightly wound rocksteady rhythms, looming darkly on pensive tracks like "Problems" (a tune that revisits the burning bassline from one of Andy's earlier hits, "Mr. Bassie"), exploding on fun jaunts like "Do You Love My Music," and lingering meditatively on the lighthearted anthem of self-awareness and cultural pride that is the title track. Understated synthesizers and a simmering rock & roll-minded production denote the evolution roots reggae was undergoing year to year by the late '70s, showing up on the especially swaggering "Collie Herb." As razor sharp as the record is on its own, the King Jammy-mixed dub album In the Light Dub offers even thicker versions of the tunes, swimming in psychedelic reverb and splintered echo effects, bringing instrumental contributors like Augustus Pablo more into the spotlight. About as nuanced and motion-heavy as dub albums get, In the Light Dub transcends mere companion-piece status and stands beside the original mix as an equally interesting (and on some tracks even superior) artistic statement. Compiled and reissued in 1995 by first-class reggae label Blood and Fire, the collection delivered Andy's finest hour from the obscurity that poor distribution and shoddy manufacturing had hoisted upon the record in its time. Skillfully remastered and even stronger with both originals and dubs occupying the same space, In the Light/In the Light Dub is a triumph of roots reggae and a necessary chapter for anyone even remotely enthusiastic about Jamaican music and culture, especially at this critical point of reggae's evolution in the late '70s.” (All Music) Price: Offers!!!
153. HORDE CATALYTIQUE POUR LA FIN: "S/T” (Futura – SON-03) (Record: Near Mint/ Jacket: Near Mint). French original pressing and one of the hardest to track down titles on the legendary Futura imprint – but also one of the greatest! “Gestation Sonore" is the only album to be released by the French improvisational quartet "Horde Catalytique Pour La Fin"; which rightfully found its way onto the infamous Nurse With Wound list. The four-piece line-up consisted of Richard Accart (Saxophone tenor, flutes), Francky Bourlier (Harpe de verrer, flute, vibraphone, percussions), Jacques Fassola (Contrebasse, guitar, banjo, Orgue a bouche) and Gil Sterg (Drums and percussion). Released in 1971 on the legendary Futura label, this ultra-rare LP binds the idiocratic tendencies of Free Jazz and Avant-garde into four intriguing tracks. Staying true to their improvisational ideals the album was record entirely without a predetermined score; with each group member focusing their spontaneous creativity to connect an effortless mind flow between the individual musicians. References for this band come from far and wide, with leafs being taken from likes of early improvisational-ist AMM and Limbus 3. The album weaves its way through dark and moody passages crowned with droning psych like characteristics, only to abruptly cut loose with Skronky onslaughts. For an improvisational collection the album possess a rare flow from passage to passage; not to mention the wealth of textures and emotion flaunted. This being said, "Gestation Sonore" will test many casual listens into the point of despair. The albums true beauty works on a more subtle level, so don't abandon hope after the first spin.” (Progarchives) Spot on and totally indispensable mind fuck of a disc. Clean mint copy. One of the hardest to find LP’s on the Futura label. Price: Offers!!!
154. HOUGAKU – MEIJIN NO SHIGEI: “S/T” (Victor – JV-1036~47) (12 LP Record Set: Near Mint/ Individual LP Sleeves: Near Mint/ Booklet: Excellent/ Outer Cloth Bound Box: Near Mint). Hideously rare 1961 released box set. To summarize this eargasmatic collection of lost turn of the century/ pre-war recordings would be that it is the best collection ever of Japanese pre-war 78-rpm recordings of rural Biwa strummers, shamisen batterers, koto-glissandi excursions and guttural minyo howlers. The source material was all taken from the few surviving 78-rpm recordings that still exist and compiled into this massive box set in 1961 and the recordings date from 1930 up to 1939. Never have seen another copy of this one before. Filled with ghostly quivering rural recordings of a vanish world, which the easiest way to compare it would be the US pre-war blues recordings. Still, these recordings here are hair-risingly impressive, mostly male singers pass the revue, heavy bachi slashing on the strings, beached-whale like vocals pop up out of the mist, biwa’s get beaten into submission while eerie vocals drift in and out of the fogs of time. Stripped down to the bone shamisen accompanied by raw vocals bemoaning songs where a seclusion of modernism creates a more direct desire for simplicity. The whole set is disarmingly lyrical and the music’s attractiveness adds another layer to a music existing on its own plane, rooted deep in local culture and history and giving it – while spinning it now – gives it a deep feeling resonating out vibrant traditional rural feel that succeeded in holding back contemporary conditions. This huge set is crammed to bursting with pre-War music and sound snippets. All is gloriously recorded in mono and the music has a ghostly bone-chilling reverb splashed all over it grooves. Music and sound from a long-gone era, beautiful mostly male vocal tracks, blessed with a crackly and dusty sound coming from the original 78 RPM master recordings, resembling in a vague way the Folkways set Harry Smith compiled for the label, but then this set can be seen as the Japanese counterpart of it. It dwells in the same audio verité/ documentary regions taking the listener back to a musical treasure throve that was largely erased from our collective memory. Bewitchingly beautiful is a word that can be applied here if you are into the arcane field of obscure sounds. From dusty and ghost-like 78 RPM recordings dating back to the late 1920’s up until the beginning of WOII up to obscure vocal madness, this is a glorious set of long-lost Japanese pre-war music. Beautiful!! Most impressive collection of pre-war recordings I have heard so far, emanating from out of a lost world. One of the few discs in the list that deserve the term awesome and rare. Highest recommendation. Price: Offers
155. HUMAN BEINZ: “Evolutions” (Capitol – CP-8519) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Japan 1st original pressing all complete with seldom seen OBI. This is the never offered before RED WAX TEST PRESSING with hand-typed labels. Producer De Azevedo and the Human Beinz took things a good bit further with their second LP, Evolutions; the trippy psychodrama of "My Animal," the acoustic-based plea for compassion of "Close Your Eyes," the Mellotron-accented smirk of "If You Don't Mind, Mrs. Applebee," and the noisy freak-out coda of "Two of a Kind" (complete with the sound of a piano being dismantled) make this album some sort of landmark among frat rock guys who discovered the wonders of LSD. The album also gave lead guitarist Richard Belley a lot more room for his fuzzed-out solos, and if he was no Hendrix (or even Leigh Stephens), his sound brings a bit of welcome sonic unity to this wildly eclectic LP. Despite the presence of the Nuggets-approved hit single, Nobody But Me/Evolutions is probably more interesting for fans of the lesser-known branches of '60s psychedelia than anyone else, and if the Human Beinz's exploration of inner space was a bit cheesy, it's also amusing and still makes its case well all these years later. Price: Offers!!!
156. ICHIYANAGI TOSHI: “Opera From the Works of Tadanori Yokoo by Toshi Ichiyanagi (1969)” (2LP set – The End Records - Picture Disc) (2 LP Picture Disc Record: Mint/ Gatefold Jacket: Near Mint ~ Mint/ Attached 4 Paged Insert: Mint). Totally MINT copy – UNPLAYED condition. Never seen or had a copy as perfectly clean as this one. Archive quality. Unbelievable beautiful copy of this eye-popping original monster!!! Without a single doubt one of the greatest mind-blowing psych and Fluxus artifacts to ever have hit the streets. Housed in lavishly designed 2LP foldout jacket, this gorgeous disc is one of the rarest and most sought-after Japanese psychedelic, avant-garde artifacts, a real object d’art, revitalizing one of Japan’s best ever psychedelic avant-garde head-on collisions. Released in 1969 on the private End Records and now one of Japan’s most sought after vinyl artifacts, “Opera from the Works of Tadanori Yokoo by Toshi Ichiyanagi” is a brain ripper and an eye popper of a disc. Visually it is without a single doubt one of the most beautiful LP’s ever to be released, a 2 LP picture disc decorated lavishly by Tadanori Yokoo’s Fluxus inspired psychedelic artwork. Upon folding open the disc, you get treated to a 4 paged inner booklet of 24 carefully designed postcards depicting posters done by Tadanori up until 1969 for various theatre troupes such as Terayama Shuji’s Tenjosajiki. In short it is a visual delight that will cause temporary dysfunctional catharsis on the eyes. But apart from the visual grandeur and overload you are bound to be hit senseless with, the music embedded within this LP set and accompanying picture discs is so overwhelming you will have a hard time trying to come to terms with it upon attempting to digest it properly. In one word: sensory nimiety on all fronts. The man responsible for it was avant-garde composer Ichiyanagi forging a diabolical pact with the psyched-out band the Flowers (spearheaded by Uchida Yuya) and illustrator Tadanori. Together they delivered (with the help of other luminary artists coming out of various fields such as Kara Juro, Takakura Ken as the most prolific ones) an unique amalgamated mixture of lysergic demented psychedelic assault-like stunt rock, a aural whirlwind filled with acid folk ramblings, tape collages, field recording excerpts, radio commercial snippets, roaring jet engines, electronic music excursions into the vast unexcavated canyons and dungeons of your mind, squealing sound fragments of frogs mating in a nearby pond, drowned out enka escapades, kayokyoku excursions into no-man’s land, Takakura Ken nasal singing, spoken word fragmentation bombs by Kara Juro amongst others, traffic noises, sonic sound clusters of blistering fuzzed out psychedelic mayhem, stratospheric static electronic hissing, radio news broadcast flashes, vintage electronic tape music escapades, chirping cricket orchestras in a distant background and so much more non-adaptive and deranged sonic activity. This disc leaves no stone unturned and is probably one of the best records ever made. Upon listening to this, you hardly need anything else anymore. Highest Recommendation. Rare as hell does not even come close to describing the scarceness of this 2 LP picture disc set and then I am not even mentioning the visual splendor of the overall packaging – music and museum piece qualities all folded up into one single item, the dream artifact of every self-respecting lover of outward sounds and collective deranged discs – highest rank of collectability and musical demented splendor – a killer on all fronts that no other disc can match…. Perfect top copy!!! Near Mint copy – hard to ever find a better one and a one-off chance to own it in this condition. Price: Offers!!!!
157. ICHIYANAGI Toshi, KOSUGI Takehisa, RANTA Michael: “Improvisation Sep. 1975” (Iskra Record – Iskra-002) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). TOP copy that comes complete with insert and credit paper paste on back present – Best copy ever!!! Privately released in a tiny edition of only 200 copies, “Improvisation September 1975” quickly attained a heavy weight status within circles of those aware of the disc’s existence and hardcore collector freaks as an almost impossible to retrieve masterpiece that got stuck in the cracks of history and private collections. Iskra Records was a small privately run venture that apart from this title also released the Takayanagi Masayuki “Eclipse”. A couple of years ago, a bootleg version appeared of it and they acclaimed it to be identical to the original. Almost everyone took their words for granted since hardly anyone had ever encountered an original copy. So here is the disc in its original glory and far removed from the gold laminated boot version. Sound-wise the original also sounds so much fresher and clearer than its dodgy counterfeited bastard son. The music on the other hand is deliriously bounder crossing, ignited out of a match made in heaven between ex-Taj Mahal Traveler Kosugi Takehisa forging an alliance with avant-garde composer Ichiyanagi Toshi and the contemporary repertoire percussionist Michael Ranta. Together they set loose some free droning escapades filled with ring modulated tones, percussive clatter and processed minimal electronics, making the music to explore similar sonic hemispheres and universes as the Taj Mahal Travelers did. Mind-liftingly great listening experience and highly obscure disc that will never ever again cross your path again, at least not during this lifetime. Needles to say, this baby has our highest recommendation. The music is just stellar. Price: Offers!!!
158. INCREDIBLE STRING BAND: “The Hangman’s Beautiful Daughter” (Elektra/ Victor Records – SWG-7560) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ 4-paged Insert: Near Mint/ 2 Additional Inserts: Near Mint/ Cap OBI: Mint – still encapsuled in original shrink) Impossibly 1972 rare Japan 1st press original on the “Guitar Player” logo Elektra imprint. This is never offered before complete issue with rare yellow colored Capsule OBI present!!! Took me only 15 years to track down a copy with obi. “Continuing the inventiveness of ‘The 5000 Spirits’, the duo reaches their peak on this frequently brilliant record, creating some of the most mesmerizing psychedelic folk ever recorded. It opens with a masterful 3-song salvo from Williamson. ‘Koeeoaddi There’ is an evocative and utterly compelling childhood memoir, ‘The Minotaur’s Song’ is a crazed mock-operatic nonsense song delivered with impressive conviction and ‘Witches Hat’ manages to be silly, spooky and pretty all at once. The side ends with Heron’s notorious ‘A Very Cellular Song’, which divides fans, I find some sections preferable to others but there is no denying its uniqueness or ambition. On side 2 they come a little unstuck as the atmosphere becomes heavier and more portentous, largely unleavened by their trademark lightness of touch. There are wonderful things on it though – Heron’s ‘Swift As The Wind’ is an intense Indian blow-out, Williamson’s ‘Waltz Of The New Moon’ is another startling odd and beautiful song and his sitar-tinged closer ‘Nightfall’ is perhaps the most beautiful thing they ever recorded.” (RMJ – Galactic Ramble). Stellar UK psychedelic folk slide, this is the high-quality 1st original Japanese pressing, MINT condition complete with mega rare OBI, never seen a copy with obi ever before. Bloody seriously rare! Price: Offers!!!!
159. INDIAN SUMMER: “S/T” (RCA Neon – SRA-5518) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ OBI: Excellent – has some foxing stains visible on back side of obi due to age). First original Japanese pressing in top shape. Awesome copy of this totally underrated hard guitar prog feast. This one is next-to-impossible to find with the rare RCA Neon obi present, only the 2nd copy ever I see with obi in my lifetime. Due to the ageing stains on back of obi the reserve for this one is reasonable but then again, a one of chance to wheel in a true Japanese press rarity. Price: Offers!!!
160. INTERNATIONAL HOLY HILL JAZZ MEETING – 1969: “S/T” (MENO Liechtenstein & CB Records – No. 6769) (2 LP Record Set: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint). First original pressing – German private press issue that saw the light of day back in 1969 in a small limited run. A record renowned for always surfacing in bad condition. This is the first time however I could lay my eyes upon a mint copy!!! Impossible to upgrade upon!!! A true “holy” modern/free jazz gems of the late 1960s. The original double LP was issued by Meno Liechtenstein’s CB Records – he was also the organizer of the “International Holy Hill Jazz Meeting” in Heidelberg/Germany. The sound quality is fairly good as can be expected for a below-the-radar private press issue of that day. But bare in mind, this was a low-key operation and a cheap pressing so do not expect any Blue Note type of high fidelity audio honey dripping. Nevertheless this was a legendary moment in European free jazz – performances all recorded on a single Sunday in 1969 – but which stand as some of the most powerful music of the time! The vibe here is often in the best spirit of early FMP, or maybe the most outside work of MPS – and the recording quality equals the best avant jazz on both labels – with very long performances on each track that represent the pinnacle of all players involved! One side alone is worth the price of admission – a searing track titled "Finally", performed by an octet with Peter Brotzmann at the helm, alongside Evan Parker on tenor and soprano sax, Fred Van Hove on piano, Paul Rutherford on trombone, Peter Kowald on bass, and Pierre Favre on drums. Favre returns on "Let's Talk About The Weather" – played by a trio with Kowald on bass and Irene Schweizer on piano. Other tracks include "Five To Five" and "Gluga Gluga Blues" by the Joki Freund Quintet, "In Memory Of John Coltrane" by Marion Brown, "Vibration" by the group of saxophonist Joe Fiera and trombonist Ed Kroger, and "Circus Live" by a quartet led by Rolf Kuhn on electric clarinet, with Joachim Kuhn on piano and Stu Martin on drums. As you know a viciously rare slide, not many copies were pressed and so far most copies that surface are at best in VG++. This copy here is NM~M on all fronts, gatefold jacket is crispy and clean with no damages and both records appear to be unplayed. Seems like a dead stock mint copy. Impossible to find better, ever. Killer with absolutely no filler. Price: Offers!!!
161. 2. INTERNATIONALES NEW JAZZ MEETING AUF BURG ALTENA: “Various Artists with PETER BROTZMANN TRIO – ALAN SKIDMORE QUINTET & MIKE OSBORNE – THOMASZ STANKO QUINTET – NEW JAZZ ENSEMBLE ’71 & KARIN KROG – ALBERT MANGELSDORFF QUARTET & THE TRIO JOHN SURMAN/ BARRE PHILLIPS/ STU MARTIN” (JG Records – JG 027/28) (2 LP record: Near Mint/ Gatefold Jacket: Near Mint). Bloody rare 1971 German private press set that contains the most furious Peter Brotzmann Trio ever recorded on wax, blowing his illustrious Machine Gun even out of the water as far as sonic violence is concerned. Bloody rare original that just about never ever surfaces. Killer free roaming jazz head fuck from start to finish and one of the best recordings out there to blow your earlobes to Kingdome Come! Price: Offers!!! 
162. IRVINE, WELDON: “In Harmony” (Strata-East – SES-19749) (SEALED ORIGINAL).  1974 US first original press issue in SEALED condition. Weldon Irvine meets Strata East – and the result is one of the keyboardist’s funkiest albums ever! The set’s more jazz-based than the soul/funk outings Weldon cut for RCA and his own label – with great focus on Weldon’s lines on clavinet and Fender Rhodes – supported by sweet guitar lines and lots of heavy percussion – often a mix of drums and congas, which really sounds great. Pianist Virginia Joe Jones joins the group on a few cuts – but the main star here is definitely Weldon, who sparkles wonderfully on some spiritual keyboard solos… A dead-drop classic in perfect nick, what can a mortal possibly ask more for. Give me your best shot. Price: Offers!!!
163. ISHIKAWA AKIRA & COUNT BUFFALOS: “Uganda - Africa Rock Yoake” (Toshiba – TP-9520Z) (Record: Near Mint/ Outer Box: Near Mint/ Insert: Near Mint/ Booklet: Near Mint/ 3 African prints: Near Mint/ Rectangular OBI: Excellent). Hardly ever offered for sale before original pressing housed in a nice box and all complete with mind numbing insanely rare OBI + complete with insert, booklet and the always-missing African prints!!!. Top condition. Probably not more than 50 copies in existence with obi and prints complete. Maybe even less…. So far only a handful with obi are accounted for and for me personally it is well over a decade since I last had an all-complete copy with obi up for grabs. Way rarer than any private press you can throw at me, copies just do Not surface. This one here is the real original in near mint condition, one of the rarest – if not THE – rarest Japanese psychedelic rock/ spiritual jazz rock artifact, finally available. Featuring acid fuzz guitar gunslinger Kimio Mizutani of Food Brain, Ceremony and Outcasts fame. Ishikawa Akira & Count Buffalo's “Uganda – Afurikan Rokku no Yoake” originally saw the light of day on February 5th, 1972 on Toshiba Records as part of their “4 Channel Q.M. Sound” series but quickly sank into the depths obscurity, making that only a handful of copies were actually sold while the remaining stock was withdrawn due to very depressing sales and eventually melted down and destroyed. The disc remained a well-kept secret for all these years and only a handful of copies seem to have turned up, making it these days one of the most treasured and hunted down Japanese rock artifacts. Still rumors as to who were the actual performers on the album floated around freely since the group was simply listed as Count Buffalo with no detailed breakdown of who actually played on the album, and as a result there has been much fevered speculation over the years. Musically speaking, Ishikawa Akira & Count Buffalo's “Uganda – Afurikan Rokku no Yoake” is vicious psychedelic whirlwind monster of a disc where primitive Afro-spiritual and tribal ethnic percussive blow-outs cross-pollinate with lysergic New Rock fuzz-a-delic dementia and stirring up enough dust and boulders like two-barreled guns coming out of the demon hole. Still, “Uganda” is more than just that and although it is deceptively intense, it is simultaneously casual in feel yet meticulous in its musical detail and lyrical economy. And seen in retrospect one can proclaim that this album stands shoulder to shoulder with the best records of that golden era and it was one of Japan's 1970s underground scene's defining moments. In short it is a totally lethal slide that does not fail to create an arresting listening experience. Featuring acid fuzz guitar gunslinger Kimio Mizutani of Food Brain, Ceremony and Outcasts fame. His guitar playing totally shreds it drenched in reverb and fuzzed out wah-wah. Uganda is a vicious one, merging acidic lick and fuzz mayhem with African tribal percussion and voodoo rundown rhythms. The result in an all-entrancing whirlwind of hyper psyched out bliss, welding urban lysergic burnout causalities with tropical dark rainforest mumbo jumbo. Wild, demonic, enchanting primitive afro psychedelic freak outs and totally wicked. This one burns holes in your membranes baby. Highest possible recommendation. Hardly ever offered for sale before NM original pressing and all COMPLETE with OBI, insert, booklet & PRINTS….. so go heave and go deep. No low balling on this one here. Price: Offers!!!
164. ISHIMA HIDEKI: “One Day” (Propeller – JDX-7010) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original 1973 press, bloody rare original solo LP by Flower Traveling Band’s Guitar gunslinger – all complete with damned rare OBI. Ishima Hideki only made one solo album during his career with the Flower Traveling Band and this is the disc in question, cited with an increasing frequency but seldomly seen or heard. In all this is what seems to be a very personal album and can to some extent – if extrapolated to this modern day – be compared to White Heaven’s guitar virtuoso Kurihara Michio’s solo album. Not that they are similar in any way except that the initial general conception of what a guitarist’s solo would be is totally different and light years away from how the artist himself sees and presented his solo effort. And it is the same with this one. Ishima is especially known for his heavy guitar onslaught that provides the backbone for FTB’s recognizable sound. Well here there are some guitar-based excursions present but the whole album is more of a delicately crafted affair balancing between some songs and carefully penned down instrumental sonic landscapes. So, if you are after a heavy and easy fix, this album will bum you out. However, if you have ears and are eagerly after an album with some hidden qualities, then this one is so highly recommended. Endowed with lysergic beauty spells, Ishima’s song writing abilities and enhancements for the six stringed instrument give his skeletal music undercurrents of depth. Deceptively casual in some moments, yet intense in feeling and meticulous in its musical detail (partially due to the assistance of Chito Kawauchi) and lyrical economy, “One Day” has all the elements in place to be a genuine classic. What sets him even more apart is his gift for an unexpected impact. Once you thought you had heard it all, he emerges from yet another angle to deliver occasional haunting echoes that are busy folding and manipulating the space. So, some songs and some blood curdling instrumentals beefed up with his trademark six stringed acidic signature sound, this is a highly intoxicating album that grows with each minute you actually listen to it. Extremely rare and hard to get, this is an original pressing, complete with insert and the hardly ever seen OBI. Amazing copy and a disc that just about never surfaces on these shores. Another gem to crawl out of Japan’s psychedelic past. Highest recommendation. Price: Offers!!!!
165. J.A. SEAZER: “Subete No Hito Ga Shindeiku Toki Ni – When Everybody Is Going To Die b/w Kubitsuri No Ki – Hunging Tree” (CBS SONY – SANA-86120) (EP Record: Excellent ~ Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). One of the rarest J.A. Seazer releases that only saw the light of day as an EP release way back in 1971. This is a yellow label promo issue in top condition. First time ever in all these years I have a copy for sale of one of Japan’s greatest psychedelic – deeply haunting acid folk slides ever recorded and only released as shown here without ever showing up on any of his albums. This is a pity as the music is simply bewitchingly beautiful and resonates like a cinematic pan across your mental landscape, filled with ubiquitous echoes. This was J.A. Seazer’s debut recording and as soon as someone could lend an ear to it, the disc became a dark beacon among 1970s underground psychedelic folk records. It’s not just a question of fulfilling the basic criteria of good songwriting, vocal ability and instrumental prowess – and here we’ve already left most of the acoustic private press competition behind – but intangible elements such as atmosphere, presence, and artistic vision marks the record’s apex, with both lyrics and music traversing Seazer’s path from poetic resonance into the far reaches of haunted psychedelic folk vibes. It is one of the early Japanese psychedelic underground’s defining moments that is graced with a sense of shamanistic poetry and a gift for unexpected impact. A skeletal approach that brims over with undercurrents of depth, deceptively intense yet meticulous in its musical detail. Impossible to dig up and only released in tiny numbers as a single, this is simply a beast!!! Price: Offers!!
166. J.A. SEAZER: “JASHUMON” (Victor Records – SF-1021) (Record: Excellent/ Heavy Gatefold Jacket: Near Mint/ 4 Paged Fully Illustrated Insert: Mint/ SF OBI: Near Mint). Impossible to get 1st original pressing out of April 1972 in stunning top condition. NEVER OFFERED BEFORE all complete with OBI and in EX~NM condition – one of the rarest slides to seep out of Japan. Hard to believe but here is one of those much rumored about but actually never ever offered up for sale holy grail out of the deep bowels of Japan’s cum psych avant-acid bowels. Anyway, now you know about the bloody rarity status, let's talk music. So here I will briefly focus on Jashumon. It was J.A. Seazer's first ever-full work for the Tenjosajiki Company. By 1971 had the Tenjôsajiki Troupe's field of interest had shifted into the direction of legends, the incorporation of superstition and traditional Japanese entertainment into theatre, together with a renewed interest in visual and aural spectacle effects. These were set to use to heighten the sense of surrealism. The troupe's most renowned piece, “Jashûmon” (Gate Of The Heretics), premiered in April of 1969 at the Nancy International Theatre festival in France, followed by an European tour, passing through the Mickery Theatre in Amsterdam in June. In January 1972 the troupe returned to Japan, where they performed Jashûmon in Tokyo, followed in May by a recording of the play in Osaka by RCA Victor. The Jashûmon play itself doesn't relate to religious heresy or to a historical incident but instead refers to a brutal massacre that occurred near by a city gate. The central plot of the plays is centered around a young man who is forced to choose between his mother and a prostitute he loves. The whole of the play is presented as a rock opera conducted by J.A. Seazer, dwelling into the realms of Shinto-Buddhist rituals, lecture and street entertainment, interwoven with a pulsing rock sound, giving off dark and ominous sounds. The set-up of the play consisted out of a main stage with six platforms erected along the sides and rear of the seating area, augmented with a watchtower that was constructed in the center. The stage itself was draped in red and completed with reproductions of paintings by Ekin depicting obscene scenes of lust and violence. The musical accompaniment on the other hand anticipates perfectly to the overall mood with songs evoking the demons from hell, the taboos of unconscious or forbidden feelings, esoteric chanting of Buddhist rites, Oedipal yearnings and terrible guilt, starting of gently, slowly building up and becoming more insistent until it finally overflows in a bombastic climax filled with juggernaut organ workouts, Magma choruses, guitar fuzz breakouts and fully out-there acidic opera-like vocalizing. The play was clearly an experience to be captured by the senses. Extremely rare original press, does never show up, so make your move now before this one slips away and you have to wait another lousy decade to get a glimpse of one. TOP copy all complete with OBI – making it one of the rarest and also one of the greatest primitive heavy psych slides from Japan, KILLER. Price: Offers!!!
167. J.A. SEAZER: “J.A. Seazer Recital - Kokkyo Junreika" (Victor – SJX-130) (Record: Near Mint/Jacket: Near Mint ~Mint/ 4-Paged Insert: Near Mint). Top copy, impossible to upgrade. Hyper rare original 1973 pressing, without a single doubt one of the all-time impossible to get Japanese heavy psychedelic rock artifacts. Copies do not turn up since sales in 1973 were so depressingly low that maybe only a few hundred are still in existence and circulation. That hype all aside, the music is the key issue here and this sucker is one of the greatest psychedelic gems to ever seep out of Japan. Recorded live on February 1973 at the Nippon Seinenkan Hall it was Seazer's first recorded artifact (apart from two singles) out of the Terayama Shuji styled Tenjosajiki Troupe. Still sonically the music it inhabits the same deranged realms. Here Seazer gets flanked by the Akuma no Ie band hosting the always-on-duty lysergic lead guitar wonder Mori Takeshi. The theatrical vocalizations are taken care of by fellow Tenjosajiki female howlers and actresses such as Ran Yoko, Shinko Keiko and Showa Seigo, providing a swelling highly trance-inducing and Magma reminiscent hyped-up choir backings. The overall sonic character of this recital dwells into the realms of esoteric Buddhist pilgrimage rock hymns, filled with magic and incantation, creating a total sonic environment surmounting the genres of theatre and music. A real psychedelic brain ripper with some progressive touches in the vein of Magma, early time Pink Floyd Carl Orff's Carmina Burana and esoteric chanting. Get the picture??? A real monumental and highly valuable historical document. Also, the cover art gracing the jacket adds some extra icing to the already spiked cake, courtesy to the illustrator Oikawa Masatsu who created an accompanying surreal oriental psyched out drawing. The design only is already worth the entrance fee so wait till you get fully exposed to the soundzz embedded within the grooves of this disc. It will beam you up to other planetary life. Dangerously beautiful and ass-whipping exciting psych. Last copy to pop up on a Japanese auction site with obi attached sold for the sum of 8500 euro, so seen against that light you have a real bargain here on your hands. One of the rarest Japanese psychedelic rock artifacts in existence. Don’t think twice, these babies just don’t surface. Hardly ever offered before original copy in top condition original 1st press issue with 4 paged insert present, so serious offers are invited for this one. Haven’t seen a copy in over a decade. Comes housed in tremendous acid-leaking jacket art and with fully illustrated hippy doped up vibe pictures 4 paged insert. This one sold almost next to nothing at the time it was released making it after all only one of the rarest Japanese psychedelic records ever so hit me with your best shot…Price: Offers!!
168. JACKIE MITTO and the SOUL VENDORS: “Evening Time” (Coxsone – CSL-8014) (Record: Excellent ~ Near Mint – top shape only 2 faintly visible sleeve hairlines/ Flip Back Jacket: Near Mint ~ Mint). Absolutely top condition UK first original pressing from 1968 on the blue Coxsone label. Featuring a particularly natty cover photo of Mittoo set off by a very mod-looking standup organ, palm trees, and a trio of island lovelies, Evening Time further plies its groove exotica theme with bounce-and-grind gems from the rocksteady and early reggae days. The year was 1968, and Mittoo had already risen to the top of the competitive Kingston music scene, first as a member of the Skatalites and then as the session leader of Clement Dodd's venerable Studio One label. This collection includes 12 tasty instrumentals culled from the slew of material he cut with such Studio One bands as the Soul Syndicate, Sound Dimension, and the Soul Defenders. The top-notch solos and infectious grooves make it clear why Mittoo -- both as an organist and arranger -- helped make Studio One rhythms the most heavily versioned in reggae's long history. And with such highlights as the noirish "Drum Song" and a fine take on the Prince Buster hit "One Step Beyond" topping things off, Evening Time qualifies as the perfect record for Mittoo fans! Next to impossible to ever upgrade upon. Looks like it was just released yesterday. Price: Offers!!!!
169. JACKS: “Super Session” (Express – ETP-7726) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Bloody rare and never encountered before WHITE LABEL PROMO ONLY on RED VINYL!!!!!! First original 1969 pressing complete with always missing obi. Second Jacks album, recorded before the band would disband. This one is hard to compare to their illustrious first album, but still it has the Jacks sound imprinted well into the new compositions, albeit they sound quite different and more desolate. Bad omens are looming over the band, which is for sure. Still apart from the Tsunoda Hiro composition “Joe No Rock”, this album sounds like the ideal companion album to Hayakawa Yoshio’s first solo album “Kakkoii…” as far as desperation and overall gloominess is concerned but with one difference that this LP here is a band outing, the Jacks. And although demise is closing in on them, the still manage to sound as outer worldly as humanly possible, depraved, dark and close to nuclear fall out. Bleak music for even bleaker times, micro-dotted with teenage angst and lysergic fumes, the Jacks ruled and even now they never fail to amaze me. Fantastic, album and bloody rare with the obi present. Getting impossible to get especially a red wax copy & white label promo issue with obi, first time ever I have a top copy like this. Price: Offers!!
170. JACQUES BERROCAL: “Musiq Musik” (Futura Records – FUT-259) (Record: Near Mint/ Jacket: Near Mint). Top copy. First and rarest album from Jacques Berrocal on the legendary SON series of Futura Records. Composed by Jacques Berrocal, with Dominique Coster and Roger Ferlet and mixed by Jef Gilson. It features a myriad of instruments (trumpet, bells, percussions, trombone, Pakistani horn, flute shénaï, Tibetan conch shell, double horn, horn of ramadan, cymbals, cornet, harmonium, whistles, balloon, ropes, explosives. A true masterpiece of deep listening. TOP copy, impossible to upgrade upon. Price: Offers!!!!
171. JAMAN QUARTET: “Sweet Heritage” (Mark – MC-5970) (Record: Excellent ~ Near Mint – 2 faintly visible but non-sounding sleeve hairlines/ Jacket: Near Mint). Top condition US original press issue. 1974’s Sweet Heritage is James Edward Manuel’s only release, the pianist better known as Jaman. His eponymous group was formed in 1970; they toured the US and Canada steadily in the years that followed. But despite a life lived deep within the music, Jaman only recorded one single LP, 1974’s Sweet Heritage. Pressed in tiny quantities by the Mark Records custom service, and issued with a stock landscape cover, Sweet Heritage featured the regular Jaman group with Jaman himself on keyboards, Jim Kerzdorfer – Bass & percussion; Nasara Abadey – drums & percussion; Dhui Mandingo – congas & percussion; Dennis Williamson – cello; James Clark – guitar and Beverly Johnson Ross & JoAnn Crosby handling the vocals, performing a groovy mixture of covers and originals. The whole LP showcases an ensemble in complete control, and with the flying, spiritual sound of ‘Free Will’ and the corking, Latin-tinged ‘In The Fall of The Year’ – both Jaman originals – the album has since attained something of a legendary status. “Sweet Heritage” offers some seriously deep and mighty groovy jazz-funk that wouldn’t be too special if it wasn‘t for the infectious playfulness and blissful audacity of the six tunes. It is a soulful and spiritual jazzy infested affair that exhorts quite an intoxicating spell when jamming it as the recording quality is crystal clear and out-of-this-world while the music itself is as fluid and blessed with an asymmetric groove, a peculiar mix of liquid electric madness mixed with a psychic loose polyrhythmic funk grooves. Absolutely fantastic. Top condition original so… Price: Offers!!!!
172. JAN DUKES de GREY: “Mice and Rats In the Loft” (Transatlantic – TRA-234) (Record: Near Mint - with NO heat mark - really clean vinyl with only one or two sleeve lines barely visible/ Gatefold Jacket: Excellent with attached plastic inner - has a tiny drill hole in center that does not stand out). TOP COPY, 1st original UK pressing, record is the cleanest ever with NO heat mark! In one word, this disc is massive. Loose and raw, this LP possesses a built-in sense of intuitive taste which gives it immediacy and potency with everything flying frenziedly around, pregnant with a furious torrent. It ranges right up there with classics like Comus' First Utterance and Simon Finn's Pass the Distance, Jan Dukes De Grey's 1971 LP Mice and Rats in the Loft is a brilliant work of psychedelic folk with a seething undercurrent of malevolence. After their first album, the duo of Derek Noy and Michael Bairstow enlisted drummer Denis Conlan into their ranks and quickly disposed all notions of pop song craft to which they might have initially aspired. The final result was this beast, opening up with an un-commercial 19-minute sidelong "Sun Symphonica," a dervishly dynamic work of epic genius, fusing together a hippie paean to the sun with progressively darker and more twisted realms of sonic dementia. Infused with references to medieval idioms popular in British folk of this period and impregnating it all with a fireball energy that opens up whole sonic vistas you never dreamt were there. Axe wielding 12-string guitar, violin, cello, flute, clarinet, recorder, harmonica and a dizzying assortment of percussion, the trio plays with the eager of an experienced free jazz ensemble, excreting two sides opening up like a suite rising in intensity and energy until something just have to give due to the lysergic potion it all got stewed in. As "Sun Symphonica" trudges on through its many moods and phases, it gradually becomes clear that a distinctly pagan formula is at work, busting its true for virtual anonymity. By the 15-minute mark, the track is a swirling maelstrom of simmering instrumental fragments flying around the stereo channels in a lunatic dance, as the "sunshine" mantra returns once more. Side two sees the song experiences a radical break with structure and turns into a seething echo chamber of wicked guitar improvisation. The final track is also by far the strangest, the eight-minute title track, which creates a hypnotic whirlpool of electric fuzz guitar The energy and ferocity which have been mounting since the needle hit the first groove slowly accumulating in an almost vertical assent which comes on like a whirlwind. with musical behemoth’s energies peaked to the fullest. Just jaw droppingly great and rare as peglegged golem on Christmas eve. Top copy!! Hard to upgrade upon this one. Price: Offers!!!!
173. JAZZ FESTIVAL IN NEMU: “S/T” (Toshiba Records – TP-9011~2) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Another elusive brain-drain of a slide – complete with impossibly rare OBI. Ear-shriveling and blistering live performances by Japan’s finest jazz combos including appearances by the Terumasa Hino Quintet, Yosuke Yamashita Trio, Toshiyuki Miyama & The New Herd, Sadao Watanabe Quartet, Nobuo Hara and His Sharps & Flats and last but not least the Masahiko Sato Trio. This has always been an elusive slide that at times does pop up but always without the obi. First time ever I could lay my hands on a pristine condition copy all complete with obi – making it bloody rare. As you know with these originals, no obi no life and this one fits perfectly into that category. If free thinking Japanese jazz of the early 1970s is your thing, well look no further, this is the shit! One of the scene’s defining moments filled with thundering hard bop, free spirited and improvisational avant-jazz outbursts that brim over with originality and sonic density beneath a riptide of Western influences, creating a unique language in unswerving Japanese jazz! Top shape 2 LP set all complete with insanely rare obi. Price: Offers!!!!
174. JAZZ IN TOKYO ’69 with YAMASHITA YOSUKE TRIO – SATO MASAHIKO TRIO + 1 – NISHIMURA AKIO QUARTET – MATSUMOTO HIDEKO QUARTET – INOMATA TAKESHI QUINTET – MINE KOSUKE QUINTET – HONDA TAKEHIKO TRIO + JAMSESSION: “Jazz in Tokyo ’69 Vol. 1 & 2 – Recorded Live At Hibiya Music Ball, August 30, 1969” (Nippon Columbia/ Takt – PSS-10011~2-CT) (2 LP Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Attached Picture Insert: Near Mint/ Obi: Excellent ~ Near Mint). White label PROMO issue of jaw-dropping rare Japan free jazz beast that the year later gave birth to the Summer Jazz In Tokyo 2LP! Never seen a copy before until NOW! Freakingly rare and obscure 1970 release throwing together the crème de la crème of the Japanese freewheeling jazz community & modal jazz heads into one mosh-pit – clashing and banging heads together in one big freedom fest. The whole affair on display was recorded live one hot summer day in the open-air arena of Hibiya Yaon Ongakudo on August 30th, 1969. Here you can actually “hear” the summer heat unleashed by these combos breathing down your neck and catering to all of your sonic wishes ranging from fierce magma molten free jazz blowouts to funked up and out butt-swinging head-spins. And what a glorious, mouth-watering line-up you get assaulted with. The whole affair gets pulled into a frenzy by Sato Masahiko Trio + 1, reigning in the herd before Yamashita Yosuke Trio is let loose to leave behind the amphetamine fueled fire music basement and seeking sanctuary into the arms of the on-storming Nishimura Akio Quartet with a Coltrane inspired improvisational spiritual piece. Bewitchingly beautiful that makes me feel like diving headfirst into a pool that got emptied only yesterday! Takehiko Honda Trio brings back some sanity to the gravel-pit with a laxative-induced Quaalude driven rendition of “Hey Jude”, slowly descending into a dissonant orgy of geriatric uncut pleasure. We are in Japan after all so some lethargic Beatles pastiche is never out of place, with a drummer pounding the skins & cymbals like beheading some mischievous tribesman. Then, rolling out Kosuke Mine Quintet to light some kerosene under your ass and get those butt-cheeks, grooving like a hermit on PCP. Man, I would give my right testicle to be there and witness this shit! Fierce improvisational interplay interlocks with steamy and groovy jazz workouts, blessed with a gift for suddenly unexpected impacts that hurtle in and out of focus and giving you the listener enough bewildering emotions to provoke tears and fist shaking tirades in order to sing to this recording’s splendor and awe-inspiring beauty. It all culminates into one fireball that is the Inomata Takeshi Quintet followed by a smothering jam session. Lick your decals off baby, this is a heavy funky and groovy showdown, filled with rhythm shakes and liquid guitar lines that simmer under your skin for all eternity, before meandering into a jam session. Killer stuff from start to finish! If every summer sounded like this, I would have a hard time getting my act together again and rejoin a modern-day reality of grey suits and Corona deniers, instead hoping to remain locked & moving to this beast’s asymmetric groove. Just a fantastic 2 LP slide, allowing you a peak at the Japanese jazz scene one sunny day in August 1969. Just brilliant! Never seen a copy of this beast with obi let alone a white label promo/ test press one so don’t be shy and go heavy! None of your friends might have ever seen a copy - for you hipsters who live by those standards and want to show off on Instagram…Price: Offers!!
175. JAZZFESTIVAL BALVER HOHLE: “Auschnitte Vom New Jazz Programm 1974 & 75” (JG Records – 036~039) (4 LP Record Set: Near Mint/ Outer Box: Near Mint/ Insert: Near Mint). This box set is a really shy bird. Privately released in 1975 on the small JG Records imprint, documented a unique free jazz festival that in 1974, at short notice, was organized by Karlheinz Klüter, in the unlikely setting of the Balve Cave in the Hönne valley of the Sauerland, Germany. It was a great success and was repeated in the following years. This collection here offers, spread over 4 LP’s, a snapshot of sorts and a reminder of the healthy jazz scene which had developed in West Germany at the time. The audiences were large and enthusiastic, sounding more like a rock gig than the usual smatter of polite handclaps which greeted performers of the free jazz combos. A wide range of performers graced the festival and almost all the one’s present here get almost a side-long to express their sonic freedom principle such as Jazzcrew Stuttgard; SOS (trio with John Surman, Mike Osbosborne & Alan Skidmore); Jan Wallgren Orkester; Eero Koivistoinen Quartet; Emil Veglicky Trio; Gustav Brom Bigband; Stivin-Dasek Tandem; Contact Trio; Franz Koglman – Steve Lacy Quintet and Krzysztof Zgraja – Barre Philips Duo. All of the music on display is only available on this set and sheds some insight into the mid-1970’s European jazz underground’s defining moments, ranging from tornadoes of dusty noise to intuitive group interplay, incinerating deep subterranean high-tension music, apocalyptic waves of free interplay, creating an arresting experience. This set rarely surfaces and this one is pristine all way round. Top copy! Price: Offers!!!!
176. JEFFERSON AIRPLANE: “Surrealistic Pillow” (RCA Victor – LPM-3766) (Record: Near Mint/ Jacket: Near Mint – still in original shrink). Bloody rare US 1967 ORIGINAL MONO press in NM condition!!! Top copy, 1st original US pressing. Second LP by the Airplane and it cemented their reputation as one of the finest acts to seep out of the Bay area at that time. Although that at the time the critic Robert Christgau slagged it off as “an amplified Peter, Paul & Mary” album, the general consensus is that it is a psychedelic classic and I fully have to share myself behind that opinion. “Surrealistic Pillow” is wicked; Slick’s vocals are a welcome replacement for Signe Anderson and gels perfectly well with Kaukonen’s acid spiked guitar play, Cassidy’s bubbling bass pulsations and Balin’s balladeering vocals. A classic that should have a prominent place in any collection. Top copy first US pressing, still housed in original shrink-wrap. MONO pressings are damned scarce on the ground and most copies floating around are in questionable condition. This one here is a very first original pressing, sleeve still housed on original shrink and the disc itself seems virtually unplayed and is also in absolutely TOP condition. Impossible to ever find a better one or needing an upgrade. Best copy possible. Price: Offers!!!
177. JEFFERSON AIRPLANE: “Surrealistic Pillow” (Victor – SHP-5640) (Record: Near Mint ~ MINT/ Gatefold Jacket: Near Mint ~ MINT with no stains inside gatefold/ OBI: Mint). Bloody rare 1st press original all complete with never seen before first issue obi!!! CLEANEST copy ever, impossible to upgrade upon, jacket is inside virginally white, obi is untouched and record has had any play at all. So conservatively graded this one is Near Mint ~ MINT condition all the way, a true sight for soar eyes. Original 1968 Japanese press of this quintessential album. Comes with Japan only gatefold version with completely different back cover design. Historical disc that may not be missing from any collection. Best copy ever of this rare Japanese first press. Kaukonen is again all over the place and stellar. MINT COPY....they do not exist better than this one here offers are invited for this one. Price: Offers!!!
178. JEFFERSON AIRPLANE: “Hippie No Shuchou - After Bathing At Baxter’s” (Japan Victor SHP 5684 – Japan only 1968 issue) (Gatefold Jacket: Near Mint/ Record: Near Mint/ OBI: Near Mint). Bloody rare Japan ONLY Jefferson Airplane release, complete with hardly ever seen/ hardly ever offered before 1st issue OBI present. J.A’s After Bathing At Baxter's in Japan only laminated psychedelic gatefold cover. Only '68 first pressing has this cool sleeve. A really beautiful copy of this subliminal West Coast acid drenched psych monster. This is the original Japanese press, released in 1968, housed in a totally different mind-blowing cover designed by Tanaami Keiichi. A real sight for sore eyes that NEVER surfaces. Almost, if not a full-blown XXX rarity that is so rarely offered for sale. Great condition and the jacket has no storage or ring ware whatsoever. Comes with the OBI, making this copy complete. Obi has never been offered for sale anywhere before (apart from on these pages) and this is the most perfect condition copy to have ever graced my eyes…. Impossibly rare with obi present, so… Price: Offers!!!!
179. JOHN ST. FIELD: “Control” (Movie Play – S-32.738) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). Freakingly rare 1st original press, was only released in Spain at the time in a tine run that slipped completely under the radar, making that these days copies are way scarcer than you might think. One of the rarest Spanish released albums is this magickal one by John St Field aka Jackie Leven of latter-day Doll By Doll. From the liner notes: “The Scottish singer and guitarist produced this album long before he was the wild front man of the critically acclaimed rock ensemble Doll By Doll. Jackie says that it follows an intense period of taking LSD in many different locations and circumstances. The result, drug inspired as it may be, is music still as artistic as ever. The sheer diversity of styles, tones and lyrics in this harmonic production made this album a great success. Even the issues covered again show us a great deal of variety. However, although this isn't the typical Jackie that we all know and love, it gives an interesting glimpse into the earlier psyche of one of the greatest living contemporary artists – you'll see a side to Jackie that you didn't know existed. Jackie Leven recalled the following about the album: “It is a fairly influence-free album in my opinion: I was listening at the time to a lot of American West Coast rock, also great players like Bert Jansch, but I can't honestly hear direct influences in the music, other than the desire to be good. Also, I made a album under the alias of John St Field, mainly because I was in trouble with the forces of law and order at the time and felt that it was wise to change my identity for a while. However, I cannot truly recommend changing your identity, taking lots of acid and making a record all close together. It is a bit of a strain but it is a lovely record I still enjoy listening to of a dark evening. The album was never released except briefly in Spain in 1973 and this was wholly because once I'd finished it, I continued living a life that had nothing to do with career structures and record companies could not continue working with an artist who had all but disappeared.” This is without any doubt one of the best and finest folk/ psych/ acid folk and probably all of the former but nothing even that comes close to comparison or generalization – albums of the early seventies. It is all of these styles encapsulated into one but then again it surpasses styles and trends and lives on its own elusive sphere that fails categorization and clear-cut definition. This album will definitely take you places but it will move you like no album has ever moved you before. Why? Well, it comes over like awakening from a deep slumber when unconsciousness spills hesitantly over into aspects that really slow mix in with the rest of your mind.  Here emotions and perceptions get transmitted by means of Jackie's rearranging of the universe into patterns reflecting his art. It will be one of the most beautiful and compelling albums you will ever hear during your lifetime. Take my word for it. Price: Offers!!!!
180. JONES, BRIAN: “Brain Jones Presents the Pipes of Pan at Joujouka” (Warner Pioneer – P-8176S) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Gatefold 4 Page Insert: Excellent/ Additional Triple gatefold Insert: Near Mint) Impossibly rare Japan very first original rare Japan press from 1971 all complete with inserts and damned rare first issue OBI with 2000 Yen stated on it. Top condition. This stunning classic provides a glimpse into a primordial, shrieking world of ancient blood rites, trance rituals, and a throbbing, unfettered fertility -- the world of Morocco's Berber mystics. Under the guidance of Brion Gysin, Brain Jones ventured into the Riff Mountains to record these Master musicians and their thousand-year-old wail. Their drum and reed corps riveted generations of wide-eyed (and drug-addled) wanderers from Europe and America. Jones processed their melodies through acid-era studio effects that heighten their transportive qualities. Nevertheless the disc succeeded in capturing a very special time and place, when adventurous kids, stoned on the idea that anything was possible, first found a gateway to the beyond among the pastoral people of a little mountain village deep in the heart of Morocco. Pressed on Japanese high-quality vinyl, a true gem of a disc. Of course, it comes with the highest possible recommendation. Never surfaces in MINT condition with inserts and first issue OBI!. Price: Offers!!!!
181. KAK: “S/T” (Epic – BN-26429) (Record: Near Mint/ Jacket: Excellent ~ Near Mint with no ring wear at all, no damages, has small minimal crease only). Original 1st US pressing. Top condition copy! At its best this is as good as West Coast psychedelia ever got, with exceptional musicianship and a wide, spacey mix in which each instrument has plenty of room to breathe. Key cuts include the short, sharp opener ‘HCO 97658’, the wah-wah heavy ‘Everything’s Changing’, the stinging blues ‘Disbelievin’’, the mellow, spaced-out ‘Lemonaide Kid’ and the mighty ‘Electric Sailor’. The latter is one of the era’s lost masterpieces, with a thrash-metal riff, ace lyrics and a scorching double-tracked guitar break adding up to make one of the most exciting acid rock songs imaginable. Elsewhere there’s a couple of decent country-tinged ballads, a couple more rockers and an effective mini-epic entitled ‘Trieulogy’. The performances are a little ragged, but that adds to the LP’s charm, and guitarist Dehner Patten is a mighty fine exponent of the wah-wah.” (RMJ – Endless Trip). A totally classic guitar driven West Coast psych gem. Top condition copy, next to impossible to upgrade upon. So because the condition of this one is so outstanding it needs your best shot. Price: Offers!!!
182. KAMIKAZE: “The No More Series” (Private – a-8104) (8-Inch LP Record: Near Mint/ Jacket: Near Mint). Fucking rare and largely unknown Japanese private press demented punk slide released in 1980 in a small run of only 100 copies. This is one rare bird and not surprisingly largely unknown. Copies just do not surface but the music is pure heat! Kamikaze (best name for a punk band – as these guys were for fucking REAL!!!) were a degenerate trio that left behind the acid-soaked late seventies psych and early punk scene and traded it in to seek sanctuary in the gritty basement of amphetamine-soaked freedom culminating bruised dungeon ankle-chopping riffs of the most primitive kind. The band comes over like a Pitbull running around on crack, creating a blissful degrading experience that is hard to keep a focus on what is really going on! It all culminates on their cover of the Stooges’ “I Feel Alright” but unlike the original version, Kamikaze soaked the bastard with gasoline and tossed a match on it! Primitive, stripped down to the bare minimum, gritty, unhinged, nasty and jaw-breaking! Kamikaze’s sole 8-Inch (the devil’s format!) 4-track record is teeth-grinding slab of prehistoric hellish intensity that makes you foam at the mouth, like the rising edge of a speed trip. Top condition, impossibly rare and all killer no filler private press punk slide! Price: Offers!!!
183. KAMIKUBO JUN: “Nothingness – San Francisco No Kiseki” (Express Records – ETP-8210) (Record: Near Mint/ Jacket: Excellent – has two small indentation nibbles on the opening side, apart from that just perfect/ Insert: Near Mint/ Obi: Near Mint). Impossibly rare Japan 1st original pressing – WHITE label PROMO issue all complete with insert and insanely rare OBI. Just never surfaces killer Japanese underground psychedelia! Kamikubo Jun is a totally overlooked artists that was active during the hey-days of the New Rock boom at the beginning of the seventies. He cut this one and sole recording all by himself and failing to attract any sales (maybe the oblique sleeve art did not enhance its sales potential) of this now hideously rare album for Express records, an effort filled with burning fuzz licks, howling vocals, psychedelic interplay, screaming fuzz guitar and great vocals – an amazing and utterly obscure Japanese underground album similar to some extent to Apryl Fool. This is the 1st original pressing and once you behold this LP in your hands, you will notice that although the album’s artwork is very stark and minimal, it is quite different from the other reissues or the Shadoks boot version being that Shadoks cleaned the original design up, making that the smeared black texture on the corners disappeared. Maybe it was an attempt to clean up the jacket without knowing and seeing that it formed an integral part of the initial sleeve’s design. So here is the real thing, amazing condition, an album that surfaces on these shores only once in a decade. The music is just stellar and if you ride for the greatness of Apryl Fool, than this beast will have you gasping for air. Highest recommendation but sadly enough rare as hell freezing over on a hot summer’s day. Released in bleak cardboard sleeve design and comes with insert and OBI. The sleeve has on the right-hand opening side two small indentations resembling a mouse bite but apart from that all is just pristine as can be. Impossible to lay your hands upon original, let alone with Obi present. Price: Offers!!!!
184. KAN MIKAMI: “Jûkyû Sai Nikka Getsu Jûroku Nichi Yoru” (Mikami Komuten 1~2) (2 LP SET: Mint/ Gatefold Jacket: Mint/ Booklet: Mint) One word, monster private press rarity out of Japan, which came out as a numbered edition of only 100 copies. Second time ever I actually have & see a copy of this loner acid folk beast. Totally mint copy of this private press acid folk monster, one of the rarest discs of lately. Without a single doubt one of the rarest and most sought after Japanese acid folk artifacts is this fan club only subscription record by Mikami Kan, released as a numbered edition of only 100 copies, housed in hand drawn jackets. I have only seen this disc 2 times. Rare as hell and I doubt that you will see this one popping up on e-gay or on any list any time soon, probably never since no copies were never shipped abroad. The recording itself dates from 1970, recorded at the legendary Shibuya hangout Station’70. Here, merely 19 years old, avant-folk gut howler Mikami hurls out songs of lust, anger, blood and rage, sounding at one moment fierce, violent and sensual at the other. Killer stuff and rare as hell. Totally mint copy. Bleak, gripping and angst-ridden folk songs, cross-mutating with Mikami’s rural background, his love for twisted and sake drenched Enka songs and counter-cultural antics. Highest recommendation. One of the rarest acid folk/ psych folk/ and loner folk gems to seep out of Japan. Hardly no one has a copy of this beast, this copy is top shelf, mint as a virgin’s ass, so need some wrist slashing and gut wrenching offers in order to let this beast go, one off chance I reckon. Price: Offers!!!!
185. KAN MIKAMI: “Mikami Kan no Sekai” (Columbia – YS-10093-J) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Excellent). Copies with Obi never turn up and this is a white label promo to boot. Bloody rare white label PROMO COPY!!! First ever Mikami Kan record to hit the streets, released in 1971 on Columbia, selling poorly and shortly after its release the disc was withdrawn and sales became prohibited due to some of the offending lyrics Mikami sprouted out. So seen in that light it comes as no surprise that this record hardly surfaces these days. Graced with the stunning cover art of Saeki Toshio, the 19 year old Mikami delivered with his 1st album already a piece de resistance whose importance keeps on resonating throughout the Japanese folk scene. Music wise, Mikami's first record is a real stunning piece balancing the razor’s edge between deep enka and rural folk dwellings. Like his 2nd album that also came out on Columbia, Mikami breaths out a similar mystique drawing blood from melancholic vibes and rural influences, going back directly to his childhood musical influences such as loner enka blues, the barren land and wind swept plains of Aomori, Tsugaru minyo and so much more. His songs and voice are emotionally gut wrenched, boiling over with presence and dark, harrowing, ‘real' lyrical subject matter. Some of the songs you might even recognize since they appear is reworked versions on his later output. But here is where it all began and hard to believe that a 19 year old could have such a wintered through, tormented voice that has enough emotional power, well-directed venom filled anger and bleakness to strip the paint of your walls. And bleak it is, singing about murder, rape, yakuza gangsters, life like living it on desolation row and other light-hearted subjects that were poignant enough to scare any possible big success straight out of the window. A classic and rarely surfaces here in Japan due to the limited number of copies that got into circulation. Highest all time possible recommendation!! Price: Offers!!!
186. KATSUO ITABASHI TRIO: “October First 1977” (Private Press – LM-1061) (Record: Near Mint/ Jacket: Near Mint). Insanely rare Japanese free jazz monster, privately released in 1977 in a run of 200 to 250 copies only. This beast has been elusive since the day it was birthed out. A tense apocalyptic fury of a firecracker in free form mode, shaking off all shackles and restraints that held them reigned in, so they could dive headfirst into the abyss of improvisational madness and delight. Spearheaded by Itabashi on piano and flanked by Morikaku Osamu on bass and Takahara Koji on drums, the sax-less trio certainly knows how to stir things up and create a furious racket, crashing around like a Pitbull on crack. The trio moves like a single unit of free improvisers of the highest order, so it's not surprising that the sonic outburst is highly rhythmic, densely noisy, and at all times very imaginative. Itabashi engages in intense conversations with Morikaku and Takahara, interacting with loose precision and exploding into frenzies of clattering assault. Isolating the individual contributions is virtually fruitless, but one can discern the body smackings, as well as the free groove and call and response activities with each other. An amazing recording documenting the deep Japanese free jazz underground, utterly obscure and extremely rare. Finally proud to be able to offer this private press free jazz beast. Price: Offers!!!!
187. KILLING FLOOR: “S/T” (Spark – SRLP-102) (Record: Near Mint/ Flip Back Jacket: Near Mint) Top UK copy of this loud, finger-blistering guitar charged heavy bluesy psych monster. The sheer toughness -- and overall derivative nature of Killing Floor's debut album, issued six months after Led Zeppelin's debut in 1969 on the Spark label, is a wondrous contrast to the overly slick treatment American blues were given by British artists. All of these tunes, with the exception of one are revamped versions of songs from the blues canon with different words. The lone "cover" in the set was written by Willie Dixon titled "Woman You Need Love”. This is a raw, immediate, overdriven, psychedelic blues record as Killing Floor hits you with a heavy and reverent update of the Yardbirds rave-up sound This self-titled debut burns from start to finish and it is graced with that white-boys-blues trashy sound not unlike Burning Plague. Singer and harp player Bill Thorndycraft had a gruff deep down-from-the-belly vocal style, sounding utterly wasted and he had the gift to blow the harp and give the music that earthy blues feeling that could be found in all the Mississippi Delta acoustic blues. Michael Clark was an exceptional six-string slinger igniting a fire burning he let loose on his strings, molten lava emanating out of it and hitting you right in the face; you could just hear it in his playing, and the rhythm section of Bas Smith (drums) and Stuart MacDonald (bass) was steadfast and true in support of his fire branded flourishes. Lou Martin added the additional elements of keyboards to give their music more texture and a modern updated sound. Original copies in nice condition are completely vanished these days, so… Fucking wasted and dirty white trash psychedelic blues album that till this day hasn’t met his rival yet, so Jon Spencer go suck some more on your mother’s tit, Killing Floor blaze you away any day of the week. Price: Offers!!!!
188. KING TUBBY: “Prophets – King Tubby’s Prophesy of Dub” (Private – VJ8125) (Record: Excellent/ Generic Paste On Sleeve: Near Mint). Freakingly rare UK private press original that was issued in a limited run of 300 copies only back in 1976. Hardly ever surfaces, especially in such a nice condition as this baby here with only a few of superficial sleeve line visible under bright light. “King Tubby's Prophecy of Dub represented the first in a series of collaborations between singer/producer Yabby U and the great dub mixe King Tubby. The vocal tracks of the former are stripped entirely from the music taking Yabby’s Biblically informed verses along with them. Tubby’s re-creations however, are extremely tasteful, producing the best of both worlds: Yabby’s excellent rhythms stripped down to their essential elements, with each touch of dub superbly integrated into the instrumental landscape. Tubby highlights not only the horn players, but guitarists Earl “Chinna” Smith, Albert Griffiths and Ranchie McCLean as well, for wonderful results. Their lines spring from the receding background on "Robber Rock" and rise, sublimely to the surface on "Love and Peace." "Creations and Versions," the track that brought King Tubby's Prophecy, in its original 1976 incarnation, to a close, is filled with supple six-string flourishes. Hardly anything, save the sparse bass/drum foundation, avoids the trap of Tubby’s echo. The dub organizer slows down the rhythm (its opening drum strokes hardly get off the ground) and offers a distinctly different, even improved excursion with a gritty, bordering on lo-fi, quality. Those looking for some of Tubby’s more extravagant productions might want to look elsewhere, but King Tubby's Prophecy remains a rugged, consistent and tasteful roots set. Another host of collaborations by the duo can be found on the two-disc Blood and Fire compilation, Jesus Dread.” (All Music Guide) This unfolds like a dub classic, with hissing hi-hats and rippling top lines all underpinned by impossibly buoyant bass. Along the way, there are up tempo rumblers next to sink into your sofa stoner sessions that all make it a perfectly warm and escapist trip. For 1976 and even for King Tubby it is not super single noted or overly repetitive. Each track blossoms in a really enjoyable way which is a huge surprise for a release that is this early in the dub genre. Absolutely killer and super scarce first original pressing in great shape. Price: Offers!!!
189. The KINKS: “Something Else by the Kinks” (Pye Records/ Teichiku Records – UPS-618-Y) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition & one of the rarest Kinks albums to seep out of Japan or anywhere else for that matter. “Face To Face was a remarkable record, but its follow-up, Something Else, expands its accomplishments, offering 13 classic British pop songs. As Ray Davies’ songwriting becomes more refined, he becomes more nostalgic and sentimental, retreating from the psychedelic and mod posturings that had dominated the rock world. Indeed, Something Else sounds like nothing else from 1967. The Kinks never rock very hard on the album, preferring acoustic ballads, music hall numbers, and tempered R&B to full-out guitar attacks. Part of the album's power lies in its calm music, since it provides an elegant support for Davies’ character portraits and vignettes. From the martial stomp of "David Watts" to the lovely, shimmering "Waterloo Sunset," there's not a weak song on the record, and several -- such as the allegorical "Two Sisters," the Noel Coward-esque "End of the Season," the rolling "Lazy Old Sun," and the wry "Situation Vacant" -- are stunners. And just as impressive is the emergence of Dave Davies as a songwriter. His Dylanesque "Death of a Clown" and bluesy rocker "Love Me Till the Sun Shines" hold their own against Ray’s masterpieces, and help make Something Else the endlessly fascinating album that it is.” (All Music Guide) Absolutely a masterpiece. Comes housed in unique Japan sleeve art and complete with always elusive OBI! Price: Offers!!!
190. KOSUGI TAKEHISA & SHINOZAKI AYAKO: “Harp no Koten” (Columbia – OP-7064-N) (Record: Near Mint ~ Mint/ Jacket: Mint). Freakingly rare 1st original pressing from 1974!!!! Never surfaces. First original pressing housed in a totally different jacket as opposed to the more common 2nd pressing which came out on Denon and came housed in a tasteless jacket art. The 1st press does not surface at all, first time ever I have a copy to spare of this rarity. Comes with totally different cover artwork. All was recorded on 25 and 26 of June, 1973 at the Columbia studios. Side A consists of the tracks “Stanza II”, a composition by Toru Takemitsu out of 1971 and Katsuhiro Tsubono's “Poem for Lin” of 1972. On these tracks, young harpist Ayako Shinozaki steals the show on her own by delicately birthing out electronically treated harp sounds that take the timbral range of to previously unattained heights of sonic extravaganza. On “Stanza”, Shinozaki creates a drone on her harp she enriched by tape manipulated sounds that bounce of straight into the heights of a deep-throbbing ionosphere reaching far beyond the known Copernican universe. By the time she steers into “Poem for Lin”, Shinozaki allows some improvisational playing to interact with the original score and enriches her harp sounds by adding rattles, bell sounds resembling diminutive esoteric Buddhist percussive accents and austere meandering vocal sounds that fuse neatly in and out of focus. By doing so she is able to touch down on some cold metagalaxy composed out of primitive celestial bodies. By the time one gets to side B for things really begin to take of into another dimension. Here one gets treated to the sidelong composition “Heterodyne” by Kosugi Takehisa (1973) and on this one Kosugi executes it himself while being flanked by Shinozaki on harp. Here it is that the sonic extravaganza gets adrift in a pulsating, ever revolving universe of coalescing asteroids. Like “Catch Wave”, it really sounds like the final frontier or the homogenetic mass that preceded the big bang. In short, this composition is really the piece de resistance with Kosugi in full swing, surfing the sound and radio waves with his heavily-processed violin sounds, a sonic Walhalla where alternating currents of different frequencies are combined to produce new frequencies, the sum and difference of the original frequencies. This was something he had worked with on earlier recordings and continued to be important through later works. The interaction with Shinozaki takes on an almost extra-terrestrial shape and floats off in between electronic pulses and complex slowly evolving sound waves. Utterly breathtaking. Never offered for sale before 1st pressing and never seen before edition that will leave you baffled and stunned with disbelief. Highest recommendation. Price: Offers!!!!!
191. KRISTYL: “S/T” (Kristyl/ Private – PRP-4569) (Record: Near Mint/ Jacket: Mint – still in shrink). This is a fucking killer album, a true timeless pinnacle of teenage, rural, Christian psychedelia. Released in 1975 (in a supposed pressing of only 200 copies), although it does sound like it was recorded much earlier. “Maybe not “Jesus music” per se, but some definite Christian influences on this scarce Kentucky private press monster, one that’s revered among collectors of the whole local basement psych phenomenon. Great lengthy dual guitar action with fuzz, wah-wah, tremolo jamming in psychy rural Southern-edged progressive context, balancing both heavy and soft melodic passages. Vocals are on the amateurish end, but nothing particularly grating. Spiritual angle most evident on tracks like ‘Deceptions Of The Mind’ (“pray to the messiah, pray to the living God, pray that he will forgive your sin, pray that he will save your soul”), along with ‘Like A Bird So Free’ and ‘Morning Glory’. Loud blues-rock moves on ‘Woman’ and ‘Bluebird Blues’. Only a couple hundred pressed. Mysterious faded blue cover of snake encircling the earth.” (Ken Scott – Archivist). In any case, Louisville, Kentucky seems like a bitch of a place to grow up, especially with the Lord lurking over your shoulder all of the time: “Alcohol and sex unclean, copping drugs all over the scene/What is it that we need, Lord it’s love and it’s for free”. Still, the music is consistently wonderful, splatter-gassed with dual guitars all over the place and loaded with effects and full of interesting twists and turns. On top of that, the singing is honest and clear. Certainly not as far out and blisteringly crazy as Fraction, but in the same league of expressive and god-fearing sincere and quite lysergic musicianship. A beautiful, naive feeling pervades the whole LP, like they believed anything could happen, the world could change as a result of their sounds. And they didn’t even dropped acid, so I guess the divine touch proved to be mind-expanding after all. Was around some 10 years ago, all gone to be kept in collections forever, never to be seen anymore… Top condition copy!!! Price: Offers!!!!!
192. KUNIYASU YOSHIO QUARTET: “Thermal” (Takeya – TY8209) (Record: Near Mint/ Jacket: Near Mint). Damned rare 1982 killer Japanese spiritual jazz beast private pressing – one of the 2 releases on the small Takeya label. Top shape. Thermal was a one-off project led by tenor/ alto and soprano saxophonist Kuniyasu Yoshio and features a powerful and progressive jazz group including his wife Kuniyasu Kurumi on piano, Hayakawa Takehalu on bass and Fujii Nobuo on drums. The five extended compositions on display here exemplify the high standard of playing and arranging that was a characteristic of jazz composed and recorded in Japan during the early 1980s and veers off into stratospherically spiritual jazzy heights. The record has been steeped in legendary status for the exquisite music on show but it has been an elusive bird ever since it saw the light of day. In short, this baby is uncut pure delight for the ears, shouldering one of the pillars of the jazz heavens. Only superlatives do this one justice, treating you to an explorative sound excursion ranging from butt-shaking bop grooves to spiritually deep jazzy heights. Finger-licking ear-waxing juice to ooze out of your membranes for days on end. This is the good stuff but sadly a bitch to score as original copies are far and few in between. This one here is virginal to satisfy your eargasmatic needs. Highest recommendation but sadly much in demand and a hard one to get a hold off!!! Price: Offers!!!
193. LA MONTE YOUNG: “Theatre of Eternal Music” (No Label – DH-1001) (Record: Near Mint/ Silk Screened jacket: Mint). Japan only 200-copy silk-screened LP in superb sound quality. This copy is hand-numbered as 52/200. Without a doubt the rarest of all La Monte Young bootlegs around and also one that contains the most revered works captured in stunning sound quality. The material is all recorded in the early 1960s and the track listing is as follows: “Bb Dorian Blues” (line-up: La Monte Young on soprano sax; Marian Zazeela voice; Terry Jennings on soprano sax; Tony Conrad violin, John Cale viola; Angus Maclise hand drums), “Pre-Tortoise Dream Music” (La Monte Young soprano sax; Marian Zazeela voice; Terry Jennings soprano sax, Tony Conrad violin and John Cale viola) and the side-long “The Tortoise, His Dreams and Journeys” (La Monte Young and Marian Zazeela: sine waves, voices; Tony Conrad violin and John Cale viola). Without a doubt these recordings capture the subliminal line-up of the Theatre of Eternal Music, Jennings, Conrad, Cale and Maclise are all present. The music is out of this world and the record as an artifact itself is as you could already gather rare as gold dust. Top copy, silk-screened and hand numbered to only 200 copies. Japanese pressing out of the late eighties/ early nineties. Gorgeous and bound never to cross your path again. Act now and hold your peace forever. Price: Price: Offers!!!!
194. LA MONTE YOUNG: “Sunday AM Blues/ Bb Dorian/ The Well Tuned Piano/ Map of 49’s Dream” (No Label) (2 LP Set: Near Mint/ Jacket: Near Mint, still in shrink). Superb high quality recording 2 LP set, released in a miniscule run back in 1992. Only the 2nd time in 10 years I see a copy of this magnificent & crystal clear La Monte Young recording that features LEE KONITZ!!!! The records (one white label, one black label) come in a single die cut white sleeve with a Xerox pasted to the shrink-wrap, indicating just the track titles. No further info given on the release. One of the best La Monte Young recordings out there, crystal clear sound recording that surpasses even his official releases. Damned rare and kick ass minimal droned out sounds. The addition of Lee Konitz to the line-up is pure magic! Price: Offers!!!!
195. LACEWING: “Paradox b/w Our World (It Can Happen)” (Mainstream/ Nippon Columbia – LL-2460-MS) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Seriously rare 1971 Japan only issue that comes housed in great picture sleeve. PROMO issue. Very strange this got released in Japan with picture sleeve, before it dropped to the deepest depths of obscurity and vanishing with only a few having seen an actual copy. Classic Westcoast Airplane/Mamas & Papas/Big Brother influenced femme-vox folk rock and psych with fuzz leads and minor prog ambitions. Stupidly rare Japan only picture sleeve single that sold zilch and never made it beyond the promo stages, depressing sales prevented the LP from being granted a domestic release, making this sole artifact rare for all eternity!!! Price: Offers!!!!
196. LACY, STEVE: “Sortie” (GTA Records – GT LP-1002) (Record: Near Mint/ Jacket: Near Mint). Italian only 1966 Italy only issue that later down the line was reissued in other country with alternated sleeve art. This is the genuine first original pressing in awesome condition!! First copy I see WITHOUT any lamination creases, perfect condition + signed on the back by Steve Lacy! Sortie is quite a rare Italian album from Steve Lacy – featuring a quartet with Enrico Rava on trumpet, Kent Carter on bass, and Aldo Romano on drums – the same group on Lacy's Disposability album, but with the excellent addition of trumpet – which gives the music an even more powerful sound! The mixture of Lacy's soprano and Rava's trumpet is wonderful – and Carter and Romano are on fire in terms of their rhythms – post-Monk, post-Ornette, but also maybe still with more structure than some of the free jazz generation to come – a great balance that really draws some soulful currents from Lacy's horn. Titles include "Black Elk", "Helmy", "Fork New York", "Living T Blues", and "Sortie". Damned rare original pressing of stellar free improvisation LP by Lacy and cohorts, indispensable! Top condition!!!! Price: Offers!!!
197. LACY, STEVE: “Steve Lacy Solo at Mandara” (ALM Records – AL-5) (Record: Near Mint ~ Mint/ Jacket: Mint/ Insert: Mint/ OBI: MINT). Top copy that comes with always missing insert and with never offered for sale OBI, first all complete copy I have in 13 years time. The rarest of Lacy’s recordings. Recorded live from a solo concert at the famed Mandara live house in Tokyo’s Kichijoji district on June 8, 1975, it depicts Lacy at his finest hour ever. It was Lacy’s first even gig in Tokyo and the material on display here was taken from the second set of that evening. Enfant terrible, music critic and writer Aquirax Aida, who invited Lacy over to Japan and staged some concerts for him, organized the whole affair. It was here at this gig that Lacy debuted Snips and Stabs. His first adventure in Japan was without a doubt the most daring and astonishing of all his trips over there. He was then tapping into still virginal territory, mapping out the boundaries of his own still developing playing and touching reputedly on magic and greatness that only a very few can even dream off of possibly attaining, but Lacy did it. Of the five splendid albums produced during his first trip over there, only Distant Voices made it as a CD reissue. Other much desired ones like this one here, possibly his rarest one (esp. in mint condition) is craved for by many but only actually seen by a very few select avid music fans. “Steve Lacy Solo at Mandara” is in a way a bit like Van Gogh’s stunningly colorful paintings or like a surreal Dali coming to life through sound. He blows out a gently myriad sound by playing an instrument – the soprano saxophone -, which has had few real icons. But Lacy truly was an icon for the instrument and singlehandedly rescued it from obscurity, giving it a potent voice in the avant-garde. Simply stuff of legends. Hideously rare LP, released in an edition of 300 copies according to Mr. Kojima and copies complete with obi in such nice nick as this baby here simply do not turn up. First copy in a long time I can clutch my fingers around. An obscured dead cold classic. Massive and certainly one of those Holy Records in my Free Jazz top ten. TOP condition!!! Comes with MEGA RARE OBI!!!! Price: Offers!!!!
198. LACY, STEVE: “Torments – Solo In Kyoto” (Morgue – Morgue-01) (Record: Near Mint/ Jacket: Near Mint). Great copy of the rarest of Lacy’s recordings. Recorded live from a solo concert at the Silk Hall Kyoto in Kyoto on July 6, 1975, it depicts Lacy at his finest hour ever. It was Lacy’s first ever gig in Kyoto and the material on display here was taken from the first set of that evening. Enfant terrible, music critic and writer Aquirax Aida, who invited Lacy over to Japan and staged some concerts for him, organized the whole affair and eventually released this in 1979 on his own Morgue label, in a very tiny edition of about 200 copies only. His first adventure in Japan was without a doubt the most daring and astonishing of all his trips over there. He was then tapping into still virginal territory, mapping out the boundaries of his own still developing playing and touching reputedly on magic and greatness that only a very few can even dream off of possibly attaining, but Lacy did it. Of the five splendid albums produced during his first trip over there, only Distant Voices made it as a CD reissue. Other much desired ones like this one here, possibly his rarest one is craved for by many but only actually seen by a very few select avid music fans. “Steve Lacy – Torments – Solo in Kyoto” is in a way a bit like Van Gogh’s stunningly colorful paintings or like a surreal Dali coming to life through sound. He blows out a gently myriad sound by playing an instrument – the soprano saxophone – which has had few real icons. But Lacy truly was an icon for the instrument and singlehandedly rescued it from obscurity, giving it a potent voice in the avant-garde. Simply stuff of legends. Hideously rare LP, released in an edition of 200 copies according to Mr. Kojima and copies in such nice nick as this baby here simply do not turn up. First copy I can clutch my fingers around. An obscured dead cold classic. Massive and certainly one of those Holy Records in my Free Jazz top ten. Fair reserve price due to slightly lesser sleeve at EX condition. Offers!!!!
199. LACY, STEVE – The STEVE LACY SEXTET: “The Wire” (Columbia Records – YX-7553-ND) (Record: Near Mint/ Jacket: Near Mint - has minimal small folding crease/ Obi: Near Mint/ Insert: Near Mint). Bloody rare all complete Japan only issue with OBI and insert. Recorded in 1975 but not released until 1977, The Wire ranks amongst one of Lacy’s finest recordings and his rarest to seep out of Japan, all complete with obi. So far an all-complete copy with obi has not been offered before ever so…. Improvising and playing his own compositions with the cream of the cream of the creative Japanese scene. The Wire was recorded in 1975 recording by a Japanese sextet that included Steve Lacy on soprano saxophone, Masahiko Satoh on piano, Masahiko Togashi on percussion, Keiki Midorikawa on cello and bass, Yoshio Ikeda on bass, and Motoharu Yoshizawa on bass. If you note a preponderance of low-frequency strings, you are correct! Although clearly identifiable as ‘free jazz’, there are strong compositions and structures to accompany the wild improvisation. The way the Togashi, Midorikawa, Satoh, Yoshisawa and Ikeda are dealing with the material and the music is astonishing. The interacting seems to really fit the way that the compositional material is constructed. The string dominated sound of he group works extremely well with the sole sax playing by maestro Lacy. Top condition original pressing all complete with insert and hardly ever seen OBI, so make your best move ‘cause this one hardly ever surfaces all pristine & complete with obi in all its glory… Price: Offers!!!!
200. LACY, STEVE with KOSUGI TAKEHISA & TAKAHASHI YUJI: “Distant Voices” (Columbia – YX-7085) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint). “Distant Voices” is one of the rarest items in Steve Lacy’s and Kosugi's lengthy discography. Originally recorded in 1974 and released in 1975, “Distant Voices” sees Kosugi joining forces with Steve Lacy and Yuji Takahashi. The disc is considered to be one of Lacy's most radical pieces ever recorded, materialized when he came to Japan for the first time and the interaction between these three key avant-garde players sounds like a more defractured and demented version of the Taj Mahal Travelers on a trip down to Transylvania. This first adventure in Japan by Lacy was without a doubt the most daring and astonishing of all his trips over there. Of the five splendid albums produced when in Japan, this is the most ethereal one. Kosugi’s echo-drenched violin manipulations and its clutch of haunting reverberations fog up Takahashi’s skeleton undercurrent piano playing, only to get flanked by Lacy’s aspirational soprano sax noodlings that surge up out the concealed depths of space. The three of them engage by doing so in a very subtle form of downers/laxatives induced trench warfare, where the tiniest gestures trigger apocalyptic ever-evolving waves of exploratory sound. The panoramic undulation of ever floating sounds glide in return without much effort and through a carefully ignited impulse on the surface of a fluid whisper that is busy folding and manipulating space. The whole affair is fueled by an intuitive approach, existing on its own plane, both impervious to and not responsible for trends of any kind. The trio’s sonics are just brimful of poetic resonance coupled to a shamanistic sense of poetry. Much desired by collectors and music geeks, this LP is a bit like Van Gogh's stunningly colorful paintings; many have heard of it but very few have actually seen the real thing: Steve Lacy, Takehisa Kosugi and Yuji Takahashi did not sell many, but… it does not make the music any less angelic. The disc is needless to say rare beyond belief and does not turn up, it just does not…until now! It's amazing music. One of those Holy Grails many are after but very few seem to encounter. Has been ages since I could offer a spare of this record – complete with the always-elusive insert. Massive and out of this world. Top Copy!!! Price: Offers!!!
201. LACY, STEVE: “Stalks” (Columbia – YQ-7507-N) (Record: Near Mint/ Jacket: Near Mint / Insert: Near Mint/ Promotional Obi: Near Mint). RARE PROMO issue all complete with insert and mega rare OBI. The obi has a rare promotional tag added to the lower part, highlighting the contents of the music in brief. Getting rarer with every breath you take as complete mint copies just do not surface at all!! Extremely rare Japan only Steve Lacy release that just almost never pops up here anymore. Recorded and released in 1975, “Stalks” sees Lacy working with renowned Japanese free jazz heavyweights Yoshizawa Motoharu (bass) and Togashi Masahiko (drums). Again an indispensable entry in Lacy's discography or – for who cares – in Yoshizawa Motoharu's discography. Contrary to “Lapis”, on “Stalks” Lacy does sound more mature and lyrical. Still that does not mean he has lost his cutting-edge sound he displayed on Lapis. No not at all. Hearing him interacting with these seasoned Japanese improvisers brings out the best of him, which can also be said for Yoshizawa and Togashi, gelling together as a flexible seasoned trio – although that they only have been playing together for a couple of concerts after Lacy's arrival in Japan before heading down to the Tokyo Studios of Columbia. In all a stunning artifact documenting a sort of a clash of the titans, east meets west kind of free improvisation interaction on which all of the three players shine brightly. Rare Japan only Lacy release that only sporadically surfaces. Original press in top condition with the always-missing obi present and accounted for. Price: Offers!!!!

202. LED ZEPPELIN: “S/T” (Atlantic – MT-1067) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Obi: Mint). Virginal condition – no foxing spots, untouched original obi …. The debut album – this one released in Japan in October 1969, there were the blue stripe issue came out in May of that year. So original 2nd issue obi that comes housed in cool heavy duty gatefold sleeve. Just impossible to ever upgrade upon Japan original press – 2nd issue with orange stripe obi. Time machine archival condition copy!!! Never seen a copy this perfect and clean so….Price: Offers!!!!


203. LED ZEPPELIN: “II” (Atlantic Japan – P-8042A) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Rock Age Flower Obi: Excellent ~ Near Mint/ Insert: Near Mint/ Company Inner Sleeve: Near Mint/ Big Poster: Near Mint) Rarest Japanese pressing of the 2nd Zeppelin record and all complete with insanely rare Rock Age Obi and with the always-missing big poster also accounted for. Hideously rare with obi intact, especially in such a stunning condition as this copy offered here. These babies – in such a nice nick – just never surface on this side of the globe anymore, especially with obi, poster, company inner and insert intact. Bound to skyrocket even more in the future. Classic disc and at least everyone needs a copy of this baby. Extremely rare Japanese press issue. Top notch condition; do not believe they come any better than this one here. Price: Offers!!!!
204. LED ZEPPELIN: “III” (Atlantic Japan – MT-2043) (Record: Near Mint/ gatefold Jacket with Movable Parts Wheel: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rarely seen WHITE label PROMO issue, original first press issue. Much of the album was written at a remote cottage in Snowdonia while Page and Plant recuperated following an extensive US tour. The cottage had no electricity which encouraged the pair to explore the band’s mellower, pastoral side and resulting in many acoustic introductions to many of the songs. The album’s generally laid-back feel, features one of the band’s most blatantly overt big-trouser moments such as opener Immigrant Song, with its addictive riff and macho subject matter, it is proto-heavy metal at its best. The bulk of the material doesn’t favor rock so much, with even Celebration Day and Out on the Tiles lacking the sledgehammer weight of the previous two albums, but this is no lightweight fluff. Elsewhere, the wistful folk rock of Tangerine and Gallows Pole – another Zep arrangement of a traditional folk song – bolster what is by any reckoning an underrated work. Price: Offers!!!!
205. LED ZEPPELIN: “Houses of the Holy” (Atlantic Japan – P-8288) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint/ Insert: Mint/ Imprinted Inner Sleeve: Mint/ Red Colored Atlantic Obi: Near Mint/ Double Decker Houses of the Holy Obi: Near Mint). First original Japanese pressing out of 1973 in top condition. This version here for grabs is the mega rare WHITE LABEL PROMO issue that is blessed with a fuller sound/ mix as opposed to the regular version. Just about never surfaces on these shores and only a handful of copies have popped up and are in circulation. Top condition – complete with 3 (Three!!!) obi’s and insert and imprinted inner sleeve. First Japanese promo I encounter after all these years. Price: Offers!!!!
206. LEE WONHUI (Aka TAKAGI MOTOTERU) with KIKUCHI KOJI: “Grow” (Johnny’s Disk – JD-13) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint). Without a grain of doubt on my mind, Takagi Mototeru was the all-time greatest sax howler to roan the Japanese Isles and every record he put out showcases this. Grow is no difference and again ascertains the majesty of Takagi’s talent. It also is one of the rarest of all Takagi Mototeru releases that came out. One difference is that this one here was released under his real (Korean) name of Lee Wonhui and released on the legendary private press label Johnny’s Disk. One of the hardest to track down releases on the label and also one of the best hands down. Has been ages since I last saw a copy of this menacing slide, this is a seriously rare and unusual album with hard blower Mototeru Takagi blowing things differently. Drum & sax duo that goes deep. High energy poetry! Spotless copy. Impossible to find! Complete with 4-paged insert. Price: Offers!!!!
207. LINCOLN ST. EXIT: “Drive It!” (Mainstream Records – S-6126) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint). US first original pressing in virginal condition and one of the hardest to track down titles on the Mainstream label imprint. That said, Lincoln Street Exit is one fierce jam of drenched bluesy psych by group with a definite ear for Native American issues! The work here is very heavy on bottom sounds – rumbling bass and heavy drums that underscore the fuzzy guitar nicely – and vocals from singer Michael Martin are almost shouted with an intensity, underscoring the edgey lyrics perfectly! With a sound that leaves behind the amphetamine-fueled blues basement to seek sanctuary in the penthouse of acid-soaked freedom that culminates in a fuzzed-out cauldron of demonic bass, talking drums, manic cackles and liquid wah-wah! One of the rarest slides on the Mainstream label and this copy here looks like it was plucked out of a time machine. Impossible to upgrade so… Price: Offers!!!
208. LOS VIDRIOS QUEBRADOS: “Fictions” (UES Producciones – CML-2534-X) (Record: Excellent ~ Near Mint – has only 2 faint inaudible hairlines on side 1 so play-grade is NM~M/ Jacket: Near Mint/ 4 Paged Booklet: Near Mint). Impossibly clean top condition 1st original press issue of this 1967 Chilean psychedelic garage & beat monster. Comes complete with the always-missing booklet and comes housed in ultra-fragile and pristine sleeve. “Some came to make records. Others did not leave any recorded evidence—they have been reduced (at best) to the testimony of a blurred photograph in an old magazine. But it was a generation of bands from Chile which gave shape to a stream of permeating rock, beat, folk and psychedelia music influences radiating from the "first world." And on that list of pioneers of Chilean rock, Los Vidrios Quebrados (the Broken Glass) are unanimously considered as the greatest. They had a certain intellectual arrogance. They considered that rock 'n' roll could only be sung in English and refused to sing in their native language, arguing that a cueca (the Chilean national dance) could not be sung in English. They also made their own instruments—creating their own guitars and amplifiers from furniture and loudspeakers. On one guitar, they replaced a pick-up with a record player needle. It gave an extraordinary sound. That sort of creativity flows freely throughout the music on their only album, the now-legendary "Fictions". The LP is an excellent collection of songs, recorded in just nine hours), with intimations of psychedelic rock amidst the influence of bands like The Byrds, The Beatles and The Kinks (with nods to Bach and the classics), all while maintaining a fresh beat sound; "Fictions" is an album that can compare with the best works of psychedelic pop bands from England and America. Los Vidrios Quebrados is one of a handful of Chilean groups to receive attention around the world; and their songs ‘Oscar Wilde’ and ‘Fictions’ are considered among the all-time best tracks in South American rock history.” (Lion). Clean top shape original press with booklet insert. Price: Offers!!!!
209. LOVE LIVE LIFE + ONE: “Love Will Make a Better You” (King Records – SKK-3009) (Record: Excellent ~Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Insert: Mint/ Obi: Excellent – a couple of wrinkles on lower side). Fantastic copy of this all-time psychedelic free improvisation masterpiece, one of the rarest psych artifacts to roll out of Japan. This one here comes with the hardly ever seen obi attached, making it a monster rarity!! 1971 original release in exquisite gatefold jacket. Like so many other groups, the formation of this outfit happened rather coincidental and took place in 1971 at the premises of newly found record label King (°1970), that profiled itself as mainly being preoccupied with jazz related activities. One of the central figures circulating at the fringes that scene was the saxophone player Kôsuke Ichihara and flutist Toshiaki Yokota. The sessions took place under the banner of “New Emotional Series” and succeeded in attracting a wide range of illustrious musicians such as Kimio Mizutani, Yanagida Hiro and Chito Kawauchi. Other interested musicians like Takao Naoi and rock star singer Akira Fuse drifted in for the “New Emotional Series” sessions, grouping themselves in the one-time off outfit Love Live Life + One. King released the unit's album “Love Will Make A Better You” in April 1971, which displayed a consistent, advanced jazz-rock sound in the vein of King Crimson's “Islands” and Keith Tippet, infused with improvisational interplay, vicious organ riffage and frantic chord changing. To top it all off there is Akira Fuse's frantic soulful vocal attacks, the free jazzing meets psychedelic blizz interplay and the fuzzed-out organ napalm bomb like attacks that spiced it all up. In short, a whirlwind of lysergic dementia and one of the hottest psyched out monster disc to come out of Japan. KILLER all way through, highest ever-possible recommendation and blood rare. Record is in fantastic shape all way through with no visible defects. Gatefold sleeve is crisp and clean with no damages or splits. One of the nicest copies I’ve had in a long time and getting next to impossible to get in decent shape. Copies do not surface anymore here so…getting hard to dig up. These babies will break the bank in years to come as Japanese psych artifacts are getting closer to extinction with every breath you take. And this one ain’t no different. Price: Offers!!!!
210. LULA CORTES & LAILSON: “Satwa” (Rozenblit – LLP-005) (Record: Excellent – has a couple of faint visible faint hairline scuff on each side that does not sound/Brazilian Style Gatefold Jacket: Near Mint). Brazilian original first pressing of 1973 in outstanding condition. Written, recorded and released just as Brazil’s military dictatorship reached the climax of its long black arc, the one and only album by Satwa is a divinely subtle protest, often cited as Brazil’s first independent record. Recorded and released in 1973 by the duo of Lula Cortes & Lailson, it is a real lost masterpiece from any angel, and the first release of the fertile Recife psych scene of the early 70's… mesmerizingly beautiful sitar & 12 string psych ragas beaming strait for your third eye, and lifted ever higher by occasional angelic vocals or a burst of fuzz guitar… truly amazing stuff sure to turn the ears of any folk/psych fan, past or present. The whole affair is a stoned improvisational jam that doesn’t really sound Brazilian, it doesn’t even sound remotely earthly for that amtter. It’s so effortlessly celestial, it’s less an improvisation and more a transmission from the heavens. Lailson was from the verdant former Dutch colony of Pernambuco, while Côrtes hailed from the wild badlands of Paraiba. But for 11 days in January 1973 the pair jammed cross-legged and produced the folk trance gems that adorn this self-titled debut. The whole recording is largely void of any voice and words, the songs – Côrtes plucking steely leads from his sitar while Lailson’s 12-string thrums crystalline chords – are loose and lovely. The sole interference in these glistening arabesques is the hoary electric fretwork of one Robertinho Do Recife, injecting some cranium-fried licks. With a limited edition and distribution mainly regional, the disc disappeared almost as soon emerged, making it another Holy Grail record alongside Paebiru. Copies if they surface at all, are mostly trashed and in bad shape as can be expected of a 1973 uber obscure Brazilian psych release. However this copy is possibly the cleanest you can hope for, sleeve is perfect with no defects, the record – which was cheaply pressed – is in eye-blinding EX ~ NM condition with only one non-sounding hairline scuff on each side. Top condition of an ever elusive and almost impossible to attain private press psychedelic acid folk head trip. Act now and hold your peace forever!!! Price: Offers!!!!
211. The LYMAN WOODARD ORGANISATION: “Saturday Night Special” (Strata Records – SRI-105-75) (Record & Jacket: Factory SEALED). Top condition & damned impossible to find FACTORY SEALED 1975 US first original pressing of this highly essential deep jazz hypnotic organ funk LP. Possibly the best known of Strata’s releases, The Lyman Woodard Organization’s ‘Saturday Night Special’ is rightly heralded as a jazz fusion classic. Recorded in 1975, ‘Saturday Night Special’ features organ, electric piano and Mellotron by bandleader Lyman Woodard alongside guitar and bass by Ron English, with drums and percussion by Leonard King, Bud Spangler & Lorenzo “Mr. Rhythm” Brown respectively. Despite the fairly sparse instrumentation, ‘Saturday Night Special’ lays down an impressive wall of sound, powerfully atmospheric in its almost low-fi aesthetic. With traditional jazz, rhythm & blues, Afro-Cuban styles seeping through its pores, the uniqueness of this album translates itself with a laidback, tripped-out groove that's really mind-blowing! Ron English accents the thing perfectly with his languid guitar and bass groove, while Leonard King and Lorenzo Brown's drumming and percussion can keep the groove adrift, or tear it up in a funky maelstrom depending on the mission of the cut. It's totally essential Strata jazz funk. In other words, this record sounds like Detroit. Woodard provided solid, head-nodding groove music punctuated by heady, at times spacey jazz improvisation that set the standard for any rival or modern-day intercity deep jazz band. Absolute killer slide and in top notch condition. Hard to ever upgrade upon as this a SEALED copy. Price: Offers!!!
212. MAD RIVER: “A Gazelle – Orange Fire b/w Windchimes” Wee Records – 10021) (33RPM 7 Inch Single EP: Near Mint/ Picture Sleeve: Near Mint). Original first press copy of Mad River’s arrest and greatest release – their privately issued first EP in top shape! One of the oddest and lyrically most tense of the San Francisco psychedelic bands, Mad River backed Lawrence Hammond’s trembling, angst-ridden vocals with thrilling multi-layered guitars that sometimes verged on dissonance, as well as complex we-dare-you-to-dance-to-this tempo shifts. Released on Bay Area jazz/R&B musician Lonnie Hewitt’s tiny Wee label, their 1967 EP has early versions of a couple of songs that they’d remake for their 1968 Capitol debut (A Gazelle, which would be retitled Amphetamine Gazelle, and Wind Chimes), as well as the devastating anti-war anthem, Orange Fire. Arguably their best song, this somehow did not find a place on either of their two LPs, and is worth the price of this EP alone. Which would be quite difficult if you could locate a copy, as not many are in rotation or come up often. Coming in a basic black-and-white picture sleeve (with their Berkeley PO Box listed as the contact address on back), these were quite fragile, as the band glued the covers together themselves. Guitarist Rick Bockner, in fact, doesn’t even remember seeing a copy that’s still in one piece. But here you have one, pristine copy. One of my all-time fave records of all time. Price: Offers!!!!
213. MAEDA NORIO & ALL STARS: “Rock Communication – Yagi Bushi” (Teichiku Records – SL-1329) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Obi: Near Mint ~ Mint). Brutally rare Japan 1st press original all complete with original obi and in virginal condition. Never ever surfaces in this condition with obi. Wicked hybrid jammer that could only be birthed out on the Japanese archipelago from keyboardist and arranger Maeda Norio. This is formidable and jaw-breaking Minyo-infused spiritual jazz funk that saw the light of day in 1970, instantly becoming one of those key albums that took a 60s groovy Japanese sound much further into the future by giving the whole thing a sharper edge, with heavier drums, trippy acidic guitar, freaky flute lines, and swirling keyboards to give the whole thing a vibe that's almost more blacksploitation or kung fu soundtrack than most of what Maeda had done before and thereafter! It is a genetically contaminated intoxicating jazz oddball setting the tone with a theme of traditional Japanese Minyo music, arranging rural folk songs and injecting them with swirling jazz rock, turning it into a combustible mixture and becoming a hypnotic Japanese original sound that immediately infects anyone exposed to it. There will be no way back once contaminated by the groovy bug, turning addicts worldwide into a vicious feeding frenzy while searching for original but always elusive copies. Rock Communication – Yagi Bushi is the top of tops! It is a sound impregnated with melodies that drift on rural nostalgic fumes, invigorated with runs of wicked jazzy vibes, scattered throughout with dashes of an explosive psychedelic rock feel. Norio Maeda is a master who possesses the skill that is the perfect tool to fuse Minyo folk songs with lysergic jazz. As the title says “Rock Communication”, is a head-to-head folk song + psychedelic jazz rock masterpiece. The nostalgic and rural tunes are infiltrated by an urbane flow of jazz and seethed with razor-edge sharp burst of hypnoid rock, shaking the mind and body like experiencing the edge of a speed trip. Tracks are all pretty lively, and work together as a sweet set of grooves – almost with a funky Lalo Schifrin sort of vibe. Freakingly rare especially in this condition and with the obi there to boot so… you may go heavy and deep for this one. Price: Offers!!!!
214. MANFRED MANN: “Chapter Three – Volume Two” (Philips Japan – SFX-7267) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). First original Japanese press – all complete with rare OBI. RED label PROMO Issue. Released in the UK on vertigo, the Japanese issue came out on Philips, the mother company of Vertigo. High quality pressing and comes housed in thick gatefold jacket. The music is similar and the follow-up of chapter one, filled with brooding jazz tinted and psychedelic infested moves, smoky sax lines priggish moves and menacing vocals. Total killer album and a worthy successor to Chapter One. Original 1970 Japanese pressing with the 1st obi present. Promo issue. Price: Offers!!!!

215. MANSET, GERARD: “S/T” (Odeon – SLOX340 784) (Record: Near Mint/ Flip Back Jacket: Near Mint). Top copy original French pressing. Damned rare record and possibly the best French disc ever. Well, without a single doubt, this is one of the all-times best LP's to have ever come out of France. Gerard Manset 1st album. With this LP, Manset delivered an instant classic, totally deranged, wild, hyper psychedelic and totally in the tradition of French chanson but at the same time ultra-surreal and psyched out. In short the album has in every song all the elements compacted that good music should have. This it totally IT. The string arrangement and melodies are amongst the best you could find in a 60's French production, and the lyrics are just crazy psych nonsense---Released untimely in 1968 during the student riots in Paris. Fortunately, Manset got some success ten years after and EMI released monster that contains the following killer cuts: Animal On Est Mal, Mon Amour, La Toile Du Maitre, Il Rentre à 8 Heures Du Soir, On Ne Tue Pas Son Prochain, La Femme Fusée, L'une Et L'autre, Je Suis Dieu, Tu T'en Vas, La Dernière Symphonie. Aquarius commented on the music like follows – just to show you an other opinion instead of mine: “Gerard Manset is an underground French treasure, recording records since the late '60s but always avoiding the public spotlight, refusing to do interviews, appear on TV or play any of the other silly games often required to attain mainstream success. With a totally seductive voice, and lush arrangements that are as powerful as they are beautiful, this album recorded during the student riots in Paris in 1968 has become one of those discs we can't stop listening to! There is an urgency and passion in these songs rarely heard in modern music. Manset has the same kind of presence and elegance as folks like Serge Gainsbourg, Caetano Veloso, Michel Polnareff and Scott Walker. This is not ye-ye fluffy French pop. Don't get us wrong we love that stuff, but what makes Manset so damn great is how his songs are so melodic and catchy while also being so sensual and impassioned. Totally smart arrangements that will appeal to both psych and pop lovers.” (Aquarius Records). This record is one weird psychedelic trip down Wonderland Avenue. A fantastic head spinner and all-time highest recommendation. Original French pressing in TOP condition but sadly so hard to find. Price: Offers!!!!!

216. MARIANO, CHARLIE QUARTET: “Haru No Umi – East Side & West Side” (RCA Records – JRS-7261) (Record: Near Mint/ Gatefold Jacket: Excellent – middle seam crack/ Obi: Near Mint) Seriously rare Japan only issue of spiritual slide. The material on the first side of this LP can only be found on this issue and it is a real stunner, a jaw-breaker when you put your ears to it where Mariano tackles an interpretation of traditional Japanese music composer and koto master Michio Miyagi's "Haru No Umi" and followed by his own composition "Stone Garden of Ryoan Temple". It is also a surprise to see that Mariano's composition isn't played by the quartet but instead fold out into a quintet with Sadao Watanabe (flute), Masabumi Kikuchi (piano), Masanaga Harada (bass) and Masahiko Togachi (drums). But what a track it is, opening up with a contemplative beginning consisting out of mostly dreamy flute and impressionistic piano before it breaks loose and starts to drift into freer areas. But like the wall around Kyoto's famous Ryoan-ji Zen temple garden with it's 15 stones lying as if by chance in a bed of gravel stones, there is still a frame in the composition. Mariano displays an amazing streak of creativity empowered by some sort of Japan-inspired spiritual awakening that resulted in deeply moving music. The term spiritual gets overused sometimes, but this is truly spiritual music. As the needle drops on the title track that opens the album, you are immediately transported to a different mental space with the sound of Mariano’s sax, Masabumi’s dervish-like piano playing, a hypnotic bass line, drums and flute and a soulful improvisation that reigns it all in. It is yet very subtle but also quite powerful. It is just that sort of record, melding styles and backgrounds into an eclectic and powerful creation of improvisation and jazz composition alike, blending it with dazzling Japonized playing and morphing into momentous and pulsing jazz with a heavily physical & meditative presence. There’s a restrained groove about it at times, such as on the “Stone Garden of Ryoan Temple” track but the ensemble is often reaching toward something greater and more intangible, as with the ascendant notes of Masabumi’s piano salvos. Amazing!! Very first time I have an all complete copy and one of the greatest spiritual jazz slides to seep out of Japan! Seriously rare. Never surfaces all complete with obi. Price: Offers!!!
217. MARCONI NOTARO: “No Sub Reino Dos Metazoarios” (Discos Rozenblit – LPLCP-009) (Record: Excellent – the disc has a few sleeve lines one can detect under a bright light = best ever condition for this Brazilian original/ Fragile Gatefold Jacket: Near Mint). This joyous masterpiece stands musically somewhere between the Lula Cortes 'Satwa' and the 'Paebiru' album with Ze Ramhalo. A poet's vision in mellow song, mixed with tropicalia tinged-folk, Latin and bossa nova rhythms, uplifted by joyful experimentations with electric sounds and trance-inducing effects. Tribal-esque percussion compliments the ragas, created by the beautiful sitar-like instrument 'tricordio', made by Lula himself. With all of those who started shouting “private press only” after Shadow named an album after those American self-starters who took their recorded destiny into their own hands, consider this: as hard as it might have been to record, press and distribute your very own wax capsule in America in the early ’70s (and as rare, and good, many of them are), doing the same under Brasil’s military dictatorship was markedly more difficult. And releasing a psychedelic, fuzz and effects drenched opus with revolutionary musings disguised within double entendres? Next to impossible. You’d want this one in your collection if it contained just one good track within its beautifully packaged gatefold cover. That this album screams perfection from start to finish just adds to its legendary status. The brainchild of poet Márconi Notaro, alongside his friends and compatriots Lula Cortes and Ze Ramalho (the men behind perhaps the most legendary of Brasil’s private-pressed albums, 1975’s awesome Paebiru), this album contains what can only be described as Brasilian ragas played with the Portuguese guitar and Lula’s own invention, the Tricordio; improvised passages so fluid you’d swear they were scored; psychedelic-funk jams about staying true to one’s origins; and, throughout, Notaro’s complex yet approachable poetry, sung by the poet himself. The highlight of the album, if there is just one: Notaro’s improvised “Nao Tenho Imaginacao Pra Mudar De Mulher (I Don’t Have The Imagination to Change Wives),” a gorgeously melancholic piece that, when one sees it transcribed is nearly impossible to imagine as having flowed directly from the mind of one of the most underrated Brazilian poet/composers.” (Nowagain) One of the rarest and best psychedelic albums to seep out of Brazil and in awesome condition, I do not believe one can find a copy better than this one here…so make your best move and don’t be shy! Price: Offers!!!
218. MARIO CASTRO NEVES & SAMBA S.A.: “S/T” (RCA VICTOR – BBL-1390) (Record: Near Mint/ Jacket: Near Mint). One of the rarest Brazilian LP’s out there, 1967 original pressing in absolutely TOP condition of this Brazilian masterpiece: Most copies out there are Peruvian later pressings or trashed to the max Brazilian remnants of what once was a desirable LP. This baby here is probably the cleanest and most perfect copy out there or ever been offered for sale. “Bossa nova has always been a multicultural movement. The American participants (Stan Getz, Bud Shank & Charlie Byrd) were influenced by Brazilian samba; the Brazilian participants (Antonio Carlos Jobim, Luiz Bonfa, Joao and Astrud Gilberto) were influenced by American jazz (specifically, cool jazz). And it is no accident that many bossa nova standards have both English and Portuguese translations; bossa nova has long had one eye on the Brazilian market and the other on the English-speaking world. Recorded in Rio de Janeiro in 1967, Mario Castro-Neves & Samba S.A. is a prime example of bossa nova's multicultural outlook. This LP finds pianist Mario Castro-Neves leading a small Brazilian group, which includes the female vocal duo of Thais and Biba - and instead of having them perform Brazilian songs exclusively - Neves gives the singers a variety of Brazilian and American songs to work with. Clearly, this session was meant to appeal to both Brazilian and English-speaking audiences, which is why familiar Brazilian songs (including Jobim’s "Corcovado" and Walter Santos’ "Vem Balancar") are heard alongside English-language material (such as the standard "Bye Bye Blackbird" and the Chris Montez hit "Keep Talking"). But whether the language is English or Portuguese (mostly the latter), Neves maintains a sensuous and gently swinging approach to the samba rhythm. Samba, of course, can be played aggressively and exuberantly, but the bossa nova recordings of the '60s approached samba in a subtle, relaxed, understated, cool jazz-minded fashion -- and that is the sort of ambience that Neves favors on this pleasing album.” (All Music Guide). This 1967 album by Mario Castro-Neves and his Samba SA group is a real gem -- a breezy vocal group set with an approach that's clearly influenced by the Sergio Mendes Brasil 66 style, but which also has touches of European 60s jazz -- in a cool modal scatting mode that really makes the songs dance around nicely! There's a sparkling sound here that's strongly influenced by bossa, but which also has some sunnier 60s touches too -- and Mario's arranging skills are at an all-time high on the lightly dancing rhythms of the tunes. The sound quality is full of luster and has a fantastic punch, so much richer than the reissue. Top condition 1967 original, impossible to ever upgrade upon. Price: Offers!!!!
219. The MARZETTE WATTS ENSEMBLE: “S/T” (Savoy – 12193) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint – still housed in shrink). Final upgrade condition. Best ever condition I have had so far with the sleeve still housed in original shrink. Killer free jazz slide by Watts who gets flanked by Patty Waters amongst others on this sheer fantastic disc. Here is what the Reverend Thurston Moore had to say about the LP: “Marzette was a serious black art cat who resided in downtown NYC when Free Jazz as a NEW cultural revolution was in full gear. He painted and composed wonderful music where some of the coolest locals could flow their flavor. One of the heaviest ESP-disk recordings is Marzette’s “Marzette and Company” which has the incredible talents of saxist Byard Lancaster (who released an early indie b&w Free Jazz classic out of Philly called Live at McAllister College) and guitarist Sonny Sharrock (check his wild influence on Pharaoh Sanders’ Tauhid LP and his own obscure noise guitar masterpiece Black Woman on Vortex)and cornetist Clifford Thornton (academic New Music/Free Jazz“teacher” who released a few crucial sides such as Communications Network on Third World and The Panther and the Lash on America) and the amazing free vocalist Patty Waters (who recorded two infamous hair-raising platters on ESP-Disc). This recording on Savoy was one of a series produced by Bill Dixon, an early associate of Archie Shepp’s, who was an incredible composer in his own right. I’ve heard tapes of Dixon leading Free-Jazz orchestras into sonic symphonic heavens. Very hardcore.” (Thurston Moore) What the man said, very hardcore indeed. Original pressing in TOP SHAPE, just a feast for your ears. Possibly the best condition one can hope for. Price: Offers!!!!
220. MASABUMI KIKUCHI QUINTET: “End For The Beginning” (Philips – FX-8527) (Record: Near Mint: Jacket: Near Mint & Fully Signed By all band members/ Insert: Excellent). Damned rare 1973 original first pressing in outstanding shape and all complete with insert and mega rare OBI. Comes fully signed by all the quintet’s members. A modal – spiritual jazz cornerstone! End from the Beginning is a soulful masterpiece by the quintet comprised out of Kosuke Mine, Hideo Miyata, Yoshio Suzuki and Hiroshi Murakami who together with leader Kikuchi Masabumi created this chef d’oeuvre of spiritual jazz, recorded live in the studio and brimming over with a vibrating tension and exploratory emotions. Right from the start with its dynamic intro up to the massive “Admire, But Detest” and the cool-as-fuck modal jazz groover “Green Dance”, wherever you drop the needle, you will be hit with intoxicatingly deep & groovy sounds. Exquisite modal jazz, post-Coltrane inspired improvisations and spiritual vibes with Kosuke Mine excelling on soprano sax and his sidekick Miyata filling the gaps on tenor and flute while Kikuchi again brings delight and pure pleasure on the ivory keys. The composition Gin-Kai feels like a breath of fresh air with its Japanized touch drifting on percussive rattles and cymbal effects, infused with dissonant soprano/ flute tones interlocking with a poetic and delicate but free roaming piano riffage. “Bell” on the other hand has a strong spiritual vibe drifting on a suggestive theme with a strategic improvisational touch, without losing its subtility, bringing out an elegance not unlike the one found in Scandinavian jazz. In all, End of the Beginning brings together themes that are close to Kikuchi, with its at times bolstering flights but also its moments of grand accuracy that will please any seasoned ear looking for the pleasures of deep spiritual jazz. Price: Offers!!!
221. MATCHING MOLE: “Little Red Record” (Epic – ECPL-69) (Record: Near Mint/ Jacket: Near Mint – still housed in original shrink/ Capsule Obi: Mint – still housed in original shrink/ Two-sided imprinted inner sleeve with liner notes and mole design: Near Mint). Freakingly rare Japan 1971 first original pressing with hopelessly rare OBI present and in absolutely top condition. Released in 1971 Little Red Record was Mole's second album. It was produced by Robert Fripp and it features a cameo appearance by Brian Eno. It is the quintessential Canterbury scene album. Matching Mole's style is notably different from their debut album. The group got rid of the song-oriented ballads almost entirely and introduced an even higher amount of jazz-fueled improvisation to their music. However, showcasing the group's members' musical skill does not seem to be the aim of the numerous improvisational arrangements that appear so frequently on Little Red Record. The heavy repeating passages, which often do provide a base for instrumental soloing, create vibrant musical suspense, which makes the music on this record incredibly moody and full of distinctive mysticism. The typical tongue-in-cheek, Canterbury-styled arrangements are all present and flashing their intoxicating tonal colors. This becomes evident with pre-recorded voices and sounds of various conversations played over the band's music, giving the album an eccentric appeal. An incredibly tight unit featuring Phil Miller (Hatfield and the North) on guitar, Dave McRae (Nucleus) on keyboards, Bill McCormick (Quiet Sun, 801) on bass and Wyatt himself on drums and vocals. Compared to their previous work, Red Record goes way far beyond the limits of Rock and Jazz. Even if mostly instrumental the album includes "Gloria Gloom" a magnificent song and one of the very first Wyatt's critical reflections on Music and Socialism. In one word, a classic!!! Rare beyond belief japan 1st original pressing with OBI….never saw one, took me 15 years to find a copy. Impossible to upgrade. Price: Offers!!!!
222. ANDREW MATHESON & THE BRATS: “Grown Up Wrong” (Mercury – 6317.504) (Record: Excellent/ Jacket: Excellent ~ Near Mint). 1975 Norway only release that came out in a tiny run of only 563 copies. Still, hardly any original press copies do spring up for sale at all, leading to the believe that fewer than 300 are actually still in existence as sales were depressingly low at the time. That all aside, The Brats – or the Hollywood Brats as they were known sprang from penurious squat-level beginnings, but across 1973-74, these London proto-punks were one of the hottest tickets in town. Daubed in mascara and swanning around the scene on stack heels, they were championed by Keith Moon and wreaked havoc at London’s swankiest clubs, but after they inadvertently aligned themselves with a Kray Twins-affiliated management team, no record company would touch them. Not surprisingly, the band duly disintegrated, though Mercury eventually granted their debut LP Sick On You a limited release (in Norway only) as Grown Up Wrong in 1975 – long after the band had split up but Andrew always clung on to the master tapes of some studio recordings the original band did some years earlier. The music is a glorious mess of spunked out, strung out and drug rattled mid-seventies gutter punk/ glam trash. A riotous splurge of attitood-smeared, New York Dolls-esque raunch’n’roll, Sick On You is still a rough but highly covetable diamond, sparkling with vivid debauched anthems such as Chez Maximes, Courtesan and a provocative, gender-bending cover of The Ronettes’ Then He Kissed Me. One of my all-time fave recordings, took me like forever to find an original spare copy because these babies are so tough to get. The music feels like it left behind the LSD fueled UK psychedelic basement of the late sixties and early seventies to seek only sanctuary in the penthouse of amphetamine-soaked freedom culminating in a glam punk heroin groove that has yet to meet anything coming close to their greatness. Killer. As many copies are quite trashed, this one here is a nice and solid EX copy, will be hard to improve upon this one. One of the best records out there, yet almost no one has an OG filled…this can change NOW!!! Price: Offers!!!
223. MAULAWI: “S/T” (Strata Records – SRI-104-74) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). Top condition copy of totally vanished original private pressing on orange Strata label (blue and orange label variations exist – both were released simultaneously). “This is a long lost classic deep jazz album and the only recording of Maulawi Nururdin and his group. Originally recorded in Chicago in Sep 1973, and released by a small independent label in Detroit the following year. The music fell between the gap of the avant-garde and straight-ahead jazz, and had elements of Funk and Latin that were rare at the time that meant that commercially it sank without a trace - but, thirty years on, we can see that these are exactly the elements that help make it a unique album, years ahead of its time. Maulawi grew up in Chicago and was part of the great heritage of Chicago music that ranged from the electric blues of Muddy Waters, the straight-ahead jazz of Ahmad Jamal, through to the Art Ensemble of Chicago, Sun Ra, Anthony Braxton and other members of the avant-garde royalty. As a saxophonist he was also part of the tradition of great Chicago horn-players that includes Gene Ammons, Eddie Harris, Johnny Griffin and many more. Maulawi had led his own group since the 1960s and a number of young musicians came up through his group – Billy Greenfield, Jack DeJohnette, Jerome Cooper and on this album a 16-year-old Adam Rudolph. Maulawi was a multi-instrumentalist and bandleader and although he specialized on saxophones, also played oboe, piano, drums and more. His career was on the periphery of the Association for the Advancement of Creative Musicians (AACM), the collective of avant-garde musicians in Chicago that included Richard Muhal Abrams, The Art Ensemble of Chicago and Amina Claudine Myers – he was never a member but often played with those involved in this musical community, musicians such as Billy Brentfield and Fred Anderson. In 1973 the group went into the studio to record this one record for Strata Records in Detroit, an independent label run by Kenny Cox and Charles Moore. A planned association that never worked out also led to the birth of another label, Strata East Records in New York, run by Charles Tolliver and Stanley Cowell. Welcome to the world of Maulawi!” (Soul Jazz). “Street Rap” is the club joint here - huge electric pianos and bass shudders bed down with Diane Cunningham and Joyce Major behaving in a nicely stroppy fashion, punctuated by Malauwi bluesy, funky wail - somewhere between Johnny Griffin and Eddie Harris. Chicago 1973 was clearly one of the places to be - a good year and a session just oozing vibes. "Root in 7/4 plus" allows the whole ensemble to show on out, benign tempo shifts and a perfect balance of freedom, spirituality, and a muscular, sultry improvisational atmosphere. There's the obligatory 'Naima' of course, taken very fast and in a Latin style, a sixteen-year-old Adam Rudolph killing it on the congas. The music is utterly vibrant, breathing out a unique and bizarre blend of deep jazz, heavyweight street funk, freaky Latin vibes & way out avant-free-form weirdness. Price: Offers!!!!
224. MAY BLITZ: “S/T” (Vertigo/ Philips Japan – SFX-7326) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Stupidly rare Japan original press – RED label PROMO issue – with mega rare OBI. Just never turns up, first copy to cross my eyes in over 15 years. Top condition. Erected around drummer Tony Newman and two Canadians, guitarist and vocalist Jamie Black and bassist Reid Hudson. Molded in the same vein as power trio format of the likes of Cream and the Jimi Hendrix Experience of that day, May Blitz was nothing like them eventually. Neither were they even remotely as successful. In all, their music is a force to reckon with, an amalgam and excellent combination of hard rock, mixed through with blues and psychedelic touches, which at odd times even got spiced up a bit with a whiff of prog. And with all that going, May Blitz even managed to incorporate a stoner vibe as well as comes most prominently to the foreground on tracks like the drug-oriented “Smoking the Day Away” and “I Don’t Know”. Jamie Blacks guitar and even vocals often sound like methedrine soaked somersaulting madman with lots of axe wielding aesthetics. Shredding out some truly killer and devastatingly wasted guitar shreds that gets underscored and beefed up by Newman’s ass-pounding drumming, the band sounded like combo trying to deal with a collectively raving disorder, stomping out slammy arrangements that charges right ahead in a blustery delirium. Their act is wide open which enables them to be just another bunch of disgruntled wild cats with ideas watching while all the bullshit around them is going down. Just so bloody damned good. Top copy 1st Japan original pressing, next to impossible to score in such immaculate condition as this one here and with the mega rare obi present. Price: Offers!!!
225. MC 5: “Kick Out The Jams” (Elektra/ Victor Japan – SJET-8153) (Record: Near Mint – non-sounding faint hairline on side one/ Jacket: Near Mint ~ Mint/ Outer Jacket Cut-Out Obi: Near Mint ~ Mint). Top condition all complete with die-cut obi stock copy of this uncensored “mother fuckers” heavy ball crusher, released in September 1969 original Electra/ Victor LP by the MC5 “Kick Out The Jams”, all complete with the never-seen-before cut out wrap around obi!!! In short, this complete edition 1st pressing is next to impossible to dig up on these shores. So let me explain about the condition some more. The actual records jacket is total mint as well as the actual record, which I would grade in between excellent and near mint. The wrap-around-cut-out-obi sleeve I would conservatively grade at excellent ~ NM. The wrap-around-obi functions as a slide in that holds the actual record’s jacket and has the words “World New Rock” cut out, which is quite fragile and its often damaged but this one is just pristine without any blemishes. These wrap around die cut obis came out in a series of about 15 albums that next to the MC5 held artists such as Jethro Tull, The Doors, Paul Butterfield Blues Band, Zappa’s “Uncle Meat” (last copy I saw of this one sold for 3000 euro here), Tim Buckley’s “Goodbye & Hello”, Pentangle 1st LP, The Loving Spoonful, Rhinoceros, Sweetwater, Ansley Dunbar Retaliation, Joni Mitchell and Noel Harrison. And as far as this MC5 LP is concerned, to make things even more mouth-watering, this here is the uncensored version to boot. So seen against this all, you have a genuine rare gem here for grabs, strictly graded like an ascetic monk crawling the hills in search for spiritual salvation. So therefore, this baby will let you bleed a bit and will have to let it go at…best one I have ever had….Price: Offers!!!
226. MC 5: “Back In The USA” (Atlantic Records Japan – MT-2020) (Record: Mint/ Gatefold Jacket: Near Mint/ OBI: Mint) Rarest of the rare Japan all complete first press issue with OBI!!!! Serious shit! Rarest MC5 slide out there with obi – just surfaces…about never ever. Top condition – best ever and this is also the bloody rare 2nd MC5 LP – comes housed in Japan ONLY gatefold jacket + WHITE LABEL PROMO issue, only a handful seem to be in existence. True 1st issue with matrix numbers ending in A-1-1 and A-1-2. “While lacking the monumental impact o Kick Out The Jams, the MC5’s second album is in many regards their best and most influential, its lean, edgy sound anticipating the emergence of both the punk and power pop movements to follow later in the decade. Bookended by a pair of telling covers – Little Richard’s "Tutti Frutti" and Chuck Berry’s "Back in the U.S.A." -- the disc is as much a look back at rock & roll's origins as it is a push forward into the music's future; given the Five’s vaunted revolutionary leanings, for instance, it's both surprising and refreshing to discover the record's emotional centerpiece is a doo wop-inspired ballad, "Let Me Try," that's the most lovely and gentle song in their catalog. The recurring theme which drives Back In The USA is adolescence, its reminiscences alternately fond and embittered -- while cuts like "Tonight," "Teenage Lust," "High School," and "Shakin' Street" celebrate youth in all its rebellious glory, others like "The American Ruse" and "The Human Being Lawnmower" condemn a system which eats its young, filling their heads with lies before sending them off to war. Equally gripping is the record's singular sound -- produced by Jon Landau with an almost complete disregard for the bottom end, Back In The USA captures a live-wire intensity 180 degrees removed from the group's live sound yet perfectly suited to the material at hand, resulting in music which not only salutes the power of rock & roll but also reaffirms it.” (All Music Guide). Top copy and hardly ever offered Japan Only gatefold jacket white label promo issue with narcoleptically rare hardly ever seen OBI present . Very rare to say the least so give me your best shot and do not be shy to flash the cash for this one …. Price: O-O-O-Offers!!!
227. MIGHTY BABY: “S/T” (Head – HDLS-6002) (Record: Near Mint ~ MINT/ Gatefold Jacket: VG++ ‾ Excellent, no ring wear or damages but upon close inspection there has been some color restoration near the spine and some faint signs of handling. So VG++ ‾ EX and not too bad at all except for anal mint freaks). Original 1969 UK pressing!! Record is absolutely top, seems to be unplayed and best condition for this record imaginable!!! When the Action broke up in the late 60s, they reformed minus Reggie King as Azoth. The Azoth name was short lived, leading the band to settle on Mighty Baby. The Action had played the club circuit for years, releasing many excellent mod singles before plunging into the world of psychedelia. This band had always worked hard, and now they were finally given the luxury to record a long player. Mighty Baby’s album was released in 1969 off the small independent Head label. At this point, Mighty Baby could technically and instrumentally hold their own against rock’s finest: The Grateful Dead, King Crimson, Collosuem, Caravan and the Allman Brothers. The album is miles away from the soulful, sweaty mod garage of their mid 60s singles and could best be described as a melding of Crosby, Stills, Nash and Young harmonies, Allman Brothers guitar improv and Notorious Byrd Brothers psychedelia. Few debut openers are as good as the revolutionary Egyptian Tomb. It’s a sleek, powerful piece of psychedelia with strong west coast style guitar interplay. At 5:30 minutes, this great song never falls flat and is definitely one of the defining moments of British acid rock. Same Way From The Sun has a similar stoned vibe with psychedelic echo and sounds like it could have been lifted from a really good latter day Byrds album. The spacious, pounding A Friend You Know But Never See, yet another highlight, rocks really hard with some interesting raga style guitar and has a strange mountain air aura. Other works such as the rural I’m From The Country provided a sound Mighty Baby would further explore on their next album, the equally brilliant “Jug of Love” from 1971. Mighty Baby along with the Action and various band member’s solo careers are one of rock’s great lost family trees. During their peak they were innovative and unstoppable, thus the “English Grateful Dead” label really doesn’t do them any justice.” (the rising storm). Top copy of this freakingly rare top lever acid psych guitar jammer that is by many regarded – and rightly so – as one of the best UK album’s ever to seep out of that pocket in time. Amazing condition but as always minimal wear on the fragile non-laminated gatefold cover which had some retouching near spine, the disc on the other hand is the best condition imaginable, never seen such a perfect one as this copy here NM~MINT all the way, so I guess you have a winner here on your hands. Nice and reasonable price as the jacket is not perfect but disc is best in existence so… Price: Offers!!!
228. MIGHTY BABY: “A Jug Of Love” (Blue Horizon – 2931-001) (Record: Near Mint/ Jacket: Excellent/ Insert: Excellent). Really clean copy and one of the best sleeve condition I have seen so far with hardly any wear. Comes with insert. Original 1971 UK press of their second album and arguably their best. The album was a commercial flop on the short-lived Blue Horizon label and the band’s 2nd 1971 LP remained unheard by most punters at the time. Which was a shame: Mighty Baby’s second album anticipates future developments in aerial guitar music almost as presciently as Pink Floyd’s Meddle. Whereas many psychedelic obscurities merely offer more localized explorations of the new grounds broken by more prominent contemporaries, A Jug of Love stumbles into a unique rarefied headspace. The whole affair is more lysergically intoned as compared to their debut and it has a more spaced out West Coast oriented vibe hovering over it all. The West Coast angle comes when Mighty Baby craft their ego-dissolving sound world without fully abandoning the pop song. Celestial bent notes lock arms with a Crosby, Stills, and Nash-ish chorus in the title track, and “Keep on Jugging” embarks on its third eye-opening voyage from a simple boogie foundation—what concludes with mesmeric bursts of fragmented guitar begins as innocuously as one of The Grateful Dead’s country numbers. Now that is never bad in my book and for Mighty Baby it works gloriously well as their jams never appear to be lost at sea as opposed to many other contemporaries. It especially makes more sense and causes praise when understanding that the whole affair was a rather rushed effort, recorded in barely a week's time. And when knowing this, it makes this album even more ear-bleeding and eye-watering than it initially already was. I for one never get enough of this one. Really nice condition one, record seems as clean as a new born baby’s ass, sleeve as minimal wear on spine only, one of the best so far. Price: Offers!!!
229. MIHO KEITARO & HIS GROUP: “Sound Poesy Sachio” (Columbia – YS-10071-J) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Picture 4 Page Booklet Inside Gatefold: Near Mint/ Obi: Near Mint) Seriously rare Japan 1st original pressing from 1969 all complete with damned rare OBI. Pianist Miho Keitaro’s music is often characterized by its versatility and ability to blend various genres, including jazz, bossa nova, lounge, and experimental sounds. His work on “Sound Poesy Sachio” is no exception, as he employed a diverse range of musical styles to create an almost soundtrack-like atmosphere, that takes inspiration from a close friend of his, the Paris-born car racer Fujisawa Sachio who died, at the age of 25, in a test run accident that same year. With a lot of variety that goes from jazz to bossa nova, instrumental breaks with a few vocal songs and some scat, this is fantastic concept album injected with racecar sounds that are dubbed all over the music. In this way, Miho attempted to pay tribute to "Sachio", also a music lover who came to see his band play in Roppongi and made the comment about Miho’s sound being hard, making Miho rethink his directions. So, he set out to compose an album that Sachio would probably have liked, but "if he would hear it, he'd probably say 'it sucks" recalls Miho with a smile. Treating it as a soundtrack and arranged & performed by Miho, "Sound Poesy" was his tribute to the young racer. A large part is devoted to the racing atmosphere including dialogues inserts, racing sounds & car noises, creating a Grand-Prix's atmosphere. Other parts include female scat singing, Bossa Nova vibes and original laid-back jazzy compositions. The use of saxophone, piano, and light percussion contributes to the mellow, anesthetizing lounge-like ambiance of the music. The soundtrack-like vibe is relatively innovative for the time and Miho was able to seamlessly blend different musical genres to enhance the emotional impact of the overall score. It showcases his talent for creating evocative and memorable soundscapes that complement the visual narratives for Sachio. Killer Japanese jazz slide – largely overlooked and damned rare all complete with obi. Top shape!!! Price: Offers!!!!
230. The STEVE MILLER BAND: “Children Of The Future” (Capitol – CP-8685) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near Mint). WHITE label PROMO issue. Comes with insanely rare obi present and with finally the Obi also in pristine condition. “A psychedelic blues rock-out, 1968's Children Of The Future marked Steve Miller’s earliest attempt at the ascent that brought him supersonic superstardom. Recorded at Olympic Studios in London with storied producer Glyn Johns at the helm, the set played out as pure West Coast rock inflected with decade-of-love psychedelia but intriguingly cloaked in the misty pathos of the U.K. blues ethic. Though bandmate Boz Scaggs contributed a few songs, the bulk of the material was written by Miller while working as a janitor at a music studio in Texas earlier in the year. The best of his efforts resonate in a side one free-for-all that launches with the keys and swirls of the title track and segues smoothly through "Pushed Me Through It" and "In My First Mind," bound for the epic, hazy, lazy, organ-inflected "The Beauty of Time Is That It's Snowing," which ebbs and flows in ways that are continually surprising. The second half of the LP is cast in a different light -- a clutch of songs that groove together but don't have the same sleepy flow. Though it has since attained classic status – Miller himself was still performing it eight years later – Scaggs’ "Baby's Callin' Me Home" is a sparse, lightly instrumentalized piece of good old '60s San Francisco pop. His "Steppin' Stone," on the other hand, is a raucous, heavy-handed blues freakout with a low-riding bass and guitar breaks that angle out in all directions. And whether the title capitalized at all on the Monkees similarly titled song, released a year earlier, is anybody's guess. Children Of The Future was a brilliant debut. And while it is certainly a product of its era, it's still a vibrant reminder of just how the blues co-opted the mainstream to magnificent success.” (All Music Guide). The first Miller Band LP to see the light of day but only the 2nd one to come out in Japan. This is ant all-complete issue with obi also in top shape and another heavy fave around here. Price: Offers!!!
231. The STEVE MILLER BAND: “Brave New World” (Capitol Records – CP-8744) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). 1969 Japan 1st original pressing – white label promo issue in top condition. Brave New World was more fully realized, and rocked harder, than Miller’s previous outings. His guitar playing is the star of this album, blazing across the whole affair more prominently than on any other release in his lengthy career; many of the songs have a power trio feel. In addition to the fine guitar work, Miller’s vocals are stronger here, and during this era in general, than they would be in his hit making days in the mid-'70s, when he was much more laid-back and overdubbed. Succumbing to a hippier, dippier breeziness previously obscured by raw blues, Brave New World is Steve Miller's first full-blown plunge into the Technicolor waters of the Summer of Love. The record starts with the sound of an exploding A-bomb and quickly trips into harmonized sha-la-las, boogie-blues bass lines, and other signifiers of late-'60s, California-fried rock. Tim Davis sizzles on drums while the Space Cowboy goes intergalactic, groovier and more nuanced than ever. Listen for hints of "Fly Like an Eagle" in the Paul McCartney-backed "My Dark Hour." A truly gorgeous album. Studiply rare all complete with obi. Top condition! Price: Offers!!!
232. MIYAMA TOSHIYUKI & NEW HERD ORCHESTRA (with SATO MASAHIKO): “Yotsu No Jazz Composition aka Four Jazz Compositions” (Toshiba – TP-9010) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint – some faint aging foxing/ 8-Paged Attached Booklet: Near Mint/ Obi: Near Mint). Complete copy with OBI!!! WHITE label PROMO copy. Only the 2nd time ever I have a copy of this MONSTER!!!! One of the best Japanese free jazz improvisation records ever and all complete!!! Hideously rare 1970 free jazz big band squawk that is these days massively in demand. What a blast, free jazz based upon traditional/ classical Japanese themes, merging ancestral musical motives with modern-day improvisation, four compositions of which one by the hand of master Sato Masahiko but all executed with conviction and fire-breathing power by the Miyama Toshiyuki & the New Herd. The opening track by Sato Masahiko entitled “Mumyouju” balanced delicately on the razor’s edge between oriental almost Zen-like minimalism and volcanic orchestral tension that fuses mercurial interplay with enforced proportionate tension that swirls in and out of focus like a demented dervish. A perfect meltdown that gels a traditional aesthetic with a big band improvisational approach. Just breath-taxingly beautiful and setting the pace for the rest of the album to unfold itself upon. The second track “Shirabyoushi” by composer Takami Hiroshi takes the above-mentioned concept towards another level, more avant-garde in its execution without ever loosing the ever building up tension that spikes the orchestral interplay. It even has an almost early-seventies Miles Davis flavor seeping through at times, injecting a certain swing-like funky touch into it, making it lyrically intoxicating like the soundtrack to the 1st Dirty Harry movie while slowly descending in a spiral of stirringly flagellant Mahdi madness. The other two compositions “Ikisudama” by composer Maeda Norio and “Senshuuraku” by Yamamoto Kozaburo develop in a similar vein, walking the same tightrope bouncing in between classical Japanese themes and almost psychochemical interplay that is carefully executed as if the players were a bunch of ascetic monks injected with a hard bop virus while free-roaming the snowy flanks of Mount Fuji. It is just such an amazing disc that had me holding down my jaws in order from preventing them to hit down to the floor on numeral occasions. This amazing record has been out of print since its first pressing in 1970, its rarity sandblasts its reputation amongst a small circle of people in the know, but once one is actually exposed to it, the inescapable judgment is that is measures up to the hype – if there is one already. Probably not because it is too damned obscure so it is about time to ignite one on the merits of this disc alone. Massive and rrrrraaaaaaarrrre, especially with obi and booklet intact. Price: Offers!!!!

233. MIYAZAWA AKIRA: “Akira Miyazawa” (King Record – SKJ-1001) (Record: Near Mint/ Flip Back Jacket: Near Mint – without the always present perforated hole.) Top condition Japan very first press issue from 1962!!! Also known under the title “Yamame”, this is a cornerstone slice of Japanese jazz, balancing on the tightrope of hard bop and Coltrane influenced nouvelle vague in jazz that was still to come. Languid, fluid, standing with one foot proud in the tradition that came before and with one foot firm into on-coming tsunami of new directions in jazz that were gathering strength onto the horizon. Such a refreshing listening experience and so much of the moment that makes this slide by Miyazawa such a rewarding and groundbreaking recording. Killer from start to finish. Top condition and needles to say… bloody fuckin rare. If Japanese Jazz is your fetish thang, then this is it! Price: Offers!!!!


234. MIYAZAWA AKIRA: “Iwana – Bull Trout” (Victor – SMJX-10068) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). Original 1969 pressing in great shape. This is truly a wonderful album, balancing in between AACM inspired spiritual mellow free jazz interplay and intoxicating mellow interplay. “Iwana – Bull Trout” predated the stellar “Kiso” by one year and already it hints at things to come. With a line-up consisting out of the crème of the crème of the Japanese free jazz scene at that day – Miyazawa Akira (ts), Sato Masahiko (p), Arakawa Yasuo (b), Togashi Masahiko (ds) and Seyama Yonosuke (perc) – “Iwana” became one of the few Japanese free improvisation records to come out so early that brimmed over with originality. The trio of Sato Masahiko, Arakawa Yasuo and Togashi Masahiko had prior to this recording just finished the “Live at the Palladium” LP (Express – EP-8004) and by adding them to the line-up, Miyazawa Akira strived for recreating or injecting his own compositions with some of the trio’s fire-breathing interplay that drove on a lyrical economy and meticulous musical detail that is deceptively intense. The quartet explores more spread open improvisational territories, less heavy loaded but nevertheless burdened with the same intensity and urge to spontaneously combust on the spot. More space is created for challenging interplay, demonstrating the greatness of each individual participant in this blood-curdlingly amazing slab of panoramic sound clusters. Everything I expect a fantastic free jazz disc to have is embedded within this LP’s grooves, semi-heavy fixes everywhere you look, communal stripped down interplay, individuality and bliss-like cut in interventions. But it isn’t before long they divert again into percussive shakers and intuitive atmospheres of free interplay that is not bound to be categorized easily. Hideously rare but sadly undetected piece of Japanese Free Jazz History. Highest possible recommendation. Top copy original pressing and essential to anyone trying to get firm grasp on Japanese free jazz. Impossible as of late to find a first original pressing so… Price: Offers!!!!
235. MIYAZAWA AKIRA QUARTET (with Sato Masahiko – Arakawa Yasuo – Moriyama Takeo): “Kiso” (Victor – SMJX-10090) (Record: Near Mint/ Gatefold Jacket: Near Mint). Top shape first original pressing of this amazing spiritual Japanese free jazz beast. Mega rare original that just about never ever surfaces. For this session some of the heaviest improvisers in Japan interlocked and created this behemoth of a disc. Centered around the groovy and exploding sax lines of Miyazawa Akira and assisted on ivory keys by Sato Masahiko pounding out cascading molten chunks of lava, butt-shaking and vitriolic bass licks of Yasuo Arakawa and the percussive tribal freak outs by master drummer Moriyama Takeo. The whole affair gets kick-started with a sidelong spiritual freakingly heavy track, immediately highlighting the animated strive of this quartet in action way back in 1970. Side A opens up with “Kiso” a tribal free floating lyrical maniac fury excursion that showcases Sato as a golden boy on the ivory keys while Arakawa and Moriyama provide the perfect backbeat for Miyazawa to blow his horn to smithereens. Free but smooth as silk, just perfect. All the way through, the quartet shifts to a higher gear, accelerating speed up frenzy that remains an artfully structuralized berserker blessed with tribalized spiritual jazzy overtones. There is much solo space for each of the four players and the spacious mix buts each of the four equally upfront on different occasions. It is a stunning showcase of visionary talent at the top of their game. They are literally on fire. From the opening notes on, things get rolling, it becomes an unfettered affair, fusing power and poetry into one coherent slab of paradigmatic oriental Fire Music. Cascading notes, tornado-like curveballs of sonic clusters that sound like almost a piano induced frenzy as an afterthought to a firestorm of improvisational interplay. Collective improvisation built up around piano pounding, frantic imploding sax lines and droning base stroking aesthetics evolve into a workout spiked with moments of real intense beauty especially with Sato sweeping across the keys, injecting his play with prepared piano moves while Arakawa scrapes his bass snares and Moriyama cooks up a storm of muffled brushes and strokes while Miyazawa brings the house crashing down. Still like most true inventive Fire Music it is also a mesmerizing and equally rewarding listening experience. These cats had it all down; gracious free-floating grandeur that touches divinity while creation unfolds itself. Beautiful record with interludes ranging from lyrical passages to sheer bursts of brutality and corrosive blasts of sheer white light. In all it is a staggering carnivorous sound form as the players lollopped through some extended nod out freeform jams that marry a primitive blowout aesthetic with lyrical flashes of sonic beauty. Mega rare original 1st pressing of all time classic Japanese monster jazz slide. Highly recommended. Price: Offers!!!!!
236. MOBY GRAPE: “WOW” (CBS Sony – SONP-50063) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Insert: Mint/ CAP OBI: Mint). Top copy 1st original Japanese pressing, all complete with never seen first issue obi. This is just insanely rare, never ever pops up. WOW is the true sophomore release, a great second album although many out there find is appropriate to slag it off without mercy, those nitwit fascist drunks. I for one ride hard for this album, making it one of those key-West Coast releases of that era. Even with the band's widening divisions and track record of consistently bad decisions, all five members of the band contribute to WOW--with some stunning results. The album is filled with great songs that are sympathetically arranged and performed, among them the fragile "He," the bluesy "Murder In My Heart For The Judge," and the soulful "Bitter Wind." Moby Grape ends the album with a new version of "Naked, If I Want To"--a strutting, funky take on an acoustic track from their debut. Also don’t forget to dig into the 78 RPM mastered “Just Like Gene Autry” that ends side one, making it in all an acidic spiked album to sit through. Truly amazing and astonishing to these ears, but then again, I am a West Coast psych nut and not a treacherous hyena that takes any chance to slag off greatness in order to elevates one’s own miserable existence. So, Moby Grape’s “Wow” is a fucking ace record!!! Top copy Japan original pressing with OBI!! Just about never surfaces and in incredible virginal shape. So, go heavy, go deep, no rest for the wicked on this one. Price: Offers!!!!
237. The MODERN LOVERS: “S/T” (Beserkley/ Trio Records – PB-2009) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ OBI: Excellent ~ Near Mint/ 4 Paged Insert: Excellent). Bloody scarce 1st original Japanese pressing from 1976 complete with rare obi. Genuine Yellow Label 1st press PROMO issue as issued by TRIO Records (2nd press was issued by Teichiku Records with catalogue numbering SUX-182-SE & which came out 4 years later). But this baby here is the damned rare very 1st pressing. “Compiled of demos the band recorded with John Cale in 1973, The Modern Lovers is one of the great proto-punk albums of all time, capturing an angst-ridden adolescent geekiness which is married to a stripped-down, minimalistic rock & roll derived from the art punk of the Velvet Underground. While the sound is in debt to the primal three-chord pounding of early Velvet Underground, the attitude of Jonathan Richman and the Modern Lovers is a million miles away from Lou Reed’s jaded urban nightmares. As he says in the classic two-chord anthem "Roadrunner," Richman is in love with the modern world and rock & roll. He's still a teenager at heart, which means he's not only in love with girls he can't have, but also radios, suburbs, and fast food, and it also means he'll crack jokes like "Pablo Picasso was never called an asshole...not like you." "Pablo Picasso" is the classic sneer, but "She Cracked" and "I'm Straight" are just as nasty, made all the more edgy by the Modern Lovers amateurish, minimalist drive. But beneath his adolescent posturing, Richman is also nakedly emotional, pleading for a lover on "Someone I Care About" and "Girl Friend," or romanticizing the future on "Dignified and Old." That combination of musical simplicity, driving rock & roll, and gawky emotional confessions makes The Modern Lovers one of the most startling proto-punk records -- it strips rock & roll to its core and establishes the rock tradition of the geeky, awkward social outcast venting his frustrations. More importantly, the music is just as raw and exciting now as when it was recorded in 1973, or when it was belatedly released in 1976.” (All Music Guide). Fantastic review of their first LP and spot on description, it nails it right down. One of my all-time fave records, if this does not bring tears to your eyes, you must be seriously mentally disturbed or you must be a complete insensitive asshole. Absolute killer with no filler, rock and roll never will get better or more honest than this. Top copy 1st original Japanese pressing with seldom seen obi…what can you possibly ask more for??? Price: Offers!!!
238. MOKO BEAVER & OLIVE: “Wasuretai Noni – I Love How You Love Me” (Express – ETP-7723) (Record: Near Mint ~ Mint/ Gatefold Jacket: Mint/ Attached insert: Near Mint/ Obi: Mint). Bloody fucking rare 1st original press in top condition with ALWAYS missing obi present in MINT condition!! Ok here you have one of my all time favorite female vocal albums of all time. Hideously rare beyond belief 1969 first pressing, housed in gatefold jacket with OBI. Total mint copies with obi are impossible to score and cost you a kidney or a leg in return. This copy is near mint all way through. This album is one of the finest female vocal chorus albums to seep out of Japan. One problem though, apart from a handful of Japanese die-hard collectors, no one is aware of its existence. Why, because it is so bloody rare….but the music sounds like a flock of angels descending from the skies like valkyries ready to pick up slain heroes and conducted them to Valhalla. By tackling songs – in Japanese – such as “I Love How You Love Me”; “Door to Paradise”, “All I Have to Do Is Dream” and “Sixteen Reasons”, they elevate you to angelic plains of Candy Mountains and pink fluffy clouds. One of the most delicately fragile but exponentionally great Japanese soft female vocal records around. I can only advise you NOT to buy this because it will hit you with too much beauty for you too handle. You will be devastated. Highest possible recommendation and one of the most beautiful Japanese ethereal female vocal discs ever to have been put down on wax and in this case complete with the hardly ever seen OBI. Delusionally astonishing. The last couple of years this one is soaring in demand and getting next to impossible to unearth. Top condition. Price: Offers!!!!
239. MONICA LASSEN & THE SOUNDS (aka Kawahara Masami Group featuring Mizutani Kimio): “La Jouissance” (Columbia – YS-2521-AX) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Near Mint). Bloody rare all complete copy with OBI, first time ever a copy with obi crosses my path. To make it even more salivating. Top condition!!! The follow up disc to Kawahara Masami’s & The Exotic Sounds “Ecstasy – Kokotsu” and Monica Lassen & The Sounds “Women” discs, all executed under the direction of Latin percussion mastermind Kawahara Masami. Top copy of this 1970 released erotic rarity that just never turns up but shedding some light on another aspect of the sub-cultural sexual contaminated fumes that intoxicated the late sixties and early seventies underbelly of swinging Tokyo, this time a bit psyched up by acidic psyched out guitar gun slinging touches provided by Mizutani Kimio who was called in to reinforce the ranks on a couple of tracks. Sonic-wise, the disc unleashes a whirlpool cocktail lounge styled mondo -sexploitation sounds that get spiced up with feminine breathing and respiration sounds, moaning and hissing, laughing and giggling and igniting a maelstrom of assorted eroticism. In all, it resembles “Ecstasy-Kokotsu” disc to some extent. And just like that disc, it was again Kawahara Masami that was in charge of it all, just like he was the person responsible for giving Ike Reiko her distinct sound on the record “Kokotsu no Sekai ” for which he provided the musical backbone and arrangements unto which Ike could utter her depraved songs. This album however pick up where “Kokotsu / Ecstasy” left off and is again spiked to bursting with erotic shrieks and cries fluttering across a multitude of erogenous non-verbal modes such as sibilating suffocated whispers of excitement, and grunting and growling of a caged and sexually charged vixen. Still, it goes beyond mere sexploitation of two tracks for which he called in the assistance of Mizutani Kimio and some psychedelic renegades. Together with that bunch of musical lawless gunslingers, Kawahara puts down some of the most wicked and sexually charged acidic brain melters the world has ever seen. New Rock lysergic moves fuse with sexploitation as they rip apart the chords to “Change of the Seasons”, normally a middle of the road mind-numbing dead-beat track but here transformed into a organ frenzied and acid spiked fuzz guitar and wah-wah driven butt shaker that has to meet its rival yet. Mizutani shines throughout, ripping the air to pieces and turning it into waves of hot molten lava. All the time, this nipple bumping deep throat ball crushing depraved and sexually charged vixen in heat keeps on fire-breathing over it all, instigating Mizutani and fellow gang members into even higher scales of doped up wah-wah infected and fuzz deranged mayhem. It all sounds like an acid spiked orgy going overboard with nipple clamps and throat chokers locked and stocked up. Just massive. It just goes to show you that there are still many undetected hybrid psychedelic monster pieces floating around here that just need to get dusted off and dragged out the dungeons of oblivion. This is one of those, hyper rare and once the larger crowd gets a taste of this one, it will skyrocket into the stratosphere, so for now it is still affordable. First time ever I see a copy with obi. Top Condition & Highest recommendation!! Price: Offers!!!!
240. MOONSTONE: “S/T” (KOTAI - KOT-3003) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint – still housed in shrink/ Insert: Near Mint). Top copy!! Best condition possible! Original Canada press copy of this dreamy folk group’s eponymous 1973 release. Moonstone could be vaguely labeled as a dreamy folk outfit that privately released one LP on the obscure Kotai label. The album is characterized by predominantly female vocals and crystal-clear male-female harmony singing set against an austere backing of mainly acoustic instrumentation. The band heralded out of Montreal, Canada and maybe because they were located so high up north, their sole LP comes over as a prominently silent atmosphere included folk-rock. Still on an initial listening, the LP can come over as a cold and cerebral affair, but after a few spins it opened some layers unto its true soul and began to blossom seriously, defrosting my icy heart and heating me up for more of the same. So in a way one could imagine - if one has to cross reference this album sonic wise – as a kind of stylistic meeting of U.S. West Coast acoustic songwriting with a whiff of esoteric UK folk dwellings from the early 70s. And just then it all begins to make sense and start being…imaginative. Keywords are then “intimate, compelling and magical”, resulting into austere song writing underscored by some of the more minimal inspired musical backing comprised out of only acoustic guitar strummings spiced up occasionally with some piano and flute. At well balanced times, a gentle electric guitar makes its entry, adding some juvenile excitement to the mix. Still the real thrill is embedded within those intricate, ethereal vocal harmonies that keep on sucking me in, making me beg for more of that same medicine. This obscurity might appeal to those of you who like to get lost and roam around in those late night/early morning listening sessions blessed with that magickal touch of reverie, before you get sucked into that desperate overcrowded nightmare filled with thieves, pimps, losers and hookers again you have to deal with on an everyday basis. Then this jewel will bring you a slice of Valhalla you always longed for. A must!! Price: Offers!!!!
241. MORIYAMA TAKEO: “East Plants” (VAP – 3012-25) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint) Damned rare and pristine condition Japan 1st original pressing all complete with OBI and Insert. Really amazing sounds from Japanese drummer Takeo Moriyama – a record that's sometimes spiritual and organic, sometimes very unusually put-together – and which makes as much use of inventive percussion as it does the leaders drums! The group's got this very cool twin-sax approach – both tenor and soprano, each played by Toshihiko Inoue and Shuichi Enomoto – alternating between the instruments, and creating these textures that are sometimes sharp-edged, but always very striking – especially when the album's percussion from Yoji Sadanari really takes off! The whole thing almost feels a bit out of time, especially for its early 80s recording date – almost like one of those unusual Japanese spiritual sessions from a decade before, which also might not be what you're expecting from the 80s cover image too. Getting next-to-impossible to find these days as demand for this album is high, especially all complete with insert and obi. Not surprising as the music is stellar, making it one of the finest spiritual jazz high flyers to seep out of Japan. Killer LP from start to finish!!! Price: Offers!!!
242. MORNING DEW: “S/T” (Roulette –SR-42049) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). First TRUE original pressing, which can be identified by the “Bell Sound”, stamped in the trail-off. “These Midwest legends cut a couple of good garage 45s before this swansong hippie-rock LP, which was issued way to late (October 1970) to make any impact. It is a mainstream psych collector fave since decades, mixing heavy epic Cream-Iron Butterfly moves with strong folk-rock – psych material. The lack of macho vocals is a plus and the opening “Crusader’s Smile” is a classic. All over the album is enjoyable and has no really weak spots.” (PL – Acid Archives). Awesome Midwest Airplane influenced psychedelic classic that successfully juices up stoned folk moves with heavy guitar whiplashes. It is easy to understand why this album is so loved by most because it is overall extremely strong. Copies have completely disappeared as of late and it getting tough to unearth clean. Awesome original copy. Price: Offers!!!!
243. MOTHERS OF INVENTION: “We’re Only In It For The Money – Okashi Na Sekai” (Verve Records Japan – SMV-1115) (Record: Near Mint/ Gatefold Jacket: Near Mint ~ Mint/ OBI: Excellent – has on upper left side on top a 2mm small cut out). One of the rarest Mothers of Invention and Zappa related artifacts out there! First press issue all complete with OBI!!! OK, here you have it, the rarest of the rare Japanese original pressings is this LP by the Mothers released in September 1969 and next to Freak Out the rarest of all Mothers/ Zappa records. Impossibly scarce Japanese 1st original pressing that NEVER turns up, last copy on sale in Japan was like 20 years ago. COMPLETE WITH OBI!!!! A must for every Mothers’ fan. Complete copy with obi in this condition is bound to surface never again once. One off chance here. This baby comes cheaper than my previous copy due to the small miniscule yellow on yellow cut out on upper left side of the obi of about 2~3 millimeters. Hardly stands out but …. A deal to be had here! Price: Offers!!!!!!
244. MOTHERS OF INVENTION: “Absolutely Free – JIYUU NA SEKAI” (Verve Records Japan – MV-1120) (Record: Near Mint/ Gatefold Jacket: Near Mint ~ Mint/ Attached Japan only Insert: Near Mint ~ Mint/ OBI: MINT). ABSOLUTELY PERFECT COPY - impossible to ever upgrade upon!!! WHITE LABEL PROMO ISSUE!!! OK, here you have it, the rarest of the rare Japanese original pressings is this LP by the Mothers released in January 1970. Impossibly scarce Japanese 1st original pressing that NEVER turns up – especially the promo version with all complete, last copy on sale in Japan was like 20 years ago. This is the ultimate copy in virginal Near MINT condition. COMPLETE WITH OBI!!!! Comes with totally different inner gatefold picture and attached booklet than the regular US version, only present with the 1st original Japanese pressing. A must for every Mothers fan. Complete copy with obi in this condition is bound to surface never again once. One off chance here – especially for a white label promo issue all complete with killer obi!!! Price: Offers!!!
245. MU: “S/T” (RTV – RTV-300) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint – still housed in original shrink/ Insert: Mint). Original US 1st pressing with silver foiled rear cover. This is the hardly ever-offered WHITE label PROMO issue that comes with the always-missing insert + sleeve is still housed in shrink! “The band and LP that propelled Merrell Fankhauser to international stardom, at least on the rare psych LP collector circuit. Rated highly for decades and less hippie-ish than his later MU work. This mix of Bluesy urban LA exhaust fume vibes and tribal dessert mystique is as archetypal as early 1970s SoCal trip as you can find. Strong songwriting, a pro-sounding recording all around, given a clear-cut identity from the excellent slide guitar, harmony vocals, and occasional sax. Too bad not more bands followed this musical path. “Eternal Thirst” with spooky percussion and chanting goes deep into the ancient regions of your cranium. From a mainstream classic rock perspective, this is Merrell’s most significant work, though even better things were to follow for us hallucinogenic explorers.” (PL – Acid Archives). Top copy and next to impossible to ever upgrade upon – final upgrade condition copy. That aside the music is a real dust-blowing, slow-burning, desert-twang psychedelic skull driller, fantastic brain-meltingly awesome LP. Completely dried up as of late and demand is on the rise so… Price: Offers!!!!
246. MURAOKA MINORU with NEW DIMENSION GROUP: “Osorezan” (Daiei Records – G-4003) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint). Rare all-complete copy with mega rare OBI. White Label Promo/ test press issue, never seen before. Together with his “Bamboo” LP, the rarest disc to seep out Muraoka’s creative genius. So what is this one all about? “Osorezan” was released on October 1970 and is a vertiginous dust-devil swirler of a disc, offering you the best Muraoka has to offer and at the same time transgressing most recordings ever to have paraded in front of your ears. Yes, it is that good. Of course this is partly to blame to the ace musicians he has surrounded him with such as Ishikawa Akira (drums), Kawasaki Ryo (guitar), amongst others. The whole affair was recorded live in one take in the studio and brings forth a soulful spaciousness that converts jazz & Japanese traditional music aesthetics detached from their antiquity into one grooving rigorous and clear-eyed pleasure. You just sense that all of the participating musicians having a lot of fun, creating music that is episodic and stylistically varied. The opening track “Osorezan” is driven by Muraoka’s shakuhachi tones, Ishikawa Akira delivers surreal ethnic groove percussion licks and the erupting horns, ethereal female whispering vocals, wadaiko, koto, wicked organ licks and vibraphone career wildly in and out of the hypnotic groove. The whole of the record spins off in a similar deeply spellbinding avant-funk, combining elements of traditional Japanese music with fierce grooving funk moves and cool abstraction, even rethinking Brubeck’s “Take Five” by tackling it in an amazing Nipponized version. The loose and fresh energy spilling from its grooves – ignited by the live on the spot recording – link up with various aspects of mini-crescendos that will ignite a sustained euphoria that occasionally will erupt in whooping butt-shaking moves in front of your stereo. In all, it is a wicked ass-kicking disc that will have you begging for more. Insanely in demand these past years but then again once you have played this beast it is easy to understand why. It is a floor burner that will leave you breathless, howling and clawing at your partner like wild beasts in heat. Highest ever-possible recommendation. Price: Offers!!!
247. MURAOKA MINORU & NEW DIMENSION GROUP: “So” (Victor Records – SPX-1028) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Mint). Freakingly rare 1971 Japanese spiritual jazz masterpiece that just never turns up, WHITE label PROMO issue. First time in all these years I can offer a copy of this fender bender. Now here ya have one of Muraoka’s best kept secret records, without a doubt his rarest and all-time best. Forget Bamboo, this one here is the real shit with originality dripping out in heavy liquid honey-like flows out of its grooves!!! But this is jazzy spirituality crossing over into previously untapped Japanese territory and sucking out the marrow out of the bone imbedded into the realms of Noh, Gagaku music and assorted ancient fringe sonic realities that exist here in the far orient, making it one of a kind, a unique listening experience. Right from the when the first note oozes out of the initial grove, you already know you are in for a trip into the realms of jazzy vibes impregnated with a shamanistic sense of poetry. Skeletal music enhanced with vibrating undercurrents of depth; Muraoka unleashed a deep spiritual beast like no other. Monks praying in reciting & catatonic voices, drifting into the mix and out of the haze of time, the sound of sparse wooden percussive accents suck you instantly into the austere intimacy that offers direct access into the pulsating brain of Japan’s sonic but vibrant past. Muraoka’s bamboo flute accents evoke aspirational surges out of its concealed depths and instigate a resonant cadenced flow that puts its hooks into your flesh right away, sucking you into the stripped-down swinging vibe like no other. He takes the definition of spiritual jazz towards the next level, a truly unique and bewitching one, augmented with zithers, bashi-slashed shamisen strummings, bells and chimes, delicate finger-picking koto whiffs, percussive rattles, droned out monk voices, making you feel like attending a esoteric rite that sets your butt on fire and makes you swirl like a drunken dervish on acid. Killer stuff, best spiritual jazz slide to seep out of Japan, sadly a bitch to unearth, especially all complete with obi and in nice nick. So eat your heart out, drool all over your shoes and hit me up, it ain’t gonna get any better than this one here. First complete copy ever to cross my path…. Listening to this makes me feel like Alice in Wonderland smacked out on valium and high grade sake, I guess you catch my drift, it makes you move in demented body-spasm-like weird contortions you have no control over but hell, you feel damned goooooood because you know salvation is right around the next corner, if you only can make it that far.…..Price: Offers!!!!
248. MUSICA ELETTONICA VIVA: “Friday” (Polydor – 583769) (Record: Near Mint/ Laminated Jacket: Near Mint ~ Mint with lamination fully intact). Original 1969 issue. First and only UK original pressing and one of the rarest releases in the UK as far as jazz and improvised music is concerned. First time ever I come across such a virginal copy. “For the realization of "Friday", recorded in London in May 1969, MEV were Frederic Rzewski (piano, electronics, etc.), Alvin Curran (flugelhorn, etc.), Richard Teitelbaum (moog synthesizer), Franco Cataldi (trombone, etc.), Gunther Carius (saxophone, etc.). The main theme around this MEV piece is communication. Communication by means of music can be a very efficient means of reaching quick agreement among large numbers of people, because when you call something music, you have tacitly accepted a convention by which it is understood that the sounds that you make have no particular meaning, they are just sounds and therefore free to serve the general purpose of pure communication. Music can bring people together where language divides them. When this happens, the "concert" will come to resemble other liberated forms such as the party or the day-off, themselves secular remnants or earlier ceremonies. MEV music is not meant to impress people, but to liberate them.” (Soundohm). Virginal original copy of the rarest MEV disc and UK released jazz slides. Indispensable. Most – if not all - copies that surface have condition issues, which is a shame as the music on display is utterly fragile in nature. Vinyl seems hardly if ever been played, jacket hardly touched. Best copy around. Impossible to upgrade upon, Top copy. Price: Offers!!
249. NAKAMURA TERUO: “Unicorn” (Three Blind Mice – TBM-18) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint/ Card: Near Mint/ OBI: Near Mint – faintest minimal trace of faint foxing). Top condition Japan first original pressing complete with always missing booklet and the MEGA rare OBI present. A landmark album from the Japanese fusion scene of the 70s – a killer set of tracks recorded by bassist Teruo Nakamura, with help from a host of American soul jazz luminaries! The album's easily one of Nakamura's most sought-after sets – and for good reason too, as the cuts are long and jamming, but also have a soulful component too – a bit of the post-Coltrane spiritualism of some of Gary Bartz's early albums, and some of the open-ended styles you might hear on a label like Strata East! Nakamura's a bassist from the Japanese scene – but the record was cut in New York with a great lineup of American heavyweights – including Hubert Eaves and George Cables on keyboards, Charles Sullivan on trumpet, and Steve Grossman on tenor – plus Alphonse Mouzon and Lenny White on drums. Singer Sandy Hewitt sings on 2 tracks – including the funky "Umma Be Me", which almost feels like an Andy Bey groover from the same time – and the cut "Understanding". Impossibly rare all complete copy with obi and booklet and card and in TOP condition, so… Price: Offers!!!!
250. NAOJI KONDO TRIO: “Live At The Tarupho” (Taruho Farm – 1001) (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint). Much in demand and impossibly rare Japan Free Jazzing self-released private press beast that was released on the tiny inexistent label Taruho Farm in 1986 in a tiny edition of 250 copies only. The records were mainly sold on their gigs and never made it in regular outlets at the time. Heralding out of the Kanazawa Prefecture bordering Tokyo, they roamed since their inauguration in 1984 through all the local prefectural jazz joints and cellars, honing their skills. They even played a gig with Sun Ra’s sidekick Dany Davis when he toured Japan. This live recording from January 26th, 1986 sees the trio showing off their skills and electrifies the air in the little club before an audience of free jazz headz. Kondo, heavenly inspired by his hero Ronald Kirk, steals the show, blowing out chunks of molten live while his compatriots charge bass and drum salvos at the speed of light. Still every member of the trio is given ample time to show off his own colors and skills, and especially Fuwa’s floating pulsating bass riffage steals the show here. It is strange that such a well-oiled fire-breathing outfit could remain during their gigging career in such state of general oblivion and obscurity as they certainly had the skills and talent to make more heads turn. Even till this day of nerdy record collecting and free jazz archiving, not many have heard or sought out the greatness of this trio. In a way, it is understandable as the record is totally obscure and damned rare but then lesser gods made the spotlight so why not the Naoji Kondo Trio? Bloody fucking awesome record in my universe… highly recommended and insanely rare!!! Price: Offers!!!
251. NAZZ: “Second Album” (Atlantic – SMT-1079) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint – has some very faint foxing on back/ Obi: Excellent – has a few light creases but nothing serious). Damned rare Japan 1st press original – WHITE label PROMO copy. Initially baaptised as Fungo Bat, their sophomore album was later retitled Nazz Nazz, testifying to be just as fantastic – if not better – than the debut effort. The band’s adoration of British luminaries such as the Beatles, the Yardbirds and the Who remain guideposts, but an exploration of new possibilities additionally defined the material. Nazz Nazz gets the gig going in a highly exhilarating manner with “Forget All About It,” which zips and zooms with storming harmonies and melodies as sharp as glass. Both inject commercial pop sensibilities into a hard-rocking disposition. “Not Wrong Long” then snaps, crackles and flashes with like-minded movements. Greased with volume and power, the absolutely shattering “Under the Ice” cops cues from the heavy-handed doodlings of the Jimi Hendrix Experience and Blue Cheer, and then there’s “Meridian Leeward,” a curious slice of psychedelic whimsy. Tooting horns intersect accordingly with driving fretwork on the blues rock-oriented “Kiddie Boy,” and “Gonna Cry Today” registers as an alluring ballad built around poignant lyrics and buttery vocal exercises. Nazz Nazz closes on grand footing with “A Beautiful Song,” which clocks in at more than 11 minutes in length and dispenses a diversified layout of imaginative curves and contours. Mixing standard pop and rock practices with experimental sprinklings, Nazz Nazz pushed all the right buttons and should have sent the band into superstar stratosphere. Perhaps if they had the support of a bigger record company, things would have been different but it was not to be. Although Nazz coughed up one more album, titled Nazz III, they had called it quits by the time it was issued in 1971.Price: Offers!!!!!
252. NEW YORK ART QUARTET: “S/T” (ESP Disk/ Victor Records – ESP-1004/ SMJ-7421) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Rare 1st original ESP pressing for Japan, never encountered before very first pressing on Victor Records and all complete with insanely rare first issue obi. White label PROMO issue to boot…. “This adventurous, short-lived quartet only made three albums in its two-year heyday. The best and most easily obtained (although that's relative) is the classic 1964 self-titled free jazz excursion on the ESP label. The unique front-line horn arrangement of trombonist Roswell Rudd and Danish alto saxophonist John Tchicai weaves rapid intricate lines around Lewis Worrell’s bass and the frenzied drums of Milford Graves. Poet Leroi Jones is added to the quartet for his revolutionary/militant spoken word diatribe "Black Dada Nihilismus." While it may sound like an intrusion to some listeners, it must be kept in mind that Jones was an active participant in the early avant-garde scene of New York, making his contribution to this disc vital in capturing the radical surroundings in which the music thrived.” (Al Campbell - All Music Guide). One of the finest titles to emerge out of the stellar ESP stable and one of the finest free jazz recordings to date. 1st original Japanese press in TOP condition with first press obi present. First time ever I see a copy with obi in over 20 years’ time, it eclipses the US pressing as far as rarity and sound quality is concerned. Price: Offers!!!!
253. NIPPON NO KOMORI UTA with TERAYAMA SHUJI: “S/T” (Victor Records – SJX-2121~4) (4 LP Record Set: Near Mint/ Illustrated & Annotated Booklet: Near Mint/ Cloth Covered Outer Box: Near Mint/ Slip Case Catron Wrap Around Obi: Near Mint). Freakingly rare & obscure set that has haunted me for the past decade until I could finally unearth a copy – all complete with booklet and OBI. Released in 1976, this massive4 LP box set offers the most complete audiophile study into the almost completely extinct and wonderful deep rural world of Japanese Komori Uta or nursery rhymes, a sonic world ruled by old ladies living on the fringes of society, taking care of someone else’s kids and masking a deep sorrow and pain that simmers underneath this now dying song form – it is the first time ever I can offer a copy of this ear bleeding beauty. Stunning collection of raw field recordings put down on tape in various rural places spanning the whole of Japan, from the bleak high north of Aomori and Hokkaido and down to the desolated hamlets of Hokkaido and small and sparsely inhabited little islands dotting the sea and back to the bleak and cold high northern prefecture of Japan’s main island. With insertions and reminiscences by luminaries such as Terayama Shuji, the listener gets guided back towards a long forgotten and largely annihilated musical and cultural tradition of forgotten and long extinct bleak rural traditions. The end result is a snapshot of a decaying world that no longer exists except for buried deep into the memories of Alzheimer patients. The collection is mainly erected around bone-chilling recordings of caretakers singing, old women wailing away in desperation with the cold wind blowing away outside, all set in a sparse setting, sometimes not backed up at all but at all times breathing out a bleakness that is omnipresent throughout the high north. It shows the listener at times through these bare sonic pearls, which seems to be a large influence upon the upbringing of children from previous generations. A stunning aural document that could only have been fruited in the desolated rural places, the last frontier where such aural traditions until not so long ago could withstand the change of the times. Never had a copy of this gem before, here is an all complete copy, all complete with thick slipcase OBI and thick fully illustrated booklet. Absolutely hair-raisingly awesome but sadly insanely rare!!!!! Price: Offers!!!
254. NIRVANA: “Local Anaesthetic – Nehan” (Vertigo Records – SFX-7381) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Impossibly rare Japanese first original Vertigo Records pressing all complete with OBI!!! This one came out in Japan in 1971 and sold very poorly, resulting that only a very few copies remain in circulation all complete with the Vertigo obi. Comes also on the Vertigo swirl label and sounds absolutely fabulous. First copy I encounter all complete with obi. Price: Offers!!!
255. NIRVANA: “New Folk Sound” (Metromedia/ Nippon Columbia – YS-2348=MD) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ Obi: Excellent). Rare 1971 Japan only issue that comes housed in Japan only jacket art. The final Nirvana LP that got graced in a Japan only sleeve. WHITE LABEL PROMO that comes all complete with never-offered OBI present. Only the 2nd time in my lifetime I could see an original with the obi present. These barely sold when it came out here in 1971, when they surface it is always a promo issue, I wonder if they got actually a regular pressing. This was actually the 3rd Nirvana album, which in the UK was released under the title “Dedicated to Markos III” but for the Japan-only designed sleeve there was opted for an altered sleeve art, a more colorful and brighter artwork as opposed to the original UK sleeve art. Great condition and a real though one with obi. Price: Offers!!!
256. NORDSTROM, BENGT “Frippe”: “Natural Music” (Bird Notes – BNLP2 – MATRIX NUMBERS: 9F/ 10M) (Record: Near Mint/ Jacket: Near Mint). Monster rarity again, Swedish private press masterpiece, released in an edition of around 20 copies only and containing some of the strongest solo saxophone improvisations ever to be put down on wax, yes and dare I say it…even surpassing Abe Kaoru in my book. Largely and almost totally unknown, recorded and released in 1968, Bengt Nordstrom remained virtually unknown outside of Sweden and being the country’s most intriguing jazz musician. Partly due to his limited discography, he was overlooked by a wider audience. Yet, his contribution to the development of the modern & free jazz scene in Sweden cannot be overestimated, and neither can his influence on his fellow musicians, to whom he was the embodiment of jazz. He was the first to recognize the uniqueness of Albert Ayler and releasing his music in 1962 on his Bird Notes imprint. Concerning this issue: Bird Notes is quite a chaotic and difficult label to dive into as the pressings were done in only a handful of copies and Nordstrom was in a habit of re-using identical catalogue numbers and sleeves (if there were any) for a variety of his releases. Although Bengt used this sleeve for a couple (2) of his releases, one cannot identify his Bird Notes issues by the catalogue numbers only as he used identical catalogue numbering for a different variety of music so one can only distinguish his releases by its matrix numbers! Talking about obfuscation & mystification, no shit, he was the master! The 9F matrix number sometimes shows up but 10M is stupidly rare! On this one however, matrix number 9F is Bengt Nordström on tenor sax “Spontaneous Creation” which was recorded on February 1st, 1968. Matrix number 10M-side is a recording also by Bengt Nordström on tenor sax somewhere in 1968. Of this one, although the sleeve was used for at least 2 other and different Bird Notes issues with again different music, was released in an edition of about 20 copies only!!! That said, Nordstrom’s improvisational free playing is out of this world and it feels upon listening to him that I have tapped into a rich & greedy musical vein that demands me to milk it like a terminal heroin addict. Speaking of weird and rare private press free improvisation jazz, well look no further, you just stumbled upon it! Price: Offers!!!!
257. NORDSTROM, BENGT “Frippe”: “Natural Music” (Bird Notes – BNLP2 – MATRIX NUMBERS: 8A/ 8D) (Record: Near Mint/ Jacket: Near Mint). Another elusive Bird Notes release, this one was probably released in a run of about 35 copies. The record starts off with 8A: “Bird Notes and Folk Tunes” and is played by Bengt on alto sax where he gets flanked by renowned scenester Sven Hessle on bass. It was recorded in June of 1967. The flipside is 8D, played at 45 rpm – “Spontaneous Creation Second Variation”, recorded in 1968 and has Bengt on alto sax solo. This is not your normal kind of middle-of-the-road smooth jazz trip you get subjected to when tuning in to your favorite FM station at any given time of the day or night. It’s highly unlikely you’ll hear the walls of Jericho thunder down on the swirl of hard bop, the deep trance dream of spiritual jazz noodlings or even the superhuman sports jams of fusion. Instead, your ears will be smeared with a smooth, homogenous blend of mindless soul and corporate R&B muck. This craven for commercialism you get susceptive to on a daily basis seems like innocent frolics compared to murky rites on this slab of vinyl. Here things are really cookin!! In fact, it all boils down, making you realize that it is OK to create your own rules for music and that there is no need to conform to pre-existing conventions in terms of elements like rhythm, harmony and melody that normally cannot exist without some sort of conformity. Nordstrom’s music is fearsome/fearless solo sax improvisations at times backed up by Hessle on bass. Starting off with some sort of melodic idea, Nordstrom starts chasing it at high velocity, no idea where it might lead him. It's driven on thunderous, passionate and declamatory feelings he passionately harbors for this sound. Such a commitment from the performer deserves a similar level of engagement from the listener. It's more or less an ethical issue – when listening to this, it feels out of place to be doing something other than just absorbing the music. Bengt’s primitivist sax howl is rough and at times even abrasive. It's raw, soulful, completely unrefined, like the blues rendered as a weeping sore. You either submit to it totally, or you don't listen at all. Very heady stuff indeed and rare to say the least. Price: Offers!!!!
258. OCTOPUS: “Restless Night” (Penny Farthing – PELS-508) (Record: Near Mint/ gatefold Jacket: Near Mint ~ Mint). Perfect condition UK first original pressing – with “Promotional Copy Only Not For Resale” stated on sleeve – never seen before PROMO issue. Perhaps due to it being recorded at the tail end of the psychedelic pop years in 1970, or the ghastly illustration that graced the sleeve, Octopus’ sole album slipped quietly under the radar of most listeners at the time … had they ever came across it at all. Released in 1971 LP by this band from Hatfield, UK 'Restless Night' reveals melodic traces of '60s giants such as The Beatles, Zombies, Kinks and Bee Gees, but adds a harder early '70s edge. With hooks galore, swirling organ, and fuzztone guitars, Restless Night is a prime example of early 70s UK psychedelia. Really a stunner. Best condition imaginable so…. Price: Offers!!!
259. OTOWA SHIN: “Wasuregatami” (Private - 1974) (Record: Mint/ Jacket: Mint/ 2-sided Paraffin Insert: Mint). First ever copy I see complete with rare insert! Original never seen before copy of this hideously rare 1974 private press rural folk rarity that became amongst aficionados one of the key records to define the mid-seventies Yokohama rock and folk sound, filling up the void left behind after the disintegration of the GS boom and the Speed, Glue & Shinki styled heavy rock freak-outs that previously dominated the area's sound waves. This void became filled up by a minor league of musicians and groups such as Acid Seven, Oh! Asa Band, Original Vibration, Yoshino Daisaku Band and Otowa Shin. A strange new breed of marginal musicians to take over the scene without anyone noticing it. Otowa Shin was previously active in the band Kureo, who at one point in 1972 opened for the Flower Traveling Band at Yokohama's Yaon Concert. Kureo eventually fused into Otowa Shin himself and by 1974 he got himself backed up by Kubota Makoto (at one point in time a member of the Hadaka no Rallizes – go and check up on your line-up info) and the Yuyake Gakudan Band, with whom he recorded this masterpiece “Wasuregatami”. Of course, folk rock had already rooted in Japan with the birth of the URC label and Bellwood but Otowa Shin's vision somehow strayed from these strongholds due to its distinctive sound and its Yokohama tinted sound. Himself armed with a 12-string acoustic guitar and an enchanting voice to pull you right in, backed up by the mesmerizing slide guitar of Fujita Youma, delicately crafted basslines, Otowa Shin succeeded in creating a highly individual sound that bordered on folk, acid folk, rural dwellings, and rock all embedded into one and creating a real honest and stripped own of all hypes and fashion thrills masterpiece. After the completion of the album, Otowa Shin kind of dropped off the scene and by 1976 he decided to trade in Japan for the sunny summer island of Ibiza, where he stayed until mid 1980. This sole album of him is finally dusted off and although it was a private release, it sounds sparkling fresh due to the excellent recording of the day, the ace musicianship of all the persons involved and the musical vision of Otowa Shin himself. The more one spins this disc, the more it grows on you until you get flabbergasted by its honesty and pureness, just like a breath of fresh air reviving your senses after a long winter. Still its loner vibe it resonates out, its melancholic feel and the dialectic of breathy acoustic and caressing electric guitar enfold behind your eyelids like a mystic Kurosawa movie that feels both apocalyptic at times as well as frailly intimate. In all it is deceptively simple, yet surprisingly complicated and filled with colorful sound palettes that draw you back constantly. A deeply melancholic record spiked up with shafts of odd light in the strangest of places making it a loner acid folk classic. One of the rarest private presses to seep out of Japan and this copy is mint all the way. Never seen another copy of this one before all complete with mega rare insert (only a few of the 200 pressed have an insert), so…!! Price: Offers!!!
260. GEORGE OTSUKA QUINTET: “Sea Breeze” (Union Records – ULP-2002) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint – faintest trace of foxing inside gatefold). Heavy duty shit here – next-to-impossible to get first press issue in top shape. A true masterpiece of hard bop/ modal jazz executed by the George Otsuka Quintet featuring Ichikawa Hideo, Mizuhashi Takashi, Uematsu Takao and a young Ohno Shunzo to complete the formation. Although his young age, Ohno already demonstrates that at 22 he was one of the leading Japanese trumpetists of his generation. Otsuka George on the other hand, is flanked by Ichikawa, his regular pianist since 1965 and responsible for the bulk of the compositions here – except for the Beatles’ song “Fool on the Hill” that to a point one may be wondering if “Sea Breeze” is not an Ichikawa project.  Still, the record inhibits a wide range of jazz styles, all captivating and ranging from cool and mellow atmospheric tunes centered around the Fender Rhodes over to funk and soulful rhythmic excursions (Potato Chips), Hard Bop (Jumping Cats), Modal meanderings (Fool on the Hill) to an engaging gospel & spiritual jazz composition (Cannibal). Every track is a winner here and it stands shoulder to shoulder with the best records of that golden age. Without a single doubt one of Japan’s Jazz defining moments. Top condition original…making this baby rare as a hen’s teeth. Price: Offers!!!!!!
261. Les OUBLIES DE JAZZ ENSEMBLE: “Introducing Les Oublies De Jazz Ensemble Playing “That” Nigger Music Featuring William “Smiley” Winters” (Touche Records – TRLPS-101) (Record: Near Mint/ Jacket: Near Mint). Deep spiritual and jazzy poetry vibes on this ear-waxer from 1973! At a first glance, this obscurity might be easily mistaken for a minor collection of ‘race’ music judging by its cover. Don’t like that fool ya, this is in fact a seriously heavy slab of deeply spiritual, free jazz bursting at its seams with messages & poetry tackling music industry related issues African American musicians had to endure up to then. Led by drummer William ‘Smiley’ Winters who had been playing the jazz circuit for a few decades (earning his spurs by playing with heavyweights such as Dexter Gordon, Dizzy Gillespie, Charlie Parker and Miles) before drifting off into more free-oriented jazz waters and teaming up with some of the big names of the jazz-avantgarde like Pharoah Sanders or Ornette Coleman. This 1972 outing and released the following year, Smiley Winters boldly called “That” Nigger Music!’ and it channels all of Winters and other Afro-American musician’s experiences and racist abuse they had to endure in order to perform their art, learnings, thoughts & feelings, all embalmed into one powerful piece of music that is as scarce as it is seminal. Backed by an ace cast of players, among them ESP luminaries Sonny Simmons on alto and his wife Barbara Donald on trumpet, Ed Kelly on electric piano, Sonny Lewis playing the tenor and flute amongst others. This historical and singular sessions was recorded at the Sierre Sound Studios in Berkley in August, 1972 and is unfortunately not such an easy one to dig up. Brilliant slab of music, an arresting experience both blessed with a violent slab of madness, a deep subterranean vibe and an animated strive, making it a wilder outing than any group of mutants you see at a bad insane asylum. Just awesome! Price: Offers!!!
262. OUTSIDERS: “S/T” (Relax – 30.007) (Record: Near Mint = Mint/ Jacket: Near Mint ~ Mint). Top condition MONO first press original on black and silver toned Relax labels. Always a record that has condition issues and it is hard to find a clean one. This copy here is just VIRGINAL!!! Original Dutch pressing of the band's debut recording from 1967. This was the band's super-raw debut album, a few songs of which were recorded live. Tracks like "Filthy Rich," "Won't You Listen," and "If You Don't Treat Me Right" are comparable to little else of the era with their savage, Pretty Things-on-speed mood, and hyper-fast tempos. It is pure 60s garage rock mixed with thundering glue-sniffing teenage lysergic low-fidelity outbursts at its finest, jacked up with pounding greasy & trashy guitar strummings, soaring bass fills and wonderfully angst filled lyrics. Punk avant-la-lettre so to speak. Music that feels like standing in the midst of a prison riot in full swing. Top copy, records has maybe been played only a couple of times, looks like it was pressed only yesterday. Normally not as rare as “CQ” but in this perfect condition, it exceeds “CQ” by a mile as far as scarcity is concerned. No shit. Impossible to find in such a nice nick as this one since copies are always trashed beyond belief. This copy is just near perfect so I doubt they come any better than this one here, so go mental if you like. Price: Offers!!!!
263. OUTSIDERS: “CQ” (Polydor – 236803) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint – right upper corner crease & faint handling wear). Top original copy of this world class Dutch filthy garage beast. Impossible to find in perfect shape but this copy comes as clean and good as humanly possible, one of the best copies out there I believe. “CQ stands up as a staggering achievement. The stylistic range of the material, the rich variety and maturity of the lyrics and the sheer power and vitality of the music makes this one of the finest LP's of its era or any other. What the group were not to know at the time was that Polydor already had the Golden Earrings, Holland's most successful group, on its books and were determined to concentrate their promotional efforts on them. They conspicuously failed to get behind the Outsiders to the extent that only something in the region of 500 copies of CQ were released at the time and subsequently the album died a grisly commercial death. But unless you've heard this record you have no real idea of the magnitude of the crime. Right from the start, the album opens with "Misfit". a three-dimensional bass sound not unlike John Cale's on "White Light/White Heat" hits you in the solar plexus, guitar and drums follow up with a devastating counter-punch and straightway you're confronted by one of the heaviest tracks ever, at least a year before the Stooges and aeons away from, shall we say, punk rock as most of us know it. The lyrics are priceless: "We all know just what you are & how come you are what you are & why it just ain't possible to turn you on/We all know just what you want & how come you want what you want & why you're not responsible for what you've done/You thought you could make it; come & join our dance/You thought you could fake it - you didn't stand a chance/You talk too loud when you're out in the crowd - MIS-FIT!" Delivered in what can only be described as a controlled snarl which makes you wonder just how familiar Chris Bailey of The Saints was with the Outsiders, it's worth remembering that despite the extent to which English is spoken in the Netherlands, they weren't even composed in Wally Tax's native language. Makes you wonder how Bob Dylan or Lou Reed or any of those other 'rock poets' would have fared if they'd been required by commercial stipulations to have written all their words in Dutch! The lyrical standard is similarly high throughout the LP; Tax had a rare gift for an original storyline and a telling turn of phrase that invariably compliments the music on this record.” (Perfect Sounds Forever). And that is just the beginning of the LP and more of the same ingredients are to follow. This is punk-avant-la-lettre, a record to gnaw skulls with, suck the bones and then soak the bastard with gasoline and toss a match on it. It will cause people to foam at the mouth and chase their tales in impotent anger. Simply one of the best records ever recorded. Awesome TOP copy to boot. Price: Offers!!!!
264. OZ DAYS LIVE: “V.A. with Taj Mahal Travelers, Minami Masato, Acid Seven & Les Rallizes Denudes” (Private – 1973) (2LP Set with Inserts & Outer Paper Bag: SEALED Dead Stock Copy) Without a single doubt, this bloodsucker of a disc is THE holy grail of the Japanese early seventies lysergic psych scene, together with Speed Glue & Shinki, Sato Masahiko & Soundbreakers and People/Ceremony. Privately released in a tiny edition on the OZ Days label way back in 1973, the record was and is till this day the only legitimate recording on vinyl to feature the Rallizes and Acid Seven. Each of the four bands has a whole site to their disposal onto which they were allowed to open up the sonic floodgates to Valhalla. This set is an original copy, the 2 LP set is top and the inserts are untouched since the day it came out in1973. The music on the other hand is completely stellar, mind boggling and just jaw-droppingly great, leaving you, the listener, gasping for air on several moments while spinning this disc since your vital organs will just forget to function properly upon being exposed to this archeological sonic gem. Kosugi's clitter-clatter Fluxus induced ramshackle psychedelic drone unit the Taj Mahal Travelers put down a stunning outer worldly and almost transcendental performance, there where the Rallizes venture into an ephedrine-soaked sub-linear universe of ear ripping feedback and slowed down stroboscopic madness. Acid Seven is the is as wicked as can be. Fair sale price, so act smooth, swift and quick for this one since such as chance is unlikely to cross your record collecting path within the following decade. Needless to say, hideously rare. Top & sealed dead stock copy straight out of the long defunct Oz Days offices. Price: Offers!!!
265. The PAISLEYS: “Cosmic Mind At Play” (Peace Audio Studio Recording Studios/ Warick Productions – 944S-2809) (Record: Near Mint/ Jacket: Near Mint – still housed in shrink with original price sticker still on shrink). Rare 1970 US private pressing of much acclaimed psych artifact. Ah yes, an original of this Midwestern psych classic, well known already back in the 1980s due to Psycho's early bootleg. You can see this as a sort of happy, upbeat acid mirror image to the dark trip of the CA Quintet LP, and together they're hip 33 RPM testaments from a legendary Minneapolis freak scene otherwise captured mostly on 45s. "Now" and "Wind" are head classics, but the album plays through solidly, with a melodic late Beatle vibe and super-cosmic stoner lyrics adding to the fun. Would make a superb good double bill with Faine Jade. The disc is clean without any minor defects or imperfections and plays clean, and the sleeve is also NM~M and still housed in its original shrink-wrap with original price sticker still firmly on top of it. Solid keeper copy of a vital title to any serious US psych collection and hard to improve upon TOP condition. Price: Offers!!!!
266. The PARLOUR BAND: “Is A Friend?” (Deram – SDL-10) (Record: Near Mint ~ Mint – perfect condition/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Original 1972 UK pressing on the highly collectable Deram label. The Parlour Band bear the distinction of being one of the only Jersey-based bands to launch an assault on the UK mainland which was even remotely successful. “Remotely” is the key word here: under the Parlour Band name, their legacy in the wider world merely consists of one support tour with Caravan and Khan, a smattering of gigs on the university circuit and the album Is A Friend?, originally issued on Deram in 1972 and bound for oblivion almost immediately thereafter. Superb copy of highly refined guitar/ keys based rural progressive rock masterpiece. Blessed with awesome songwriting and superb musicianship, making this one a big favorite over here. Clean and beautiful copy – next to impossible to ever upgrade upon – archive quality! Price: Offers!!!
267. PENTANGLE: “S/T” (Globe – SJET-8143) (Record: Near Mint/ Jacket: Near Mint/ DIE CUT Outer Jacket Obi: Near Mint). PROMO ISSUE. Complete & utterly clean copy of this mega rare 1st press Pentangle debut Japan LP – they just never surface. Now for the 1st time ever, I have a copy with the die cut obi. Released in August 1969 - original Globe/ Victor LP by the Pentangle all-complete with the never-seen-before cut out wrap around obi!!! This complete edition 1st pressing is next to impossible to dig up on these shores. So let me explain about the condition some more. It is easy as all is Near Mint, just perfect. Even the wrap-around-cut-out-obi sleeve I would conservatively grade at Near Mint, only has a few mildew spots on back, for the rest it looks like new, unbelievable TOP condition!!! The wrap-around-obi functions as a slide in that holds the actual record’s jacket and has the words “World New Rock” cut out. The whole die-cut is in MINT condition and intact with NO defaults on the letters, which is a small miracle for these fragile and often discarded obis. So seen against this all, you have a genuine rare gem here for grabs, strictly graded like an ascetic monk crawling the hills in search for spiritual salvation. So therefore, this baby will let you bleed a bit and will have to let it go at…Price: Offers!!!
268. PENTANGLE: “Sweet Child” (Transatlantic/ Victor Records – SJET-8191-2) (2 LP Record Set: Near Mint/Outer LP sized Cut Out Obi: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). First original Japanese press complete with big outer obi, just never turns up. TOP CONDITION! The obi, a rare feat these days considering that obis make a unique, attractive addition to the overall package and are becoming increasingly rare, especially on LPs from the 1960s and 70s. Their delicate and disposable nature meant that very early obis were routinely discarded, so that now they can often be worth several times more than the record they accompany. And this 1969 copy has the obi present, given an all-different aura to the disc in question here. The music I am sure, most of you are fully acquainted with, one of the key releases out of the totally essential Pentangle discography. Top copy mega rare original Japanese high quality pressing with never seen before jacket-size cut-out obi present. Speaking of rare major label records by renowned artists? Well, I guess this will do it for you then. Impeccable shape, next to impossible to ever upgrade upon this one. Price: Offers!!!
269. PERCUSSIVE UNITY LIVE: “S/T” (Sue Music Group – Sue-001) (Record: Mint/ Jacket: Mint). This is it!!!! RAREST OF THE RARE Japanese private press LP of this monstrously heavy free jazz slide, so heavy it even makes Takayanagi blush. Released in 1977 in an edition of only a handful, this is one of those records that nobody has or has ever heard of or seen – apart from 2 hardcore collectors. So far – and this is no joke – in all these years only 5 copies have been accounted for and this is one of them. Released as a private gallery edition in 1977, Percussive Unity Live consists out of Yasushi Ozawa (Fushitsusha to be Bass player!!! – his 1st and best recording ever is this one) on Bass & small percussion instruments; Masayuki Nakai on Guitar and small percussion and Susumu Obata on percussion and glassphone. The music on the other hand is some of the best heavy improvisational interplay I have ever heard. Comprised out of 2 sidelong tracks, the LP opens up with first a droned out minimal improvisational piece eclipsing the Taj Mahal Travellers out of their orbit. They execute it with a feel for deep dark space and lonesome F/X vibrating in a gulf of silence style of minimal droning psychedelic improvisation that this trio excel in, with simple sound events, shamanistic percussive rattles, bowed ghostly strings, a pin-prick of light, rising like fleets of hungry ghosts in the distance, vibrating out an alien and sacramental lonely vibe through the disfiguring use of spontaneously collective interplay. It’s totally gripping, a form of organic improvisation that is as sensual as it is absolutely dislocated from the physical. Just fantastic! But that is just for starters. Side 2 is where the heavy action lies, transcending at times the fiercest side of Takayanagi Masayuki & his New Directions Unit. Here the trio is playing at a dizzying peak of telepathic empathy. Grimly ratcheted tension, whooping freedom, slash and burn explosions, and the unmistakable hovering, molten whine of Masayuki Nagai's guitar in conjunction with Yasushi’s heavy bass rumble... simply put a classic, classic record that needs to be heard by anyone with an ear for freedom sounds. Yasushi and Obata’s relentless rhythmic/pugilistic style compliments the percussive turmoil, setting down an incredible whirlwind-propulsive base for Nakai’s most wounded guitar slamming this side of the equator. The results are pretty dazzling, combining the bloodied jazz/noise feel of prime Takayanagi with enveloping walls of distortion, weird low-level almost Music Improvisation Company-styled insect chatter and disemboweled tsunami roaring and howling sounds coming from out of the deepest bowels of this seismic island. This is such a great, invigorating shot from the source and it confirms a whole buncha things that are important in underground music: energy, passion, actual playing, speed-of-thought improvisation. Who else comes close? Nothing at all, this was a singular moment in time and blows most of the free jazz/ improvisational records I have heard straight out of the gene pool. Total killer and insanely rare. Don’t think you will ever see another copy during this or the next decade. So don’t be shy, hit me hard with your best offer and you won’t be disappointed. In fact you will be left craving for more once you have heard this slab of sonic greatness. Price: Offers!!!!
270. PETE BROWN & PIBLOKTO: “Things May Come And Things May Go, But The Art School Dance Goes On For Ever” (Odeon – OP-80114) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: MINT). Original totally rare 1st Japanese pressing from 1970 that came out on BLOOD RED WAX. Extremely RARE PROMOTIONAL ODEON/ TOSHIBA WHITE LABEL Issue. Comes complete with never offered before first issue OBI!! Following his shock sacking as leader of The Battered Ornaments on the eve of their prestigious support slot at The Rolling Stones' Hyde Park concert, vocalist and one-time Cream lyricist Pete Brown set about forming a new band, Piblokto! Retaining the services of Battered Ornaments' drummer Rob Tait, he recruited Scottish guitarist Jim Mullen, bassist Roger Bunn and organist Dave Thompson and released the single “Living Life Backwards/High Flying Electric Bird”. This was followed in mid-1970 by the LP, “Things May Come And Things May Go But The Art School Dance Goes On Forever”, an album that to this day is regarded as one of the finest of the progressive era. A lot more commercial than the LP he made with the Battered Ornaments (“A Meal You Can Shake Hands With In The Dark”), it nonetheless was a varied work containing jazz-tinged rock alongside laid-back folk melodies and all augmented by Brown's witty, questioning and poetic lyrics. The inventive title track percolates, and “High Flying Electric Bird” features Brown on the highly unusual rock & roll slide whistle, mimicking a birdsong. But it's “Golden Country Kingdom” that's the highlight; long and involved, it's a wonderful and highly affecting piece of prog rock that stands as the best thing Piblokto! ever put on tape. It stands as a contrast to the more laid-back “Firesong”, although “My Love's Gone Far Away” offers a more soulful organ sound. A classic disc and 1st pressing white label promotional copy on Japanese red wax. Never seen a copy with 1st issue OBI before until now – seriously rare Japan 1st original pressing from 1970. A true killer!!! Price: Offers!!!!!
271. PETE BROWN & HIS BATTERED ORNAMENTS: “A Meal You Can Shake Your Hands With In The Dark) (Odeon – OP-8971) (Record: Mint/ Fold Out Jacket: Mint/ 4-paged Insert: Mint/ Obi: Mint). Rarest version of this killer LP, complete with obi – NEVER surfaces on these shores. Top copy!! Original totally rare 1st Japanese pressing from 1970 that came out on BLOOD RED WAX. Extremely RARE PROMOTIONAL ODEON/ TOSHIBA WHITE LABEL Issue complete with always missing OBI. UK progressive – psychedelic and jazz rocking rarity out of the early seventies. This is the first Japanese press of that time, coming in fold out cover, 4paged insert and read wax vinyl, only released in Japan on red wax!!, making it even harder and rarer that the original 1st UK Harvest pressings of the disc. Demonic wailing vocalist Pete Brown spearheaded this band before Chris Spedding and cohorts excommunicated him from their ranks. Still this is the finest moment of the Battered Ornaments, wild, free jazzing and beefed up psychedelic progressive masterpiece, deranged vocalizations, heavy organ riffage, boom boxing rhythm section, it has all the works. A classic, much in demand and utterly rare item. Stunning condition. Comes with insert & obi so with obi present you have to come over very convincing in order to take this baby home with you. Rarest Pete Brown issue. Price: Offers!!!!
272. PETITE MAMIE: “Girl Friend – Baby Doll” (Victor – SJV-511) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). ORIGINAL mega rare pressing COMPLETE with OBI in Near Mint condition, the heaviest record on the list…. One of Japan’s most rare erotic artifact, copies do not surface at all and so far we know only of a select handful who have a copy of this beast. Petite M'amie's "Girl Friend ~ Baby Doll" LP has been reissued on CD by Tiliqua in its "Erotic Oriental Sunshine" series, documenting some hideously aural gems that portrayed the sleazy sexy underbelly of late sixties and early seventies Japan. Originally recorded and released on May 5th, 1971, Petite M'amie was the nickname for Mari Keiko. Although she does not get naked on the cover like all the other starlets, the music she hushes out into being is utterly depraved, spiked up with an unheard quality of forlorn sleaziness, an erotic hushing and uttering that would make even Ike Reiko blush. This record can be seen as the first ever recorded iroke record, a project to blossom out of the Victor's producer Mr. Okoda who approached the then (and now) virtually unknown Mari Keiko with his sonic intentions - a move that would ignite a whole new genre in the following years to come. The result is this sexy beast of a disc. But there where Ike Reiko's effort was drenched in a sultry pornographic vibe, Petite Mamie's benchmark recording is instead bustling over with an innocent - almost childlike - erotic sensuality that sounds harmless but is even wilder and more deranged than Ike Reiko's take on eroticism. Mari Keiko's hushes, sleazes, breathes and hovers like Nobokov's Lolita all over this one, teasing her lover, laughing in ecstasy, moaning, singing about erogenous spots and so much more while the music dwells in a psychedelic road trip towards the bedroom. “The final installment in Tiliqua's utterly essential 'Erotic Oriental Sunshine' series of re-issues, 'Girl Friend Baby Doll' moves in a markedly different direction from its predecessors. Although still adorned by the image of an angelic and scantily clad Japanese beauty, the disc is somewhat less overtly sexual than the others, focusing more on a childlike and hushed mood; giggling and whispering rather than groaning and screaming. However the more you listen to the album with these quite peculiar, sometimes goofy vocals paired with some downright funky Euro-sleaze instrumental parts the more insane a it begins to sound. I mean, it's erotic but it's just not quite as blatant as say, Ike Reiko, it's shrouded in a veil of naivety which only serves to make it that much more odd. Apparently Petite M'amie (aka nudie actress Mari Keiko) wanted the album to be much more obviously erotic but the producer was dead set on that shy girl angle, which unsurprisingly still seems to be the order of the day in Japan. The truth is though, for all its odd sentiment and somewhat dubious morals this is an absolutely killer release, somewhat comparable in style to the crucial re-issues of the Finders Keepers label, with exotica production and a vibe closer associated with the French New Wave than with Japanese music from 1971. Another stunningly presented and gloriously unpredictable release” A truly ultra erotic gem that never gets offered for sale. Last year a copy of the LP jacket and obi without the LP present got sold on a Japanese auction site for 1500 Euro, so seen in this light, this baby is a steal. Mint record and the rarest disc to ever come through my hands and offered here complete with OBI---- so hit me with your offers as heavy as or exceeding CA Quintet – NO joke. Seriously, one of the rarest records to seep out of Japan. Price: Offers!!!!!
273. PIAZZA ARMANDO: “Suan” (B.B.B. - Beautiful Black Butterfly Records – BSLA-0002) (Record: Excellent ~ Near Mint – some very faint barely visible & inaudible micro sleeve lines/ Gatefold Jacket with Attached Booklet: Excellent ~ Near Mint). Bloody rare original 1972 Italian issue in just awesome nick. Hard to improve upon! This one is up there with Mark Fry as the most sought-after psych/ folk LP released in Italy. Acid-psychedelic ballads, with lots of acoustic guitar, bursts of fuzz guitar and excellent use of electric instruments. The fuzz bass on "The House on the Hill" will blow your mind and speakers away. It is one of the best and rarest European psychedelic folk rock albums. Armando Piazza, singer-songwriter from Naples was joined by renowned US guitarist Shawn Phillips on bass, acoustic and electric guitar. "Suan" was originally released on the obscure Black Beautiful Butterfly label in 1972 and since its release it was being sold at concerts and by mail only – so copies are far and few in between. So, it was even then difficult to find. Blessed with English vocals, the album is comprised out of long tracks, totally wicked acid leads all over, oozing out an introspective feel. In short, totally awesome, and unique sounding with Shawn Philips backing. Comes housed in great gatefold sleeve with attached lyrics/ picture booklet. Totally essential and in great condition to boot!!! Sadly, a bitch to unearth and rare forever so… Price: Offers!!!!
274. PINK FLOYD: “It Would Be So Nice b/w Julia Dream” (Columbia – DB-8401) (7 Inch Single Record: Near Mint/ Flimsy Picture Sleeve: Excellent – top shape sole defect is 0,5 cm lower seam split – hardly visible and brownish stain on seam. All other edges and corners fully intact). Freakingly rare – especially in this pristine condition – Sweden issued Pink Floyd single dating back to 1968. Comes with center piece still attached to the single record. Damned fucking awesome picture sleeve condition – you will be hard pressed to ever find a better condition copy than this baby here. Price: Offers!!!!
275. PINK FLOYD: “Dark Side Of The Moon” Odeon – EOP-80778) (Record: Near Mint/ Laminated Gatefold Jacket: Near Mint/ OBI: Mint/ 2 sided postcard: Near Mint/ 2 Posters: Excellent ~ Near Mint/ Book: Near Mint) Freakingly rare Japan 1st original pressing with all complete & WHITE LABEL PROMO ISSUE. Rarest DSOTM issue. This one has some unique features that ONLY the Japanese promo issue has being – 1/ laminated Gatefold sleeve; 2/ reversed jacket art with big triangle on front and small one on back and this is only with the promo edition as it was immediately rectified when the album went on sale in Japan. It was a printing error that was quickly restored so only promo issues – which already surface about … eugh, just never --- have this unique feature. So genuine rarity and a must have for Pink Floyd completists. TOP CONDITION, with no damages on sleeve (most of the time it has wear marks), comes with 1st issue obi and all inserts and the record itself appears to have been played only once or maybe even never. So, a one-off unique chance to wheel in the perfect copy. Price: Offers!!!!
276. PLACEBO: “S/T” (Harvest – 2C-064-95.378) (Record: Near Mint – dash away from perfection with one tiny non-sounding hairline on opening side A/ Jacket: Near Mintt). First original press from 1974 in exquisite condition. Rare and much in demand Belgian Marc Moulin led jazz funk fusion. Marc Moulin's three Placebo albums are the "Holy Grail" for the rare groove crowd, a sector of music fans who love that unique 70s style of cool. For an album from the 1974 jazz scene, this self-titled one is remarkably focused, without any experimentation or free jazz moments and it sounds totally ahead of its time, not like 1974. The overall vibe does catch that certain 70s spy groove. In all, it's all a bit too laid back for me to get hugely excited over, but its wide appeal is undeniable. Record has one tiny hairline on the opening track that does not sound and the sleeve is also bordering on perfection. Super clean copy and hard to ever improve upon. Price: Offers!!!
277. La PLANETE SAUVAGE: “S/T” (Pathe – 2C-066-12.698) (One-Sided 2 LP TEST PRESS Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ 8 PROMO ONLY Lobby Card Picture Set: Near Mint). One of a kind & unique item – this is one of only a handful (maybe 2 or 3) copies known-to-exist two-sided TEST PRESSING of La Planete Sauvage. As a bonus. This one comes with promo only set of 8 big lobby card pictures set. Fabulous soundtrack from the cult sci-fi bizarre 1970s Cannes Film Festival winner, the French animated science fiction film La Planète Sauvage, composed by Alain Goraguer (long time arranger for Serge Gainsbourg). The album itself creates an interesting dope-flavored sci-fi floating mood, blending psychedelia, jazz, and funk. What? A funk soundtrack? A very obscure soundtrack, which has been reissued a couple of times but this copy here is the real deal, original pressing/ one of a kind one-sided 2 LP TEST PRESS advance copy in top notch condition. There are about 25 tracks, mostly between one and two minutes long, all featuring the same melody. However, each track is different in instrumentation and feel. The majority of the tracks are backed by an excellent funk group; Rhodes, wah guitar and fatback drums provide the drive in what is an entertaining and surprising album with great depth. Like an LSD dosed Isaac Hayes score, the music herein is at the same time both reminiscent of classic early seventies drama soundtracks and completely surreal and strange. Lots of recurring motifs recast in ever building and changing arrangements, including marimba, theremin and bird whistles as well as the standard orchestral elements, guitars and funky organs. Delusionary great in its entire intoxicating Technicolor sonic extravaganza. Never offered before 2LP one-sided advance copy TEST PRESSING with additional set of 8 lobby card from the movie. Seriously rare and unique … Price: Offers!!!!

278. PORTAL, MICHEL: “Our Meanings And Our Feelings” (EMI Pathe – C.054-10525) (Record: Near Mint/ Jacket: Near Mint and with Languette attached). Just the perfect copy without any defects. Best copy I have ever seen, just flawless. Was only released in France and this copy is so perfect it comes in fragile flip back cover that is perfect on all fronts and looks like new & it still has the still has the little "languette" (the French variant of the OBI which is always missing) still virginally attached to the flip back. This is one of those magical free jazz slides that might have effectively amplified the revolutionary tumult of the times but it was attributable as much to extra-musical variables – like miniscule budgets, limited availability of equipment and the fact that no one had yet worked out how to properly capture this music on tape – as it was to a deliberate musical aesthetic. Either way, it actively defines all of the best recordings of the era. The awareness and openness this demanded on the part of the musicians can be heard throughout this pioneering album. Compared to the magnificent raging bark of Peter Brotzmann's Machine Gun (recorded a year earlier), the music on Our Meanings And Our Feelings (recorded on June 27, 1969) distances itself from the energy and impassioned self-expression of free jazz by adding a more spiritual flavor to the mix of defiance and despair. Joachim Kuhn (piano), Jenny Clark (bass), Aldo Romano (drums) and Jacques Thollot (drums) play with extraordinary closeness, between and beneath them Michel Portal had already taken the sax and clarinet into unheard-of territory. The rhythmic flexibility of Jacques Thollot's gentle work provides the space for it all to happen unfolding against a musical background that incorporated mutant ethnic variations/ Middle Eastern influences, hurling in and out of focus and churned out a panoramic sound floating somewhere between the controlled burn of jet engine and the boundless fury of whiplash assault or a bloody gang fight. Like the best of the improvised music that has followed in the ensuing 30 years, it touched on a special kind of intensified awareness, an in-the-moment saying and listening that is enthralling to hear unfold. You will realize upon spinning this beast that the middle of the road is only popular when nothing is happening and Portal and Company surely rip the system sonically apart like a pile of cheap hay. It is without a doubt one of the most defining moments and best recordings to seep out of the late 1960s European free music/ spiritual jazz scene, easily standing shoulder to shoulder with the best records of that golden era. Never seen a better copy of this Freakingly rare & obscure lethal & maniac fury of a disc. Price: Offers!!!!

279. PRETTY THINGS: “S.F. Sorrow” (Columbia – SX-6306) (Record: Near Mint/ Laminated Gatefold Jacket: Near Mint – one lamination crease on lower right corner/ Company Inner Sleeve: Near Mint) Beautiful condition UK original 1st MONO press issue with XAX 3738-1 & XAX 3739-1 Matrix numbers and rough textured Black and Blue labels!! So stupendously rare UK mono original of classic UK psych behemoth that at times echoes Pink Floyd's Piper at the Gates of Dawn or A Saucerful of Secrets, while straddling into the realms of doped up British blues and LSD-soaked psychedelia better than almost any record you can name. The album tells the story of "S.F. Sorrow," a sort of British Everyman -- think of a working-class, luckless equivalent to the Kinks' Arthur, from cradle to grave. An all-time UK psych classic! Top copy. Price: Offers!!!!
280. PRETTY THINGS: “S.F. Sorrow” (Odeon Toshiba – OP-8640) (Red Wax Record: Near Mint/ Jacket: Excellent ~ Near Mint – faint foxing on back sleeve/ Insert: Near Mint) Hideously rare and obscure Japanese pressing that comes on RED wax housed in a Japan only jacket. Original Japan only release out of May 1969. The music is more than well-known I guess so I will spare you of my neurotic ramblings. Still that aside, this is a true rare artifact, original Japanese pressing of the day, very few were sold, making that these babies just next to never turn up here. Comes in a Japan only sleeve art and is pressed on that gloriously salivating great red wax. Top condition to boot so; don’t think twice about this one ‘cause I don’t think another copy will pop out of the woodwork any time soon. Price: Offers!!!!
281. QUICKSILVER MESSENGER SERVICE: “S/T” (Capitol Records/ TOSHIBA Musical Industries Japan – CP-8660) (Red Wax LP: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Monstrously rare Japanese first original pressing on red wax complete with FIRST ISSUE obi that came out in Japan in June 1969. This version here is the stupidly rare WHITE LABEL PROMO issue – also on red wax and complete with OBI!!! It only took me 15 years (!!!) of spastic and demented lunatic searching that almost took on a form of sultry madness in order to locate a complete copy of Quicksilver’s 1st original Japanese pressing with obi. Just when I was about to throw in the towel and give up all hope, a copy was offered and here it is. When I got the first sight of it, sitting in a coffee shop upon closing the deal, I felt like being on the rising edge of a speed trip. Finally, here it was, my personal Holy Grail. This copy here is the MEGA RARE WHITE LABEL PROMO issue with OBI!!! Hardly ever surfaces, red wax issues are damned rare and getting tougher with the minute to dig up on these shores. Has been ages since I have seen a red wax copy, which by the way sounds absolutely amazing!!!! Cipollina wielding the axe is stuff of legends, the best acidic gunslinger ever to roam the face of the earth and this is where it all began. The PROMO white label red wax pressing is MEGA RARE, just never surfaces so a one-off chance to wheel in a seriously rare item. Apart from being one of the greatest psychedelic acid rock LP ever recorded, it is also one of the rarest – that is with the original obi attached and as icing on the cake WHITE LABEL PROMO issue, red wax…. seriously demented shit. Price: Offers!!!
282. QUICKSILVER MESSENGER SERVICE: “S/T” (Capitol Records/ TOSHIBA Musical Industries Japan – CP-8660) (Red Wax LP: Mint/ Jacket: Mint/ Obi: Mint). Monstrously rare Japanese first original pressing on red wax complete with FIRST ISSUE obi that came out in Japan in June 1969. It only took me 15 years (!!!) of spastic and demented lunatic searching that almost took on a form of sultry madness in order to locate a complete copy of Quicksilver’s 1st original Japanese pressing with obi. Just when I was about to throw in the towel and give up all hope, a copy was offered and here it is. When I got the first sight of it, sitting in a coffee shop upon closing the deal, I felt like being on the rising edge of a speed trip. Finally, here it was, my personal Holy Grail. Apart from being one of the greatest psychedelic acid rock LP's ever recorded, it is also one of the rarest – that is with the original obi attached and I needed it badly. Never offered before TOP copy with OBI, so generous offers accepted....very generous ones like after being hit with a typhoon and an earthquake and an all destroying blazing fire, that kind of generousity is needed here - because...it is that rare and mint so, don't be shy and don't hold back.... Price: Offers!!!
283. QUICKSILVER MESSENGER SERVICE: “Happy Trails” (Capitol – CP-8721) (Record: Near Mint/ Jacket: Mint/ Obi: Mint). True FIRST original press issue with 2000 Yen price stated on obi + pressed on RED wax (which only 1st press issue has). Very first press issue is viciously rare – only 2nd time I have a copy and this one is in pristine nick. Rare dead mint Japanese pressing of this 2nd album by these acidic west-coast gunslingers, complete with obi. Hardly ever turns up on these shores, you know the drill I guess, the music is mesmerizingly addictive and Cippolina is the main axe-grinding madman that will haunt your lysergic Technicolor dreams. Record is mint as can be, jacket looks like it was printed only yesterday and the always missing “New Rock” obi is as virginal as a newborn child. Massive. RED wax – 2000 Yen on OBI very first press issue – that has always been an elusive one. Price: Offers!!!!
284. RAMONES: “Blizkrieg Bop b/w Havana Affair” (Philips/ Nippon Phonogram – SFL-2122) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Stupidly rare 1976 Japan original first single all complete with original picture sleeve –the real deal here and one that is on any righteous punk collector’s want list. Top condition, next to impossible to upgrade upon this one here. You know how rare and sought after this baby is here so need you best shot for this one here. Price: Offers!!!!
285. The RAMONES: “Suzy Is A Headbanger b/w What’s Your Game” (Philips – SFL-2152) (7-Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Rare Japan 1977 single issue in top condition. Comes with Japan only picture sleeve. Next to impossible to upgrade upon this one. Those mid-1970s Japanese press Punk singles have all dried up ages ago and only stick up their heads on rare occasions. Super clean original so…. Price: Offers!!!
286. RAMONES: “The Blizkrieg Bop b/w Havana Affair” (Sire – 6078.601) (7 Inch Single Record: Near Mint/ Flip Back Original Picture Sleeve: Excellent ~ Near Mint). Studidly rare 1976 UK original first single all complete with original picture sleeve – not the common reproduction but the real deal here. Top condition original so.... Price: Offers!!!!
287. RAMONES: “S/T” (Philips – RJ-7175) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Damned rare pristine 1st press original copy of the Ramones debut LP – all complete with first issue obi and insert. Rarely offered damned rare WHITE label PROMO issue. Landmark recording, every track is a killer and getting immersed into this one, it makes you gnaw the skull, suck the bones and then soak the bastard with gasoline and toss a match on it! Yes, this is as good as it gets and makes you feel your balls contract violently, crawling straight up into your belly. A sound that hits the nerves like a blast if summer lightning across the mountains. The very first Ramones slide…. It will work wonders on you, even after knowing it from start to finish and back again… Japan 1st original pressing in top shape and all complete with 1st issue obi – these babies have disappeared completely and are getting next to impossible to dig up. This one will descend like a swarm of wild bees upon you each time you dive into it. A must!!! Price: Offers!!!
288. RAMONES: “Leave Home” (Philips – RJ-7208) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – faint foxing on back of the sleeve/ 4 Paged Insert: Near Mint/ Obi: Near Mint). Damned rare Japan first press issue all complete with obi – this being the rarely offered WHITE label PROMO issue. “Second verse, not quite like the first.... Released a mere nine months after the Ramones' groundbreaking debut, 1977's Leave Home was in many respects a continuation of the sound and attitude of the first album, with its unrelenting barrage of chunky guitar downstrokes and Mad Magazine-influenced lyrical absurdity. But even a cursory listen reveals the Ramones had made plenty of progress in less than a year. The performances on Leave Home are tighter and better focused than they were on Ramones and Tommy Ramone’s minimalist drumming gained a bit of swing that was absent on the debut. The Ramones sound more comfortable with their attack, never quite as simple as it seems, while also bearing down with a greater speed and ferocity that finds them hitting their stride in the studio. Just as importantly, the production is noticeably more polished this time out, which helps more than one might expect. Without the strict left/right separation of Ramones, Leave Home is more friendly to the ear, and the increased clarity does wonders for the passionate bleat of Joey’s vocals, Johnny’s unrelenting Mosrite abuse, and the melodic details that lurk beneath the surface of the Ramones' wall of noise. And if the first album was full of immediate classics, Leave Home has more than its share of great tunes, including the anthemic "Pinhead" and "Commando," the high-velocity teen romance of "Oh Oh I Love Her So" (certainly the greatest love story ever set at a Burger King), and the catchy invitations to bad behavior in "Carbona Not Glue" and "Glad to See You Go." Leave Home wasn't as startling as the Ramones' first album, and it's not quite as strong and consistent as their masterpiece Rocket to Russia but it was a positive step forward for the Pride of Forest Hills, and it's one of their best and most satisfying albums.” (All Music Guide) Probably the rarest Ramones LP to seep out of Japanese waters, surpassing their debut by far on the scarcity scale. Price: Offers!!!
289. RAW MATERIAL: “S/T” (Evolution – Z-1006) (Record: Excellent ~ Near Mint, has an occasional barely visible sleeve line visible under bright light/ Jacket: Near Mint). Original UK pressing of their completely vanished debut album. Totally clean and great condition copy. Sleeve is flawless, no defects, record is flawless as well with no signs of much handling at all, next to impossible to ever upgrade upon this one. Music-wise, it is a more psychedelic/ jazzy prog affair as opposed to their second and final LP. Record is housed in a fantastic psychedelic jacket that has no lamination creasing and the disc is also in top shape. Looks EX〜NM condition with only a vey faint hairline visible on each side condition but as you know, they never play dead quiet. That aside, record wise very hard to upgrade upon, jacket is also solid NM and without a doubt one the best copies floating around. As you know this LP is incredibly hard to come by in any condition, so a clean one like this one here is something that does not happen every other day. Price: Offers!!!!
290. RED NOISE: “Sarcelles – Locheres” (Futura – Red-01) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent). Hideously rare masterpiece on the highly collectible Futura label and one of the hardest to track down titles thereon. Masterminded by Michel Bulteau, the Red Noise LP is a massive bomb. “Red Noise's one and only album was originally released on the legendary Futura label. Red Noise was an radicale and inventive avant rock band with some improvised jazz elements as well as a heavy dose of Zappa-esque humor. The first side is a bunch of interconnected tracks some of them much shorter than a minute, like the opening piece "Cosmic Toilet Ditty" which consists of footsteps and a toilet flush. Quirky songs, often with scatalogical content complete with free for all instrumental bits often with raging saxophone blasts. There is even time for some wild guitar solos on "The Galatic Swer Song" and "20 Mirror Mozarts". The lenghty closing track "Sacerelles C'Est l'Avenir" is wild and noisy avant rock free jam with energetic rhythm section blasts of electric guitar and sax, flute bleats and organ squals. The piece has a freaked out intensity that belies the silliness of earlier tracks and really ties the album together quite nicely" (All Music Guide). Hideously rare and musically totally out of this world, disjointed, defractured, doped up and utterly psychedelic. One of the best and greatest discs to seep out of camembert infested France. All time highest recommendation!! Price: Offers!!!!
291. REID, STEVE: “Rhythmatism” (Mustevic Sound – MS-1001) (Record: Near Mint/ Jacket: Excellent – faints smudge stain on front upper right corner). Great condition, 1976 US first original pressing that comes housed in very first jacket – that comes WITHOUT the other releases info and such printed on bottom of back cover. Most copies that surface are housed in 2nd print sleeves, this one here is a first print issue sleeve. A fantastic mid 70s set led by drummer Steve Reid – fronting a group of players who groove tightly, but with a really sinister sound! Reid is an absolute steamroller on this set – laying down a fast-paced, super tight funky backdrop for the rest of the players to groove fluidly over the top. Three of the five tracks run well north of the 10-minute mark – and those pieces are strong as can be, providing just enough room for the players to lay out a groove that lies beautifully between the mid 60s avant garde of Ornette Coleman and the spiritual soul jazz of the mid 70s. The core group includes pianist Les Walker plus David Wertman on a wonderfully rubbery bass, Michael Keith on trombone and Arthur Blythe on alto sax – with guests Chris Capers (trumpet), Melvin Smith (guitar) and Charles Tyler (baritone sax) on "Center Of The Earth". Great stuff, with a really dark edge! Price: Offers!!!
292. The REMAINS: “S/T” (Epic – XSB-114862) (Record: Near Mint/ Jacket: Near Mint). Pristine condition, Canada first original Stereo press issue from 1966. Stereo pressings are far harder to track down than mono issues. Lead vocalist Barry Tashian was an Armenian-American kid in Boston who was consumed by anger at the world. In part, perhaps, because Armenian-American kids may not have been top of the popularity scale in a town dominated by Irish-Americans and Wasps. He channeled the anger into music, leading the Remains into massive popularity in New England. But The Remains weren’t just another garage band. The songs here range from radical remakes of hits by Petula Clark (a seething “Heart”) and Charlie Rich (a “Lonely Weekend” that conjures both The Box Tops’ ragged soul and the Stones’ satanic sneer) to such balls-to-the-wall rockers as “You Got a Hard Time Coming” and the Kinks-like “Once Before.” At times, The Remains performed with a raw power that could make even The Stooges seem docile by comparison. Lead singer Tashian’s spirited rap during the break of “Don’t Look Back,” comes off like Detroit testifier Mitch Ryder backed by the dirty-ass guitar riffs of Entertainment-era Gang of Four (and this more than a decade before the punk invasion). Even The Remains’ mellowest songs, such as the gorgeous “Thank You,” burned with an edgy intensity that wouldn’t show up in pop music for another year, when The Velvet Underground released its first album. The Remains were, perhaps, a little too sophisticated to be a true garage band – they had proper arrangements and melodies, rather than just splurging their rage on to vinyl – but Don’t Look Back remains one of the most thrilling relics of mid-60s American rock, complete with a fabulous faux gospel breakdown: “I got one thing I gotta say … You know, people got some strange ideas about how life should be lived and things should be done/ But I’m here to say you gotta do just what you want!” Amen. Price: Offers!!!!
293. The RESIDENTS: “Meet the Residents” (Ralph Records – RR0274) (Record and Jacket are MINT/ SEALED). Damned clean top condition SEALED original of first ever Residents LP out of 1974 – US first original press issue. “The Residents are true avant-garde crazies. Their earliest albums (of which this is the first) have precedents in Captain Beefheart’s experimental albums, Frank Zappa’s conceptual numbers from Freak Out, the work of Steve Reich and the compositions of chance music tonemeister John Cage -- yet the Residents' work of this time really sounds like nothing else that exists. All of the music on this release consists of deconstructions of countless rock and non-rock styles, which are then grafted together to create chaotic, formless, seemingly haphazard numbers; the first six "songs" (including a fragment from the Nancy Sinatra hit "These Boots Are Made for Walkin'") are strung together to form a larger entity similar in concept to the following lengthier selections. The result is a series of unique, odd, challenging numbers that are nevertheless not entirely successful. The album cover is a fierce burlesque of the Beatles’ first U.S. Capitol label release, sporting puerilely doctored photographs of the Fab Four on the front and pictures of collarless-suited sea denizens on the back (identified as Paul McCrawfish, Ringo Starfish, and the like). This is an utterly bizarre platter that may appeal to very adventurous listeners.” (All Music Guide). Sealed first press original – perfection. Price: Offers!!!!
294. La REVOLUCION DE EMILIANO ZAPATA: “S/T” (Polydor Mexico) (Record: Excellent ~ Near Mint/ Jacket: Near Mint/ Poster: Near Mint). Original first pressing of 1971 and stated on cover as “primera edicion Abril de 1971”. Jjust never surfaces. Fuzzed-up, tripped-out rock and roll, heavy guitar psych; one of the best ever from anywhere. La Revolucion De Emiliano Zapata had all the right ingredients, totally stoned vibe, deranged vocals gnawing at your skull, earthquake rhythm section blessed with a caveman-like feel, demented lyrics and one of the wildest guitarists ever to emerge out of Latin America. With a sound that's heavy on guitars, they are also surprisingly soulful lyrically too – a well-conceived blend of modes that comes off with a real "instant classic" sort of feel. La Revolución de Emiliano Zapata. Was of course unmistakably heavily influenced by American 'psychedelic rock. Heralding out of Guadalajara, located in the central region of Jaliscoin during the late 1960's, the band quickly established themselves as a sonic menace. After winning a radio competition a record contract was wheeled in and they signed a deal with Polydor in 1969. In 1970 they cut their debut album, 'La Revolución de Emiliano Zapata'. The albums was a beast, stuffed with peyote injected fuzzed up guitars, etc, just lovely addictive on all auditory levels. Original first press copy. So rare this clean. Top copy. Price: Offers!!!
295. REVOLUTIONARIES: “Sentimental Dub” (Germain - /) (Record: Excellent ~ Near Mint/ Jacket: Excellent). Rare pre-release only issue complete with sleeve art + DUB STICKER. Most copies came without sleeve. Awesome condition of damned rare early Revolutionaries slide. Hardly ever comes up for sale – early Revolutionaries intoxicating dub slide. Price: Offers!!!!
296. HOWARD RILEY TRIO: “Discussions” (Opportunity – CP.2499) (Record: Near Mint/ Hand Made Paste On Sleeve: Excellent – no defects no splits or damages, has some aging spots due to age/ Insert: Excellent). UK original 1st press issue, released in a tiny run of only 99 copies way back in 1968 and one of the rarest UK jazz slides out there. It would be a slight understatement to say that this slab of improvisational greatness is a hard one to come by so the term “rare” does hardly cover its scarcity status. The reason for putting it out in such a tiny run of only 99 copies was that due to UK tax law purchase taxes were applicable for a press run of 100 copies and more, so in order to ditch those one opted instead for a miniscule release, making this limited pressing one of the most important documents of UK free jazz. Scarcity aside, it is an impressive showcase of some of Britain’s finest improvisers initial free form aesthetic and who all would go on to become hugely influential later on. Here, Howard Riley spearheaded his very own jazz trio enlisting bassist Barry Guy and drummer Jon Hiseman, both stellar talents in their own right. Hiseman recorded with John Mayall and many others as well as becoming a forming member of Colosseum, Guy was part of the Spontaneous Music Ensemble and played with about every big name in UK (free) jazz. The compositions on display are split over originals and reinterpretations of jazz standards, clearly showing the direction European jazz around that time was steering into, uncovering in the process its own avant-garde language, almost unrelated to the form of free jazz played in the US. This European approach was less based on intense improvisation and aimed instead at a slow denudation of most melodic content, while being on a quest which would encompass jazz with a whiff of contemporary European classical music of the 20th Century and assimilate it into a new musical free form rhetoric. Without stranding in rigid waters, this is deeply explorative music beyond time and space, being extremely free, fluid and loose. A thing of beauty casting a mesmerizing spell when submerged in it. Extremely rare UK first original pressing in top shape. They do not come rarer than this one here so…. Go out with all guns blazing for this one. Price: Offers!!!
297. ROCK AGE CONCERT: “S/T – Various Artists with FAR OUT, BLIND BIRD, TOO MUCH, JUNI RUSH, FLOWER TRAVELLING BAND, CRINCUM CRANKUM, ROCK PILOT & SPEED GLUE & SHINKI” (Atlantic – L-6007A) (Record: Mint/ Gatefold Jacket: Mint). One of my most treasured Japanese heavy psychedelic rock artifacts is this thunderous compilation LP. Still, it ain’t really a compilation LP since it harbors some unreleased tracks by Far Out, Blind Bird (ouch, smashing and this is the sole thing they ever released), Too Much’s Juni Rush, Flower Travelling Band, Crinkum Crankum (another under recorded band who only left behind this track here), Rock Pilot, Too Much and Speed Glue & Shinki. Well, the whole affair gets kick started by Far Out and their long track alone will suck you right into the fast lane. Their contribution is just fucking heavy and so far removed from their sole LP. They rip through some real heavy moves here, combining a sense of loss of power due to splitting down the atom of the mind and steering right into the turbulent waters of the perpetual, post-acid heavy psych scene. It is a monster and one of the best Japanese heavy psych tracks to have been committed to wax EVER!! Blind Bird and Crinkum Crankum steer into similar shark infested waters and will certainly crack open your already caved in skull. The rest of the psychedelic renegades to fill up this hopelessly rare and obscure LP are better known and only cement even further the reputation it has gained over the years. For some perverse reason, this LP is always trashed. But this copy here is the best one ever to cross my eyes. Jacket is Mint, like it was printed only yesterday and record is also mint, seems like it hardly had any plays. Fabulous copy, stunning gatefold and ear-splitting heavy psych moves, what can a deranged acidhead ask possibly more for. Highest ever recommendation!! Possibly the best copy out there. Price: Offers!!
298. RODRIGUEZ: “Coming From Reality” (A&M Records/ King Records – AML-149) (Record: Near Mint/ Gimmick Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent – has small lower tear that does not stand out at all). Brutally rare 1972 Japan 1st original press issue all complete with rarely seen OBI. Top condition copy. Back in 1971, Coming From Reality was Rodriguez’s last gasp, the follow-up to Cold Fact and the final album he was allowed to record for the Sussex label. Rodriguez’s vision of a perfect pop album. Coming From Reality found Rodriguez decamping from Detroit to London’s Lansdowne Studios, where the album was recorded with some of the UK’s top talent including Chris Spedding and producer Steve Rowland (The Pretty Things, PJ Proby, who recalls Coming From Reality as his favorite ever recording project. Highlights include the super-poppy “To Whom It May Concern”, the “Rocky Raccoon”-inspired “A Most Disgusting Song” and period piece “Heikki’s Suburbia Bus Tour”. Damned rare Japan original all complete with obi …top condition. Price: Offers!!!!
299. ROLF & JOACHIM KUHN QUARTET: “Re-Union” (CBS – S-62407) (Record: Near Mint - Mint/ Jacket: Near Mint - Mint). One of the rarest free inspired German jazz albums out there, this copy here is an original 1965 1st pressing in TOP condition, never seen a better copy anywhere. Tremendous work from the brothers Rolf and Joachim Kuhn – and exactly the kind of record that will have you completely rethinking your opinion about the clarinet in jazz! Rolf's a player with roots in more traditional modes, but by the time of this mid 60s session he was a very committed modernist – and uses the instrument here in modes that feel a lot more like the soprano sax spirit of John Coltrane or Steve Lacy at the time – open, free, unbridled – and often set to a modal groove that bubbles up perfectly from Joachim's work on piano! Sometimes Joachim's totally out there, let loose on a rampage, but he still manages to hang nicely onto his brother’s clarinet playing – not entirely straight, but always working with a sense of rhythmic progression, which gets support from Klaus Koch on bass and Reinhard Schwartz on drums. Yet Rolf's the real star of the show – as he blows with a fantastic range of sounds and phrasing – searing at some points, soulful at others – and blowing us away on titles. Utterly fantastic and bewilderingly beautiful lyrical, yet well balanced free jazz slide. One of the rarest German jazz records out there and this copy is just perfect on all fronts, strictly graded at NM~M all the way. Awesome!!! Price: Offers!!!!!
300. ROLLING STONES: “Vol. 3” (London/ King Records Japan – MH-208) (Record: Near Mint ~ Mint/ Fragile Flip Back Jacket: Near Mint/ Lyrics Insert: Near Mint/ Obi: Near Mint) Top condition all complete with insert and rare first issue OBI!!! Impossible to get in top condition these days and one of the rarest Japanese releases by them. Very rare Japanese first original pressing that came out in June of 1965. Record is in outstanding condition, Near Mint ~ Mint all the way. Jacket is conservatively graded as Near Mint as it is as perfect as you can hope it to be, being impeccable. Most of the times, when these babies show up they are completely trashed so it is a real pleasure to be able to offer this virginally clean copy. It comes with the impossibly rare first issue obi as well. So make your move, impossible to upgrade upon this one… Price: Offers!!!
301. ROLLING STONES: “Their Satanic Majesties Request” (London – NPS-2) (Record: Near Mint ~ Mint/ Gatefold Jacket with 3-D Artwork: Mint – without any wrinkles or minor blemishes, just perfect/ Japan Direct Import Insert: Near Mint ~ Mint/ Original Inner Sleeve: Near Mint/ Direct Import Obi: Mint). UK original 1st pressing for EXPORT on the green colored London label with silver lettering and “ffrr” reference on label for direct export from the UK to ONLY Japan. Comes complete with rare and real direct import OBI. Sometimes I forget how fucking brilliant ordinary, well-known records are and upon “revisiting” this one, I was again flabbergasted by its sheer brilliance and inventiveness. The Stones most psychedelic outing, injected with lethal shots of African flavored rhythms, mellotron, odd orchestrations, trippy effects, creepy uneasy mood swings… in short possibly the best Stones LP out there. Sure shoot me, but people who denounce this one and slag it off have the integrity of a hyena and the style of a poison toad. Prove me wrong if ya can. “Satanic Majesties Request” is sheer brilliance, a psychic maze that unknowingly set your nuts on fire and pushes down a silent scream down your throat. Hell yeah, I ride for that…. Top condition, never seen a better copy out there, absolutely perfect with the REAL (not fake) direct import obi, insert and imprinted inner sleeve accounted for. Top condition and all complete. Price: Offers!!!!
302. RUSSEL, ARTHUR: “Tower of Meaning” (Chatham Square – CLS-145) (Record: Near Mint/ Jacket: Near Mint). Stupidly rare US first original press issue that came out in 1983 in a tiny run of only 320 copies. Tower Of Meaning was Russell’s first LP, one of four he released in his lifetime, alongside seemingly innumerable 12-inch EPs which appeared under a range of aliases. A epic minimalist orchestral composition conducted by the late Julius Eastman. Stunningly beautiful, mercurial, and moving. The transcendental, ephemeral soundscape originally intended for theatrical performance. This is the very first pressing from 1983 on Chatham Square. 'Almost medievally pure music in which tone combinations of two or three notes tuned to modal/raga scales are played by various instrumental groups. There is a love of listening to the pure combinations per se, as they are delivered at a regular, moderate pace...then, unpredictably, rich or dissonant chords will be held that open your mind's ear, and take your breath away....the sudden ceasing of the music at certain points also has a similar effect.'—(Blue' Gene Tyranny) Julius Eastman conducting an almost medievally pure music in which tone combinations of two or three notes tuned to modal/raga scales are played by various instrumental groups. There is a love of listening to the pure combinations per se, as they are delivered at a regular, moderate pace...then, unpredictibly, rich or dissonant chords will be held that open your mind's ear, and take your breath away....the sudden ceasing of the music at certain points also has a similar effect. Top condition, impossible to ever improve upon. Price: Offers!!!
303. SAHIB SHIHAB Featuring: Kenny Clarke; Benny Bailey; Francy Boland; Milt Jackson; Ake Persson & Jimmy Woode: “Companionship – Jazz Joint Vol. 2” (Vogue Schallplatten – LDVS-17243) (2 LP Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). Top condition copy, German 1st original pressing of 1971. They hardly ever surface this clean! Double-length brilliance from the mighty Sahib Shihab – a set that collects a number of killer 60s sessions with members of the Clarke Boland Big Band – all of them great! The small combo work here is amazing – hard-hitting modal jazz that matches, if not tops the best MPS/Saba sounds of the time – all produced to perfection with a really sharp edge, and a cutting approach to jazz that's gone onto inspired countless others in the current scene – including artists on Schema and Ricky-Tick Records, as well as most Japanese club jazz combos! But long before any of those cats started copping his groove, Sahib Shihab had it all totally together – a great ear for his own amazing solos on baritone and flute, and a way of hooking up with players like Francy Boland on piano, Fats Sadi on vibes, Benny Bailey on trumpet, Jimmy Woode on bass, and Kenny Clarke on drums. All players here were Shihab's partners in the Clarke Boland Big Band, and they use these small combo sessions to explore some great new ideas – stripped-down groovers that are heavy on rhythm, and really allow full expression from all the players involved. Price: Offers!!!
304. SAHIB SHIHAB Featuring: Kenny Clarke; Benny Bailey; Francy Boland; Milt Jackson; Ake Persson & Jimmy Woode: “Companionship – Jazz Joint” (Columbia Records – PSS-252~3-AX) (2 LP Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ OBI: VG++ ~ Excellent). Great condition copy, insanely rare Japan 1st original pressing of 1971 – all complete with never offered before unique first issue obi. Although a Sahib Shihab leader album, the obi flanking this slide states “Companionship – Kenny Clark and his Friends” with no mention of Shihab. Impossible to find – took me 2 decades to unearth a copy with obi! Double-length brilliance from the mighty Sahib Shihab – a set that collects several killer 60s sessions with members of the Clarke Boland Big Band – all of them great! The small combo work here is amazing – hard-hitting modal jazz that matches, all produced to perfection with a really sharp edge, and a cutting approach to jazz that's gone onto inspired countless others in the current scene – including artists on Schema and Ricky-Tick Records, as well as most Japanese club jazz combos! But long before any of those cats started copping his groove, Sahib Shihab had it all totally together – a great ear for his own amazing solos on baritone and flute, and a way of hooking up with players like Francy Boland on piano, Fats Sadi on vibes, Benny Bailey on trumpet, Jimmy Woode on bass, and Kenny Clarke on drums. All players here were Shihab's partners in the Clarke Boland Big Band, and they use these small combo sessions to explore some great new ideas – stripped-down groovers that are heavy on rhythm, and really allow full expression from all the players involved. Impossibly rare Japan first press original with OBI!!!! Don’t be shy and hit me hard with your best shot! Price: Offers!!!
305. SALLY MAY: “Kinpatsu Enka” (Victor – SJX – 35) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: MINT). Bloody rare 1st original pressing with OBI!!!! Never had a copy with obi before – this is rare as hell freezing over on a hot summer day! Here is a freak oddity for you. Although being a Caucasian chick, Sally May was born in Tokyo on February 13th, 1947 as a mixed race child out of a Japanese mother and an American father. From an early age on she had the longing to become a singer and she started out singing at the family’s restaurant. In 1963 she was scouted out by the lead singer of the Five Suns band and stated out singing occasionally with the band The Sharp Hawks. Soon hereafter she debuted as a singer for commercial ads and a model, followed with an occasional role in a major movie. This attracted the attention of the Victor label who approached her and by September 1969, the album “Kinpatsu no Enka – Sally May” was released, which translates literally as “Blond Haired Enka”, a title and accompanying jacket that must have driven the fantasies of Japanese men for blond women even to higher realms at that time. The record was neither pop nor rock but consisted out of solid enka tunes sung by a blond nymph who later down the road would star in various films and some roman porno flicks. The music was especially well received by Pachinko Parlor attendants, Snacks, taxi drivers and other venues who had the radio on, gushing out her blond toned voice. Due to the eye-popping red background supporting a fully kimono clothed blond nymphet that suggested lust and erotic induced contents (which were far from present on this album) normal punters and young youths stayed away from it, making it till this day an extremely unknown and hard to come by cultural oddity. Recommended for those into the weirder aspect of Japanese popular 1960s culture and for all of you Enka lovers out there who are starving for some really hard to come by shit. Awesome jacket!! OBI is just mega rare and this copy is next to impossible to upgrade upon!!!! Erotic kayokyoku heavy weight. Price: Offers!!!!
306. SAMURAI: “S/T” (Philips – FX-8517) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Capsule Obi: Mint). TOP COPY Original 1971 press. Mega rare with never-offered-before capsule OBI present!!! Top condition, no signs of play at all. Totally vanished first original Japanese pressing, this has completely dried up these past years, copies just do not surface anymore, making it 5 times as rare as the more common German issue. With the obi present, well this makes it almost impossible to dig up. First all-complete copy I see in over 15 years!!! First original Japanese pressing. Comes with insert & OBI. Miki Curtis & Samurai second self-entitled album. Hyper rare progressive and psychedelic masterpiece with vicious organ leads and guitar ripping insertions. I guess you know the drill and the status of this disc. I think that this monster does not come any better than this. All time Japanese psych masterpiece and a tough score these days. Truly great copy in NM ~ M condition. Since the original Japanese issue vanished completely + fact I haven’t had a copy in at least 5 years and with obi not even one in my whole life, you may have a chance to get a mint copy and a Japanese 1st press issue. Amazing copy, next to impossible to upgrade upon. Obi is freakingly & impossibly rare so you will have to give me your all-time best shot for this one. Top condition!!! Price: Offers!!
307. SAMURAI: “S/T” (London/King Records – SLC-409) (Record: Mint/ Gatefold Jacket: Near Mint ‾ Mint/ Obi: MINT). Freakingly rare Japanese white label promotional press with never seen obi present, all in virginal MINT condition. First of all, don’t get confused; we are talking here about the UK band Samurai, not the Japanese one. Original UK copies of this album are a bitch to find these days but Japanese pressings of this album are even a tougher score simply because a/ they never made it past the “promotional press” stage and b/ although some copies made it to some shops here back in 1971, no one so far seems to have actually seen a regular Japanese edition one, so the few copies that do float around are all promotional press copies. Then, another issue is that of those promo copies, only a handful seems to have survived with the Obi intact, making this copy here a genuine rarity. Only the 2nd copy to surface in 15 years of time. For the rest, Samurai is a great UK progressive rock band that came into existence after the band Webb folded its activities and Samurai went one to record only one single album. The music is astonishing and should appeal to all psych/ prog lunatics out here. Comes housed in an eye-popping gatefold sleeve with matching deliriously detailed artwork. Top copy!! Price: Offers!!!!
308. SANDRA JULIEN: “Sexy Poem” (Victor – SWG-7252) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Nude Poster Pin Up: Near Mint/ Attached Nude Pictures Booklet: Near Mint/) It has been ages since I had a copy as clean as this one here!!! Released in 1972 on Victor Japan, original press with all gimmickry included in top-notch condition. Together with the Ike Reiko disc, this is the rarest erotic psych chanson album to ever seep out of Japan and copies just never turn up, until now. Sandra Julien was a French porn actress who made her screen debut in Japan in 1970 with the movie “Shikijou Nikki”, which premiered in 1971. Although that at that time porn flicks in Japan enjoyed very little publicity, the film turned out to be a success. Hereafter she teamed up with legendary pink violence movie producer Norifumi Suzuki and appeared in lustful depraved masterpieces such as “Gendai Pornoden Senten Seiinpu” and numerous others. Apart from two hideously rare 7-inches, Sandra recorded one sole LP on the Victor label that came out in 1971, depicting in full splendor her beauty and pale skin, which drove punters nuts with unbridled lust. But apart from the lovely jacket and pictures/ poster that were included with the LP, the musical contents are just deliriously fantastic and stand quality-wise shoulder to shoulder with Ike Reiko’s “Koukotsu No Sekai” as the sexiest disc ever recorded worldwide. Just imagine this: a French nymphet singing and moaning in the Japanese language impregnated with a heavy sultry French accent. How more erotic can music possibly get? Right, it can’t, it climaxes right here. But apart from these ingredients, the music and songs are just perfect, filled to bursting with top notch arrangements (courtesy of Araki Ichiro), placing Sandra’s against an at times Kayokyoku background which she spices up with oversexed talk and pink induced atmospheric qualities, swingy loungey settings against which she succeeds in lifting up the benumbest and most dormant of your body parts and taking it to never experienced before explosive heights of ecstasy. But that is not all, Sandra even ventures aside from all the loungey mood sets also into lesbian moaning and groaning interaction (a duo with starlet Sugimoto Miki) set to a wild R&B Go-Go frenzy filled with tribal bongo rattles, swinging horn section and a never-ending copulating climax. Throw ‘the Plastercasters’ out of the window and kiss goodbye to your Serge Gainsbourg records, Sandra Julien is more sizzling than a branding iron making its mark on the farmer’s herd. The sex is literally dripping from every note on this record with breasts, attitude, exotic musical accompaniment and more than you can possibly handle orgasmic moaning and spoken interludes resembling cheap phone sex by Sandra who is free to do her thing, which unsurprisingly is cooing sensually as the songs roll along, allowing her sexuality to take control. This disc is – as you could already guess bloody rare. A killer record all way round and one of my all-time favorites. Getting damned hard to find all-complete with poster!!! Bloody insane and great, so all-time highest recommendation. Price: Offers!!!!
309. SANDSTONE: “Can You Mend A Silver Thread” (Private US – 1971/ SA-2911) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Top copy of rare US 1971 private press psychedelic folk masterpiece. THE US psych folk album everyone’s chasing it seems. Locally released female vox led folk album that could have been a UK release in the Stoneangel, Pentangle, Mellow Candle realms. Haunting female vocals, original compositions, flute, harpsichord, bass/ drum, cello and guitars create a beautiful outer-wordly feel. To my ears the best US folk psych album I’ve yet heard… Amazingly clean copy of a record that was originally released in micro quantity…Price: Offers!!!!
310. SATO KUNITAKU: “Amami No Nakiuta” (Teichiku Records – BH-1527) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint/ Obi: Near Mint). Top notch copy of stupidly rare 1975 original pressing all complete with obi and booklet. Well, look no further, THIS IS THA SHIT!!!! Sato Kunitaku’s debut LP that documents his roaring singing that squeezes the throat and erupts from the back of the belly. Once he sings, the image ethnic folk songs might behold is destroyed and the orthodox island songs from his native Okinawa he brings forth are completely altered to a parallel universe where the laws of gravity and mere sound cultivation do not exist anymore. This is the Charley Patton from Japan or the Blind Willie Johnson from Amami Island. Sato was a blind itinerant musician from Amami Island, south of Kyuushuu. Born in 1919, he lost his eyesight when eight months old. His grandfather taught him to play sanshin, the southern shamisen, to ensure that Sato would be able to earn a living when he grew up. When he was 12, Sato began to play tategoto, a vertically-held koto so to speak, developing his own unique style. Upon turning 17, he began a wandering lifestyle, traveling through the Ryukyu Islands, a thousand-kilometer subtropical archipelago including Okinawa. He supported himself as a traveling musician, performing island folk songs, pre-War popular songs and his own compositions. Although he was a fine instrumentalist, Sato’s real power resides in his voice: a powerful, wailing, howling sound dredged up from the depths of his soul – a dark, intense sound-world most unlike the relatively smoother, sunny vocal styles of other Ryukyu/Okinawa singers. After World War II, Sato’s popularity spread to the U.S. troops stationed in Okinawa, and it is rumored that his wanderings took him to Hawaii. He continued his itinerant ways, traveling through the archipelago, singing, playing, living and loving (a man of rumor and mystery, he is said to have married at least eight different women during his lifetime). In the early 1970s, he came to the attention of Takenaka Ro, a writer and political activist, and through Takenaka’s enthusiastic support, Sato travelled to Tokyo in 1975 to record his first album. Sato’s fame continued to spread, and he performed at various folk festivals and made other recordings, some of which were released posthumously. Traveling and playing throughout the islands to the end, he made his last public appearance in Okinawa in 1985 and died the same year. But this is his first record, damned hard to find as copies are scarce and sold not well upon its release. But the contents are vicious gut-wrenching and soul-blackening killer, bruised beyond repair hardcore shit that will set the hairs on your neck straight up and awaiting to be scorched! Burned down blisters and open soars like on a dog’s neck, welcoming the unavoidable Gospel Apocalypse!!!! Top condition and seriously rare first press original. Price: Offers!!!
311. SATO MASAHIKO TRIO: “Penetration – Masahiko Sato Trio in Berlin” (Toshiba – TP-9521Z) (Record: Near Mint/ Liner Notes: Near Mint/ Outer Box Set: Near Mint/). This is the BOMB!!!! Insanely rare & hardly ever seen before Japanese free jazz monster. The LP came out in the same single disc box set series just like Uganda. And like Uganda, this disc is almost as rare, never surfaces and is just rarer as a hen’s teeth. This is the 1st original pressing released in a box. There is a common later press that comes in a different jacket, released on a different label (Express I believe) and even the music was cut short as opposed to the original version if I recall right. So here is the first original pressing and copies in existence are very few and far in between. It just never turns up and so far I know of only a handful of people owning a copy of this edition. But the music is what really counts here and that is a vicious one. Recorded live at the Berlin Jazz Festival on November 6th, 1971. The trio at this point consisted out of Sato Masahiko (Piano and ring modulator), Arakawa Yasuo (bass) and Ozu Masahiko (drums). What makes this disc possibly the greatest LP ever recorded by Sato Masahiko (apart from his Sato Masahiko & Soundbreakers album) is his use of fusing piano with electronic sounds and the employment of a ring modulator. By doing so he creates a wonderful eerie fusion of acoustic and electronic generated sounds that mingle with the free jazz aesthetic the groups exerts. Due to the ring modulator and the contact microphones attached to his piano, the trio’s improvisations get revved up with a reverberating echo and an electronic buzzing and whirling, creating some sort of background hissing feedback that zooms in and out of focus, adding an extra demented touch to Sato’s visions of piano drivin’ free jazz. The two side-long tracks are pregnant with a buzzing electronically charged tension that hovers in the air and almost sets the scene for an aquanautic-like recorded free improv brawl. The overall atmosphere is dense and inseminated with a thunder like tension that looms over the session, like the moist heat and threatening tempestuous winds assembling and gathering furious strength on the horizon ready to unleash their wrath and tropical tempestuous anger upon mankind. A roaring silence pregnant with suspense and danger which unleashes its full swirling whirl-blasting rage upon coming of age on side two. I guess this is as close one can come simulating the sounds of sitting in the midst of a tornado with debris flying around your head. Amazing disc that simultaneously appeals to the free jazz/ improvisation and electronic music lover that resides within me. This first edition box set version is super rare since the record bombed upon its release and failed to sell any copies. Some years later down the road, the Express label released it as a single jacket budget issue housed in a different quite hideously designed jacket, which is more easily available. But this 1st press copy just never turns up, making it one of the rarest Japanese free jazz/ experimental discs to have seen the light of day. Price: Offers!!!!
312. SCHAEFFER, PIERRE with GUY REIBEL: “Solfege De L’Object Sonore” RTF – Groupe de Recherches Musicales de l’O.R.T.F. – O.R.T.F. – SR2) (3 LP Set: Near Mint ~ Mint/ Individual LP Sleeves: Mint/ Thick Accompanying Book: Mint/ Outer Imprinted cardboard Box Set Sleeve: Near Mint). Original French 1967 pressing in TOP condition. Full title being “Pierre Schaeffer – Trois Microsillons d’exemples sonores de Guy Reibel assiste de Beatrice Ferreyra illustrant le Traite Des Objects Musicaux et presentes par l’Auteur – realization du groupe de recherches musicales de l’O.R.T.F. – Editions du Seuil”. The first achievement in 1967 included three LPs and a book containing the author's comments on each of the sound samples. This treaty summarizes Schaeffer’s research conducted around sound phenomenon in its various aspects. This is an in-depth reflection on the nature of sound. Some of the themes are the timbre of the sounds and the concept of the musical instrument, the time limits of the ear, a typology of musical objects, and the four elements of music theory. It is primarily intended for those who work with sound material. The sound pieces themselves were conducted by Guy Reibel, Beatriz Ferreyra, Henri Chiarucci, François Bayle and Pierre Schaeffer himself. These investigations find their culmination in this ominous set here. The focus lies on sound accessing the stage of "musical object" when it meets certain criteria that make it "appropriate" to be used as music and it is presented here for the first time with the concept of "reduced listening". This revolutionary concept overturns traditional attitudes of listening to music, or even listening at all. It consisted of a radical form of listening, freed from source concepts (the origin of the sound) and the sense (cultural significance, in particular) in order to relate to its intrinsic characteristics, its material, hearing texture, shape. Today this Treaty is one of the most important reference in the theoretical musical research in the twentieth century. Original copy of legendary French box 3 LPs + booklet by the father of experimental avant-garde music. Complete original box from 1967 including 3 LP’s (in perfect condition) + cover + Book. Housed in extremely fragile carton box (clean with just a small crease). Always damaged or with the outer box missing, this copy here is the best condition possible and all complete, so … Price: Offers!!!!!
313. The SEEDS: “In Concert” (King Records – SLC-219) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – no damages at all but has some foxing on back of sleeve/ Insert: Near Mint/ Circular Obi: Near Mint). Bloody rare Japan only jacket design issue all complete with even rarer obi – this being the circular “Silver” toned obi as opposed to the more common “red” toned circular obi - as issued in November 1968. Top condition and monstrously rare! Next to impossible to upgrade upon, the perfect copy with obi!!! The songs really were cut live to tape, with no overdubs and edits, and the Seeds sound plenty tight and enthusiastic here, with Sky Saxon’s vocals reaching a near-feral intensity on "Satisfy You," "Night Time Girl," and "900 Million People Daily All Making Love," and Jan Savage’s guitar work cutting significantly deeper than in the original recordings of these tunes. A few new tunes were played at the "live" sessions, and "Humble and Bumble" and "The Gypsy Plays His Drums" aren't milestones in the Seeds’ catalog, but they attack the hits with force and commitment, and the almost-ten-minute rave-up on "Up in Her Room" is some sort of crazed triumph. Maybe not raw, but more alive than you think, and one of the Seeds’ best offerings. Price: Offers!!!

314. SEX PISTOLS: “Anarchy in the UK b/w I Wanna Be Me” (EMI Records – 5C 006-06294) (Single Record: Excellent ~ Near Mint/ Picture Sleeve: Excellent). Mega rare 1976 Dutch with wonderful picture sleeve. This was the EMI pressing, withdrawn after two weeks following the general sale & release. A unique, legendary and highly collectable Dutch pressing complete with its amazing and unique picture cover. There are one hell of a lot more UK pressings than 'Made In Holland' singles out there. The photograph on sleeve is from the same photo session as the 'Filth and The Fury' photograph which would accompany reports in the UK national newspapers following the Sex Pistols now legendary 'Today' program appearance, with Bill Grundy, on London Weekend television. Far nicer than the boring black UK sleeve, created to reflect the blank generation. Absolute killer 3mins 35 secs of glorious mayhem within the grooves of this wonderful, treasured piece of plastic. On the flip is, of course, the brilliant, and classic, ‘I Wanna Be Me’. Stupidly clean original issue. They do not surface that often & this clean as this ball crusher here. Price: Offers!!!

315. SHAMEK FARRAH AND FOLKS: “La Dee La La” (Ra Records – RA-103) (Record: Near Mint/ Jacket: Near Mint). Pristine condition US first original pressing from 1978. A lost soul jazz/ spiritual jazz treasure – the legendary 3rd album from saxophonist Shamek Farrah, recorded after his first 2 sides for Strata East! The approach here is slightly different than that of the Strata sides – a bit more joyous and lyrical, with tunes that open up in waves of sound, color, and life – brightly pointing the way towards a new jazz vision that's really tremendous! Farrah's working here with an assortment of players from the east coast underground of the time – as well as Chicago stalwart Malachi Thompson on trumpet, the great Sonelius Smith on piano, and vocalist Ghanniya Green, who does some great Africanist scatting on the title track. Inspired by funky spiritual Afro-Latin soul with Latin vibes, percussion and horns, turning this slide into a resounding unique soul jazz groove. Preceding the '80s African jazz boom, "La Dee La La" features a lush, easygoing composition and arrangement, not unlike Abdullah Ibrahim's gentle Cape Town swing. After a bracing acapella chorus intro, pianist Saeed Amir introduces the chords, Lenny King and Roger Howell hit the hand drums, and Ghanniya Green sings the theme. Guitarist Harry Jenson plays silky rhythm, while Farrah's playful soprano sax composes festive variations. Playing a vocalesque plunger mute, trumpeter Abdullah Khalid makes a soulful statement, followed by Amir's elegant variations. The B side will throw you head first into some of the best Latin jazz grooves ever recorded. All of the compositions are astonishing songs, sparkling and vibrating towards an infectious groove. This LP has become a rare item, and the price of the original edition is soaring. The whole thing's incredible – an exuberant set of longer tracks that easily matches the best classics on Strata East from the 70s, and the kind of album that you will treasure for years! All original pressings have an invisible pressing fault on the B-side that causes one skip…but apart from that default this copy looks untouched and utterly virginal. Impossible to find a better one. Price: Offers!!!
316. SHINKI CHEN & FRIENDS: “S/T” (POLYDOR – MR-5003) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Heavy Gatefold Jacket: Near Mint – has record company catalogue seal on lower right corner/ Insert: Near Mint). Original pressing – hardly ever seen and mega rare WHITE label PROMO issue in TOP shape. Sleeve has on lower right side a small catalogue sticker from the record company as it was a promo – and the label has on one side also the same catalogue seal – for the rest perfect copy. One of the greatest psychedelic artifacts to come out of Japan? At least I think so and certainly one of the rarest since original copies are just NEVER offered for sale – let alone a white label promo one. Shinki Chen of Speed Glue & Shinki on a solo trip assisted by fellow drugged and totally wasted scenesters. Doped up vocals, fuzz-soaked guitar riffage, booming rhythm section, snarling vocals, in-your-face attitude, roaring organ that gets tortured by Yanagida Hiro, monstrous ominously fat fuzz leads that leave you breathless, this disc has just all. A killer disc that takes no prisoners. No surrender till the last vicious note has stopped wailing. Funny side note is that Cope slagged this one off in his Japrocksampler as totally worthless. Well, I guess that if you consider his (Cope’s) musical output to be a reference point, you know that this guy is full of shit and especially full of himself. Shinki Chen & Friends record attains levels of intensity that Cope can only dream of and I rank this beast as one of the most vicious and completely doped albums to have ever been released. Just monster fuzz psych crawling the walls and although Speed and Glue are not mentioned anymore, these substances certainly were around whilst recording this hedonist masterpiece. These guys were more rock and roll than Cope’s entire crappy output thrown together and multiplied by a zillion. Anyway, it isn’t even worth comparing, mediocrity isn’t worth that much credit. That all aside though this album is a bloody fucking rare 1st original press, housed in thick textured gatefold jacket. Here you have a chance to wheel in a top condition near mint white label promo issue of this all-time psychedelic doped up beast from the far east, a brain-blowing Hendrix-influenced monster hard fuzz ripper that comes in beyond thick cardboard gatefold sleeve with disc in top shape with white label promo seal on one side of the label plus comes with rare insert. Price: Offers!!!
317. SILL, JUDEE: “S/T” (Asylum Records – IAP-80573) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Inner Sleeve: Near Mint/ 6-Paged Booklet: Near Mint/ Obi: Mint). Damned rare Japan 1st original press all complete with obi and booklet. WHITE label PROMO issue! Judee Sill was many things; a prostitute, armed robber, junkie, jail bird – and arguably the most talented of all the seventies singer-songwriters. Her self-titled debut album was produced by Henry Lewy, known for his work with Joni Mitchell. All are Sill’s own original compositions, many of which relied on her own brand of cosmological Christian imagery. By turns spare and lavishly orchestrated, there is still a cohesive feel to the album; with poetic and almost flowery lyrics and her voice is smooth enough to bear heavy overdubbing with itself, giving every song a shimmery feel. The essence of her music is folk, the execution pop: the songs come over as statement of hope from a troubled soul. "Crayon Angels" kicks off the album as a stunning summation of purpose; ethereal vocals, an unadorned acoustic guitar joined by some light woodwinds, and religious imagery in the lyrics. “Jesus Was a Cross Maker” is the centerpiece, but the record is packed with gems that showcase Sill’s religious lyricism, sugarcoated with Brian Wilsonesque melodies, and steeped in cowboy imagery. "Phantom Cowboy" continues in a similar vein, with a jauntier, Americana vibe. The stand-out "Enchanted Sky Machines," is a boppy, hopeful little piano- and brass-based piece and the stripped-down love song "My Man On Love" has Sill harmonizing with herself to great effect. But the whole album is angelic and simply lovely. Rare Japan original press issue with obi. Price: Offers!!!!
318. SILOAH: “Sukram Gurk” (B & U G – 1973) (Record: Excellent ~ Near Mint/ Laminated Jacket: Near Mint). Damned rare 1973 original German private pressing! The second album by these German dope-heads. Very few made housed in acidy laminated cover artwork that is a joy to behold when beholding a giant spliff between your fingers. Long, trippy tracks with doomy organ all over the place, some out-there vox in the background. Second and final album by these German underground legends. Totally stoned Amon Duul II influenced psych jammer with long tracks, effects, drugged out vibe. Filled with weird arrangements that sound like a bavarian CA Quintet on qualudes with trippy brainmelting euphoria as a result. Comes housed in equally weird cover art. Both Siloah albums are milestones from the München burgeoning underground scene. Pristine condition! Price: Offers!!!
319. SINGERS 3 with FREEDOM UNITY, ISHIKAWA AKIRA, SUZUKI HIROMASA, MURAOKA TAKERU, SUGIMOTO KIYOSHI e.a: “Foliole #2 – The Sound of Singers 3” (London/ King Records – SKK(L) 3010) (Record: Near Mint/ Laminated Jacket: Near Mint/ Insert: Near Mint). WHITE label PROMO Issue!!! Insanely bloody rare 1971 1st original press, 1st copy I see in 10 years’ time and one of the all-time Japanese psychedelic jazz releases ever that came out in the same series as Love Live Life + One, so you will have an idea into which regions this baby explodes into. The Singers 3 were – as the name already hints at – a three-piece female vocal combo that recorded a few albums in Japan. However, their debut recording for King is a vicious beast. Backed up by Ishikawa Akira (of Uganda fame) and guitar fuzz-a-delic outlaw Sugimoto Kiyoshi (who is on FIRE throughout) amongst others, the band veered off into some previous unchartered waters of aural madness. The record opens with a sidelong title track “Foliole #2”, an electrifying, soul-stirring and tantalizing killer track, rocketing straight away towards the higher soulful regions of scatt-induced female vocals, floating on deep soul jazz vibes of blissful hypnotic hysteria, a bewitching tour de force of freeform spirituality that shatters into vocalese exhilaration. Easy to understand as the Singers 3 are backed up by some of the scene’s finest hardcore players such as Muraoka Takeru (trumpet/ sax) blowing like a desert wind through his horns, Suzuki Hiroshi (trombone), groovin’ Suzuki Hiromasa (electric piano), Ishikawa Akira (drums), wah-wah and fuzzed out Sugimoto Kiyoshi (electric guitar), Inaba Kunimitsu (hearth-throbbing bass) and the whole was composed and charted out by heavy jazz mastermind Sato Masahiko. From high energetic frenzies towards decelerated meditative tones, the band crosses the whole spectrum of galvanic atmospheres in just one track. Just a cliff-hanging listening experience. For side two Singers 3 touch on 4 standard compositions like See See Rider and Eli’s Comin’ in order to come down to earth again. One of the rarest Japanese psychedelic jazz records ever. First time I have a copy of this one and in TOP condition, next to impossible to upgrade upon. KILLER album. Price: Offers!!!!
320. The SIXTH STATION: “Deep Night” (No label – LP-1588) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint). Original 1st US pressing of private press lysergic twilight folk. Was sealed and opened to play once. A deeply introspective religious teenage folk-rock LP with a late '60s flavor, strong songs, soaring vocals, even some fuzz leads. Tony Trosley was a priest out of Peoria, Illinois and he crafted a fantastic private press album of pastoral, rural folk sounds. Aptly titled “Deep Night”, it sounds like it should be played at dusk befitting of it’s reflective lyrics and somber tone. A loner Neil Young kinda sound. Recorded in a tiny chapel with rented equipment over one extended evening, the album was mixed live with only a handful of overdubs. It’s got a soft naturalism that’s perfected with Trosley’s 12-string attached to a phaser pedal creating those deep night ripples. Easy album to love. Rapidly gaining in stature among collectors, already one of the big private press titles from the early '80s. Top copy of totally vanished psych slide with introspective psychy folk rock vibe, deep vox, some delirious fuzz and blessed with that intoxicating 1960s touch. Definitely one of the best private press 80s releases to see the light of day. Price: Offers!!!
321. SLY & THE FAMILY STONE: “There’s A Riot Goin’ On” (Epic – EPIA-53029) (Record: & Gatefold Jacket &Capsule Obi & 8-Paged Booklet & Insert: SEALED and MINT). SEALED original 1st press copy, rare 1st original Japanese high quality pressing complete with the rare 1st issue capsule obi. Comes all complete with rare NEWSPAPER sticker still on the shrink! “It's easy to write off There’s A Riot Goin’ On as one of two things – Sly Stone’s disgusted social commentary or the beginning of his slow descent into addiction. It's both of these things, of course, but pigeonholing it as either winds up dismissing the album as a whole, since it is so bloody hard to categorize. What's certain is that Riot is unlike any of Sly & the Family Stone’s other albums, stripped of the effervescence that flowed through even such politically aware records as Stand! This is idealism soured, as hope is slowly replaced by cynicism, joy by skepticism, enthusiasm by weariness, sex by pornography, thrills by narcotics. Joy isn't entirely gone -- it creeps through the cracks every once and awhile and, more disturbing, Sly revels in his stoned decadence. What makes Riot so remarkable is that it's hard not to get drawn in with him, as you're seduced by the narcotic grooves, seductive vocals slurs, leering electric pianos, and crawling guitars. As the themes surface, it's hard not to nod in agreement, but it's a junkie nod, induced by the comforting coma of the music. And damn if this music isn't funk at its deepest and most impenetrable -- this is dense music, nearly impenetrable, but not from its deep grooves, but its utter weariness. Sly’s songwriting remains remarkably sharp, but only when he wants to write -- the foreboding opener "Luv N' Haight," the scarily resigned "Family Affair," the cracked cynical blues "Time," and "(You Caught Me) Smilin'." Ultimately, the music is the message, and while it's dark music, it's not alienating -- it's seductive despair, and that's the scariest thing about it.” (All Music Guide). Impossibly to lay your hands on SEALED copy with Obi and newspaper sticker present. Final archive copy. Price: Offers!!!
322. SMALL FACES: “Ogden’s Nut Gone Flake” (Immediate Records/ Toshiba Records Japan – IP-80135) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ OBI: Excellent – small upper right side minimal tear/crease). Hyper rare Japan original 1st press issue that comes housed in Japan only sleeve art. Promo ONLY red wax vinyl pressing. Comes all complete with HYPER rare OBI! Just never turns up with obi and only a few copies known to exist all complete with obi!!!! There was no shortage of good psychedelic albums emerging from England in 1967-1968, but Ogden’s Nut Gone Flake is special even within their ranks. The Small Faces had already shown a surprising adaptability to psychedelia with the single "Itchycoo Park" and much of their other 1967 output, but Ogden’s Nut Gone Flake pretty much ripped the envelope. Ogden’s' first half consists of six tightly buzzing slices of the psychedelic R&B that was now their stock in trade. The sonic fare divides itself between punchy blue-eyed soul stompers like ''Afterglow (Of Your Love)'' and more psychedelic-colored tunes like ''Lazy Sunday''. The second side contains the story of Happiness Stan and his quest to find the moon, spiked up with the vocals of Stanley Unwin. Here the songs are considerably more embellished and varied in texture; from the strange faux-folksy “Mad John” to the more rocking “Rollin’ Over”. The latter featured a brass section while the rest included strings, harps and all the usual trappings expected of bands that wished to signal their serious musical intent. But somehow at the heart of it all was the Small Faces’ muscular approach that makes Ogden’s certainly the least fey of all English psychedelic classics. In the same way as their contemporaries, the Zombies (with Odyssey and Oracle), their masterpiece was their swansong and like that album it remains a pinnacle of British 60s pop. Stupidly rare Japan original with mega rare obi – impossible to get so… go mental and sell an organ or two! Price: Offers!!!!
323. SOFT MACHINE: “Love Makes Sweet Music b/w Feelin’ Reelin’ Squeelin’” (Polydor – 56151) (7 Inch Single Record: Excellent ~ Near Mint - small pen mark on label/ Company Sleeve: Excellent). Stupidly scarce 1967 UK first original pressing of Soft Machine’s first single release, comprised of 2 non-LP tracks and recorded before they were picked up by Probe. When this oddity does surface it is always in lamentable condition but this copy here is the cleanest by far, I have seen, hardly any signs of any play, no defects, no damages, next-to-impossible to upgrade upon. With an A-side that is reminiscent of the sunny mid-1960s British Invasion pop that has only tastes of the tripped-out psychedelic Canterbury experiences to come and a B-sides that combine that approach with darker verses reminiscent of a prelude to Song From the Bottom of a Well from Kevin Ayers' third solo album, this first single from the Soft Machine - recorded even before the demo sessions which were later released as Jet Propelled Photographs - represents a very embryonic point indeed of the band's development. Though Daevid Allen was in the lineup at this point, his presence is barely felt, whilst the jazzy influences that would inform their subsequent work are almost entirely absent - unless you count the freakier portions of Feelin' Reelin' Squealin' as almost a trip into free jazzing waters. Absolutely fantastic! Price: Offers!!!!
324. SOFT MACHINE: “S/T” (Probe – CPLP-4500) (Record & Gimmick Gatefold Jacket with movable parts: SEALED original – has tiny small drill hole on upper left corner and comes with large shop discount seal on shrink). Perfect copy! SEALED original, just mega rare, only a couple of copies (one can count them on one hand actually) are known to exist in sealed condition. First original pressing with the gatefold sleeve and the movable parts. In 1968 Soft Machine toured the USA, opening for the Jimi Hendrix Experience. During this tour, they recorded their first album, The Soft Machine, in New York. Disbanded after Ayers's amicable departure at the end of this tour, Soft Machine reformed with former road manager and composer Hugh Hopper on bass added to Wyatt and Ratledge, to record their second album in 1969. First original pressing of the original trio line-up, released only in the US at the time. Top copy, SEALED original with jacket has zero ring wear – which is no mean feat – but has a tiny little drill hole, sealed condition is just impossible for this disc. No exaggeration if I say this is a museum piece, one of only a known few (3 or so) sealed copies with original big bargain price sticker still firmly attached to the shrink. Perfect sealed original! Price: Offers!!!!
325. SOFT MACHINE: “S/T” (Probe – King Records Japan – SR-303) (Record: Near Mint/Jacket: Near Mint/ Insert: Mint). Hopelessly rare Japan ONLY issue & the cleanest & most perfect copy to ever cross my eyes so far. First Soft Machine disc but here you have the 1st Japanese press of this baby, with totally different jacket artwork that came out only in Japan. Mega rare, especially in this condition as here, 2nd time I saw a copy on these shores or anywhere else for that matter but first time I have one in absolutely TOP condition. First original 1st Japanese pressing of that day, totally different artwork but nevertheless the music is even better. Next to impossible to dig up on these shores, especially in such a near immaculate condition as this baby here. Price: Offers!!!!
326. The SONICS: “Here Are The Sonics” (Etiquette – LP-024) (Record: Near Mint/ Jacket: Near Mint). Top condition – just flawless – 2nd Etiquette label issue from 1966! Immaculate condition! Upon its release, Here Are The Sonics made very little noise in the group’s home state of Washington – still without making any waves domestically, the Sonics themselves were making enough noise to blow down every brick wall between Andorra and Antarctica. Seldom has a name fitted a group any better! The youthful aggression in their music, the snotty attitude, the pre-punk hostility coupled with lead singer Gerry Roslie’s sneering razorblade vocal attack and an avalanche of overwhelmingly brilliant and jet-engine-styled scornful riffs that underpinned some of the most wildly recorded music ever to be committed to tape, should have made the Sonics one of the biggest groups the world has ever known or heard. The flame-throwing & all-scorching belters like "The Witch," "Psycho," "Boss Hoss," and "Strychnine" are aboard, along with versions of "Do You Love Me," "Dirty Robber," "Have Love Will Travel," and "Walkin' the Dog". One of the all-time best garage slides out there next to Rising Storm, The Remains and the Savages! Price: Offers!!!!!
327. The SONICS: “Introducing The Sonics – Featuring The Witch And Psycho” (Jerden – JRLS-7007) (Record: Near Mint/ Jacket: Near Mint). Top condition of hardest to track down Sonics album from 1967. 3rd outing by these teenage sonic assassins fronted again by Gerry Roslie's banshee vocals, a blessed voice, bruised beyond repair as they obliterate the Seattle skyline in 1967, bringing forth the garage apocalypse carried by waves of fuzzed-up cauldrons of demonic bass, manic cackles, and liquid guitar ankle-chomping. This feels like crawling out the amphetamine-fueled blues basement and seeking sanctuary in the penthouse of delinquent guitar sounds, birthing out a mind- numbing assortment of Sonics' classics: "You Got Your Head On Backwards," "Like No Other Man," "Psycho," "The Witch" and simultaneously reinvented garage rock powerhouses like "I'm A Man," "Diddy Wah Diddy" and much more. Killer from start to finish, teeth-grinding teenage frenzy that runs around like a Pitbull on crack! Impossible to upgrade upon. Price: Offers!!!!
328. The SONS OF ADAM: “Tomorrow’s Gonna Be Another Day b/w Take My Hand” (Decca Records/ Teichiku Records – DS-423) (7-Inch Single Record: Near Mint/ Picture Sleeve: Excellent ~ Near Mint – has some foxing on back of picture sleeve/ Company Inner Sleeve: Near Mint). Insanely rare 1966 Japan only issue with picture sleeve. Only Sons Of Adam release to come with a picture sleeve and so far no one is holding a copy everywhere and anywhere. Stupidly rare US Garage Punk artifact that saw only in Japan a picture sleeve release on the highly unsuccessful Teichiku – Decca Records imprint. Most of their 7-inch releases were so badly promoted at the time that copies do virtually not exists and the Sons Of Adam is the cherry on the cake as far as commercial failure and unavailability is concerned. Unfortunately, trying to find the 45 back then and now was and is a more challenging feat than a futile attempt at grasping nuclear physics. So far only 2 or 3 copies are accounted for and this is one of them. The Sons contained ace guitarist Randy Holden (later of The Other Half and Blue Cheer) and also future Love drummer Michael Stuart. Guitarist Craig Tarwater was also a member and he later turned up in the group Arthur Lee used on his 1972 solo LP "Vindicator." So the Sons Of Adam had close ties with all things Love. Two killer teenage proto garage punk tracks, embryonic in its flight and gathering quite a punch before crashlanding! Holden’s guitar style is already omnipresent and drifts by this time on the fumes of the hellish intensity that is yet to come to full fructification later down the line. Impossibly rare and probably the first and last copy ever offered up for grabs so…do not think twice it is all right. Top condition with picture sleeve! You are permitted to go totally ballistic on this one! Price: Offers!!!

329. The SORROWS: “Old Songs New Songs” (Miura – MIU LP-10011) (Record: Near Mint/ Jacket: Near Mint – lamination crease on back). Top condition Italy only issue. Legendary Italian-only late sixties album by British freakbeat/garage R&B giants the Sorrows after they relocated to Italy in 1966, recording for a small independent label based in Milan. Now extremely rare as an original pressing, the album has been shoddily bootlegged a couple of times, including a CD pressing that slowed down the recordings and also managed to chop off the final minute of the album's title track! This baby here if of course the original pressing. Price: Offers!!!!


330. SOTO-ZEN: “Tada Hitasura Ni Suwaru No Sekai” (Toshiba Records – THX-90055~60) (6 LP Record Set: Near Mint/ Cloth covered and bound Outer Box with sideways opening flaps: Mint/ Obi: Mint/ Thick Illustrated 100 paged Booklet: Mint/ Individual LP Jackets: Mint). Bloody rare and obscure 5 LP box issue that comes housed in a lavish package – cloth bound outer box with obi that upon opening reveals 5 different LP’s each housed in a beautiful sleeve and a thick fully illustrated book. Released by Toshiba and compiled by professor in Japanology & Musicology at Dokkyo & Tokyo University – Hirano Kenji, it documents the Buddhist monks of the Soji-ji Temple of the Soto-sect way back in 1980. This released turned out – once I was introduced to it about 15 years ago – one of my all-time favorite hardcore field recordings ever. Unfortunately, copies were scarce and I did not manage to dig up another one until now. The gods must have been smiling after all. This totally vanished obscurity out of 1980, depicts some sonic activities taking place on the far edged fringes of Japan’s sonic landscape. I categorize the disc amongst psychedelic and devastating field recordings, with a strong emphasis on the psyched-out character of this recording and accompanying artwork. The record follows sessions carried out by some seriously “way-out-there” Buddhist monks. Interlarded by the sound of wooden getta, the wind blowing through the region, the dusty noisy insectoid chirping by hordes of descending cicadas and crickets swelling into a crescendo of all engulfing maniacal fury that collides eventually with the myriad chanting of the monks, and their almighty cacophonous percussion and other instruments make this sound document such a hardcore and bewildering listening experience that has yet to meet its rival. In short it is a mesmerizing recording, strange and beautiful. This 5 LP set is heavy with musical possibility, and is of profound musical substance, blending it easily with an overwhelming vocal onslaught, bizarre tonalities, startling vocals, inherent improvisation moves and apocalyptic shamanistic sense of poetry. Just mesmerizingly great arresting listening experience. This 5 LP box set comes with a detailed and fully illustrated thick booklet getting into detail about the maniac fury and the high tension sonics on display here. So if you are eager to dive into another totally obscure and weird esoteric pressing world, then I do not believe it comes more obscure and under documented than early 1980s elusive press records documenting the compelling sonic antics by temples and the monks it inhabits. This set is the perfect place to start but unfortunately, these recordings were released in such small quantities and only offered for sale at the time at these local temples at the time that now they virtually never turn up anymore. The music on the other hand is so out-there that no experimental group in the Western world would ever be brave enough to release this kind of music and yet these monks just acted it out while meditating at their local temple. Awesome. Price: Offers!!!!

331. SOUND CREATION: “Rock Fantasia” (Teichiku – FX-408) (Record: Near Mint/ Heavy Gatefold Jacket: Near Mint/ OBI: MINT). TOP COPY!! Bloody rare and hardly ever offered Japanese progressive & psychedelic rock masterpiece. COMPLETE with freakingly rare OBI – all complete copy! Only the 2nd time that I can klay my eyes on an all-complete copy – and even without obi these babies do not surface at all. Recently added to Pokora’s book with a 6 star value. Original 1972 issue that was released in the same series as S. Tanaka's "British Rock Live In Japan" brain melter!!! This was the 2nd Sound Creation LP which was this masterminded and centered around ex-Outcast organ player Hoguchi Yosuke (who was also co- responsible for getting People - Buddha Meets Rock off the ground) and here he got flanked by psychedelic guitar fuzz wunderkind Mizutani Kimio amongst other scenesters. "Rock Fantasia" is a totally different affair as its predecessor "Progressive Rock" and a more lethal listening experience for that matter. The focus is here on the key word "lethal" because that is what this slide is all about, it will floor you.... Deep space psyched out explorations not unlike Ummaguma-era Pink Floyd await you, a psychic maze of organ driven and fuzz-wah sultry lysergic madness. Slowly staring off with "Theme From Shaft", the band rapidly ripp off the straight jacket and transform it into a psych-funk/ space rock jam but it does not take them long to aim straight for Floydian asymmetric grooves and synthetic sounds that steer straight for the deep concealed depths of sonic kaleidoscopic and exploratory sound clusters, spiked up with enough lysergic microdots to get lost in a psychic maze. Slow-burning fuzzed out guitar action interlocks with mutant organ key action, providing escape routes from electronic music formulaic gridlock and instead aim at sweating out heavy psychedelic moves. Mizutani's guitar playing is totally addictive here, combining propulsion, eloquent ornamentation and enough cosmic fuzz-and wah-out phrasing to cut through the thick fog of your mind like a buzz saw. In short, a stunning and totally obscure and overlooked Japanese psychedelic masterpiece that stands shoulder to shoulder with Buddha Meets Rock/ Far Out and the likes. Copies with obi never turn up, this one has the obi flashing its colors so.....Price: Offers!!!!
332. The SPECTRES: “I (Who Have Nothing) b/w Neighbor, Neighbor” (Pye/ Nippon Columbia – LL-1002-Y) (Record: Excellent with faint inaudible hairline on side 1/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Stupidly rare 1967 Japan only picture sleeve issue of pre-Status Quo freakbeat sensation the Spectres. The band was initially comprised of Francis Rossi (guitar, vocals), Alan Lancaster (guitar, bass, vocals), Rod Lynes (keyboards) and John Coughlan (drums). Later down the line they were joined joined by Rick Parfitt on bass and keyboards, and they hung onto in this lineup long enough to get signed to Pye Records' Piccadilly imprint in 1966. They made their debut by covering the Shirley Bassey hit "I (Who Have Nothing)”. It captured a good chunk of the sound -- crunchy guitar, swirling organ Arabesques, and a hard rhythm section -- that the group would use to finally top the charts as Status Quo. This was the sole single that was released in Japan and comes complete with picture sleeve. Insanely rare, excellent condition and plays solid EX with some occasional faint background static due to the pressing. Price: Offers!!!
333. SPEED GLUE & SHINKI: “Zenya” (Atlantic – P5044A ~ P5045A) (2 LP Set: Excellent ~ Near Mint/ 2 Individual Jackets: Near Mint / Inserts: Near Mint/ Outer LP sized obi flap: Excellent ~ Near Mint). TOP COPY!!!! Best copy ever & final upgrade!!!! One of the rarest Japanese heavy psych artifacts…Original press!! COMPLETE WITH OUTER BAG OBI – ORIGINAL!!!! Never turns up all-complete with the 2 large inserts and the outer bag OBI!!! In short, a monstrous rare album. By many – and rightly so – proclaimed as the defining Japanese heavy psych album of all times, Speed Glue & Shinki's disc first saw the light of day in 1972. When Food Brain disbanded in the autumn of 1970, Shinki Chen was keen on erecting his own outfit. Whilst scouting out possible brothers in arms to join in alliance with, he soon found a kindred spirit in Joey Smith who was up till then active as drummer and vocalist of the Philippine R&B group Zero Universe. Together with the addition of longtime collaborator Masayoshi Kabe, Speed, Glue & Shinki came into being. The name of the band left little too one's imagination and adhered openly to the glorious effects of narcotics such as speed and glue, elements that kept the band fueled up and on their toes. The exact date of the band's inauguration is not clear at all, but Masayoshi Kabe insists that it must have occurred during closing days of the year 1970. Joey's emboldened and simple drum patterns, Kabe's ever wandering off incorrigible and wildly extravagant bass hopping combined with Shinki Chen's unusual heavy phrasing that unleashing an abundantly roaring guitar sound were the three key elements responsible for the birth of one of the most interesting deep subterranean sounds a Japanese rock outfit had ever spewed out, surpassing many of their foreign contemporaries as far as sonic mayhem, matching attitude and love for illicit substances was concerned. The producer for this venture was again Orita Ikuzo, who was also responsible for putting Food Brain down to wax, letting the band vivaciously, without any external pressures and interferences; register their washes of sonic mayhem and maniac fury directly to tape. Officially released in 1971 as a debut double album filled to bursting ominously heavy fuzz guitar tsunami attacks and completely wasted vocals. This disc is THE absolute cornerstone of Japanese psychedelia. Primal demented and utterly wasted heavy psych bliss Heavy doom, acid drenched, dope infested heavy psychedelic fuzzed out masterpiece. Last side of the original 2 LP set ends surprisingly in an electronic music kind of outward-bound wash of sounds, making the album even more deranged than it already was. Anyway, I guess you know the story. Highest possible recommendation, this album rocked and still frazzles my world on a daily basis. One of the all-time best hard and doped up psych albums ever to have been put down on wax. And if you have to own only one Japanese psych album in your collection, be sure to make it this one. All the rest pales in comparison. Stunning copy with Outer OBI BAG and INSERTS!!!!! Price: Offers!!!
334. SPEED GLUE & SHINKI: “Eve” (Atlantic – P-8081) (Record: Near Mint/ Jacket: Excellent/ All the 5 inserts: Mint/ Company Inner Sleeve: Excellent). Best copy around and this is an utterly clean stock copy - most of those are always in bad condition, but this one here is perfect!!!. The band's sound – as illustrated on this hideously rare LP – was an amphetamine infused heavy psychedelic blues-rock trip quelling the darker side of the New Rock (a term that hereafter became referred to by Japanese rock critics as the Yokohama sound). But unlike the Golden Cups, Speed, Glue & Shinki were obviously heavenly influenced by and more speeded up with kerosene infused greasy acidic raw garage aesthetic than their British blues rock role models. Unlike the high tensioned rock of the Flower Traveling Band, the straight forward seriousness of Blues Creation or the conflagrated artisan touch that Flied Egg beheld, Speed, Glue & Shinki succeeded in surmounting the self-parody of artistic pretension by embodying a sound of eastern dopes high on the raw and ostensible energy of an urban guerilla's sonic warfare. And this is where it all began. An historical piece of demented psychedelia. Top copy stock copy with no marks or any defects - haven't seen such a clean one in over 15 years and now up for grabs….Top condition!!!! Seems to be hardly played at all. Final upgrade copy maybe??? Price: Offers!!!!
335. SPENCE, ALEXANDER: “Oar” (Columbia – CS-9831) (Record: Near Mint ~ MINT/ Jacket: Excellent ~ Near Mint/ Company Inner Sleeve: Near Mint). Original 1st US pressing. Best and cleanest copy I have seen so far – the record appears to have been played maybe only once or twice and plays through without the slightest minor disturbance. Clean 360 Sounds labels. It has been a while since I have come across such a clean copy of this masterpiece. Spence was a former Jefferson Airplane and Moby Grape, now turned into a cult hero who cut this one-off album. The original “Oar” album still stands alone as a dense and beguiling statement. Legend has it that, when Alexander 'Skip' Spence released Oar, in 1969, it was the worst selling album in the history of Columbia Records. The whole affair is unpolished, strange, heavy on cheap echo, and finding Spence playing every instrument himself. Falling almost immediately into oblivion upon its release, Oar's off-the-deep-end take on blurred Americana became eventually the stuff of legend. Legend has it that in 1968, Spence fried his brain from doses of LSD so heavy they triggered a bout of schizophrenia. At one point he tried to break down the door to Moby Grape band mate Jerry Miller's hotel room with a fire ax as he was convinced Satan possessed Miller. Hereafter, Spence spent six months in New York's Bellevue hospital, being treated for schizophrenia. Story has it that it was there, while being loaded up on drugs and crawling through a mental hell, that he wrote the songs that ended up eventually on Oar. After being released, Spence got a small advance from Columbia -- no more than $1,000, which he spent on a motorcycle and drove straight to Nashville. There, with the rest of the money, he recorded Oar between December 3 and December 12, 1968, at the Columbia Recording Studios. What emerged is the often-harrowing Oar, a revolutionary lo-fi imitation of Harry Smith and Lomax collection-type vintage 78s, full of demented pop songs. The album was released and disappeared. Spence essentially disappeared with it. Oscillating between biblical apocalypse, looney tunes humor, therapeutic release, and ‘sincere belief’, Oar became nothing less than a spiritual and psychic journey. An album so strange that no one dared buy it on its release; a massively unpopular record that, somehow, went on to influence a whole generation. This is easy to understand in retrospect, as the mood is blissed out, with the occasional apocalyptic dread and dissociated narratives. And while unpredictable in its calm erratic-ness, Spence’s vocals whisper and continually descend into the lowest of registers. Oar can be seen in a way as a soundtrack to schizophrenia as well as a visionary solo effort, guided by Spence’s voice, coming from somewhere far away and deep inside. If there were a pop station on Desolation Row, this would be the hit. Totally clean original US pressing – hard to ever improve upon. Price: Offers!!!
336. SPIROGYRA: “Bells, Boots and Shambles” (Polydor – 2310.246) (Record: Near Mint/ Jacket: Excellent – has lower corner crease). Rare UK first original pressing on Plydor from 1973. Their last and arguably best LP. Formally reduced to Martin Cockerham and the always eye-blinding and delightful Barbara Gaskin, but still counting with Borrell, Cusack and Mattacks on bass, violin/keyboards and drums respectively, Spirogyra recorded the last album of their amazing trilogy. What they lost in spontaneity of their 1st album, they compensated with the possibilities of the studio environment and of the instrumental colors they flung into the mix to bolster up their already buoyant sound. But here they went just a tad further as compared to their previous two outings and next to meandering their already fully explored paths of folk and acidic folk rock, they enriched their sonic palette even further by spicing it up with trumpets, flutes and cellos players,. The result is that the magisterial “Bells, Boots & Shambles” is still much a lysergic folk album but this time injected with a lethal dose of progressive and at times even slightly symphonic elements, taking their sound to the next level. Widely regarded today as one of the great classics of British 'acid folk'. And rightly so. To file next to your Caedmon’s, Trees’, Fairports, Comus’, Fresh Maggots and Mellow Candle records stash. It will fit in perfectly. Top notch UK original pressing, record is NM, just perfect and nexct to impossible to ever upgrade upon. Jacket is VG++~Excellent – no damages but has some mild corner creases near bottom and faintest trace of handling. Really excellent condition, record is flawless. Hard to find in such superb nick. Price: Offers!!!!!
337. SPONTANEOUS MUSIC ENSEMBLE: “Karyobin” (Island – ILPS-9079) (Record: Near Mint – utterly clean, hard to improve upon/ Jacket: Excellent with hardly any ring wear or splits – fully readable spine, sharp corners, has minimal edge wear which hardly stands out, apart from this it would be NM). TOP condition best condition I have seen of both the record and sleeve so far, pristine. Original 1st UK pressing on Pink Island “eyeball” label!!! One of the key-releases in Britain’s - if not THE cornerstone recording – budding history of improvised music. Hardly ever turns up, original 1968 Pink Island pressing in top condition. SME had already been going for a couple of years when Karyobin was recorded in 1968. Drummer John Stevens has pushed the group from the freedom of jazz into the wider challenge of collective free improvisation. The awareness and openness this demanded on the part of the musicians can be heard throughout this pioneering album. Compared to the magnificent raging bark of Peter Brotzmann's Machine Gun (recorded a couple of months later), the music on Karyobin distances itself from the energy and impassioned self-expression of free jazz. Evan Parker and Kenny Wheeler play with extraordinary closeness, between and beneath them Derek (Dennis!!) Bailey had already taken the guitar into unheard-of territory. The rhythmic flexibility of John Steven's gentle work provides the space for it all to happen. Like the best of the improvised music that has followed in the ensuing 30 years, it touched on a special kind of intensified awareness, an in-the-moment saying and listening that is enthralling to hear unfold. This is stuff of legends and together with that first AMM disc on Elektra one of the defining cornerstone recordings in the UK’s early history of improvised music. Totally essential, top copy. Record is NM all the way without any sings of any handling, cleanest copy I had for ages, jacket is EX, just a dash below NM…always prone to ring wear and other defects, this one is really clean without any major or minor damages!!!…Price: Offers!!!
338. SPOOKY TOOTH: “Spooky Tooth No Sekai” (Victor Records – FOX-7003) (Record: Excellent ~ Near Mint/ Heavy Japan Only Gatefold Jacket: Near Mint/ Obi: Near Mint). Bloody rare Japan first original pressing all-complete with mega rare OBI as released in October 1969. Just never surfaces all complete with obi. This full-length debut from British blues-rockers Spooky Tooth has a tone similar to Traffic with its psychedelic take on the influential pop and soul music of the '60s. A few cover tunes including Janis Ian’s "Society's Child" and the Nashville Teens’ "Tobacco Road" are included, but original songs like the soulful ballad "It Hurts You So" and "Bubbles" (with its Beach Boys sensibility) are the real standouts. The cheery, psychedelic "It's All About a Roundabout" is the catchiest number by far. On this dreamy cut, vocalist/keyboardist Gary Wright demonstrates some sharp melodic and compositional instincts. Although Spooky Tooth eventually became better-known for their straightforward blues-rock, the trippy pop of It’s All About counts as a career highlight for the group. Fans of late-'60s British rock are definitely advised to check out this impressive release.” (All Music guide). Classic slide, love it entirely. First time ever I could see an all-complete first issue Japanese pressing with obi. One of the rarest obi-releases from down here. Price: Offers!!!!
339. The STALIN: “Trash” (Political Records – MIG2505L) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Insert: Mint). Top condition 1981 original first press issue of Japan’s greatest hardcore punk slide. Best condition imaginable with virginally white sleeve and untouched record. Guaranteed original press issue with machine-stamped matrix numbers as follows: Runout (Runout Side A): 2-A-1 MIG-2505L-A 〄and Runout (Runout Side B): 1-A-1 MIG-2505L-B 〄. The Stalin were one of Japans’ first and undoubtedly finest Hardcore Punk bands. Named after Joseph Stalin because, according to leadman Michiro Endo, “He is very hated by most people in Japan, so it is very good for our image." The music was intended as a reaction to the rigid social system of Japanese society at that time. In the face of all those suits, their sound had to be a punch to the gut. Trash was their debut LP following the EP Stalinism. Side-A are studio recordings while Side-B are live tracks. Some of the songs go back a couple years to when Endo’s first band, Jieitai existed. The music is awesome, songwriting is excellent and stands out head and shoulders if compared to domestic or foreign contemporaries of that time, a crossbreed between traditional 80’s Hardcore and the intellectual git of Post-Punk, making that their sound is agitated, witty, very incompatible and diversified sounding. The live takes on side 2 do stand out here are as they could definitely put on a good performance and the energy given off by Endo is intoxicating. Still, the studio recordings do sound also highly accomplished and make that Stalin was not your ordinary hardcore punk outfit but a well-oiled machine, floating on originality and talent. Total KILLER!!!! Price: Offers!!!
340. STEINMETZ, HUGH: “NU!” (Debut – debut-1148) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint). Freakingly rare and obscure Danish original pressing of this free roaming wild jazz monster. Comes on the ultra collectible Debut label, just a clean top copy – never seen such a virginal copy before of this record. Hugh Steinmetz’ name is not one that sets off alarm bells upon hearing it. Nevertheless he was a massively important and renowned musician in his home country and whilst digging through your own private free jazz collection, you will notice that he pops up all over the place and surfaces on numerous recordings. Steinmetz first of all participated in radiobroadcasts and concerts with luminaries and heavyweights such as Don Cherry, Archie Shepp, Gary Peacock, Albert Ayler, Rashied Ali, Roswell Rudd, John Tchicai, Louis Hjulmand, N.H.Ø.P. and many others. As far as recorded evidence is concerned, Steinmetz pops up on some of the key free jazz records to emerge out of that golden age. In 1967, he, John Tchicai, Finn Von Eyben, Giorgio Musoni and Karsten Vogel formed the group Cadentia Nova Danica together with Kim Menzer, Max Brüel and Steffen Andersen. The group recorded in 1968 the LP "John Tchicai and Cadentia Nova Danica", followed in 1969 by the LP "Afrodisiaca" on which Steinmetz was credited as co-leader and composer. In 1969 he also participated in Bremen (Germany) in the recording of the LP "European Echoes" with an international orchestra conducted by Manfred Schoof, and later that same year in Baden-Baden in the recording of the LP "Gettin`to Know`ya All" (see list for a copy, a vicious torcher of a disc) with an international orchestra conducted by Lester Bowie. In the end of the `60s and the beginning of the `70s, Steinmetz worked with among others Peter Brötzmann, Peter Kowald, Willem Breuker, Han Bennink, Misha Mengelberg, John Stevens, Evan Parker, Derek Bailey, Paul Rutherford, Irene Schweizer, Pierre Favre, Claude Delcloo etc. So you can see that he was more than just a free jazz wallflower you thought you never heard of but who is nevertheless omnipresent throughout your collection. As for this disc here, Steinmetz was elected "Danish Jazz Musician of the Year" in 1966 by The Danish Jazz Academy and he recorded that same year the groundbreaking LP "Nu" ("Now") under his own name with Niels Harrit´s Sextet with Per Aage Brandt piano, Karsten Vogel alto sax, Steffen Andersen bass and Bo Thrige Andersen drums. Massive free blast hardcore jazz record from up north, original press in amazing nick. Top condition, impossible to find better. Highest recommendation. Price: Offers!!!
341. The STOOGES: “S/T” (Elektra – EKS-74051) (Record: MINT – SEALED original – has small drill hole in upper right corner). SEALED original US 1st press of the Stooges debut album as released in 1969. Just does not surface anymore in sealed condition. “The dangerous psychedelic Stooges manage to quickly get down to the nitty gritty of sensual frustration for all of neo-American adolescent malehood... 1969, the lead song on the disc, is the perfect expression of the oldest complaint of rebellious anarcho/crazy youth. Iggy sounds a lot younger than twenty-two for the horny American youth whose fantasies he summarizes... I WANNA BE YOUR DOG is reminiscent of early Velvet Underground music carrying it into even more bizarre levels... NO FUN is a crazed song of repressed American boy/girl crazies... NOT RIGHT features some physically abusive guitar playing by Stooge guitarist Ron Asheton. Throughout the album Asheton reveals himself as an insane master of the power the Stooges channel into their music. This is probably the guitar style of the future ... The music is all 1969; Iggy and the boys doing Stooge music.” (Creem August 1969). SEALED first pressing and damned rare, first time ever a copy crosses my eyes in such nice shape…Price: Offers!!!
342. IGGY AND THE STOOGES: “Raw Power b/w Search And Destroy” (CBS SONY – SOPB-244) (EP Record: Excellent – no visual damages – has a wave on the vinyl for first part but plays through/ Picture Sleeve Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Freakingly rare Japan only Stooges EP release that comes housed in Japan ONLY sleeve art. Scarce stock copy in great shape of a Stooges artifact that is getting impossibly hard to lay your mittens on. Rare for all eternity. Price: Offers!!!!
343. SUICIDE: “S/T” (Red Star Records – RS-1) (SEALED ORIGINAL). 1977 US original sealed condition. Alan Vega and Martin Rev’s bare-bones approach was both artsy and primitive. Innovative, yet still deeply rooted in the classic Rock & Roll of the 50’s and 60’s but impregnated with junk-wired crude synths and defunct drum machines which collide with Alan Vega’s emotive whispers, chants and blood curdling yelps. It all makes for a mesmerizing, if unsettling listening. Suicide were never a band you could cuddle up to, they were deliberately confrontational. Produced by Ramones Helmsman Craig Leon, the LP mixed scorched-circuit protest vamps such as Ghost Rider and Rocket USA with shimmering smacked-out doo-wop ballads, climaxing with the bone-chilling Frankie Teardrop in which Vega placed himself inside the teeming brain of a Vietnam veteran who murders his family before shooting his brain out and splattering them all over the wall. What a record….one of the greatest ever made together with the Stooges and the Velvets. Damned perfectly SEALED original US press copy…one out of the vaults and ready for your vaults. One of a kind….Price: Offers!!!!!
344. SUKEGAWA TOSHIYA: “Compositions For Magnetic Tape” (FLORA – OBK-1001) (Record: Near Mint ~ Mint/ Hand Pasted Jacket: Mint without any mildew spots - virginal/ 2 pages hand typed liner notes: Near Mint). Bloody damned obscure and rare electronic music/ musique concrete masterpiece from Japan that no one knows as this one was privately releases in an edition of 100 copies (or less?). Sukegawa is a man of many colors, being active as a composer, music critic and magazine editor; he managed way back in 1983 to churn out this privately released masterpiece of electronic music and musique concrete. Don’t let the date fool you, although this masterpiece was created between 1979 and 1983 at the NHK studios of Hiroshima, it sounds very primitively like the late 1960s/ early 1970s much revered sound art pieces. Sukegawa successfully blends his stripped-down piano sounds with electronic, concrete and sounds of a demolished string ensemble into one beguiling work of collage art/ tape music. As the place of creation already hints at, his work is rooted deeply in nuclear disaster and the cobble-stoned way that hopefully leads to peace. He used studio downtime to pursue initial experiments into the organization of his sonic playfield, cutting across all abstract theorizing, the recording eventually became the score and is eye-filling, endowed with aural beauty. Sonically speaking that translates itself into a simple sound painting of urban noise pollution, music and luminous dust, muted speech – modulated by fading signals, fierce bursts of crackle, sibilant voices distorted into electronic sandpaper, radiophonic fizz, abyssal waveforms, floating sunlight on ripples of electronic hums, Blade Runner styled disquiet escapist sounds drift in and out of focus, etc. His ambient aesthetic flies aloft and with impetuous roar pursues something like the austere intimacy of haunting echoes, of waves breaking on rocks, making his sonic painting drenched in the past, yet so of the moment. One of the finest musique concrete and electronic pieces to have ever caressed my earlobes. Sadly enough….viciously rare and totally unknown, so you only have probably this one of chance to wheel in something extraordinary. Price: Offers!!!
345. SUN RA: “Jazz By Sun Ra” (Transition/ Trio Electronics Japan – PA-7006) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint/ Insert: Near Mint ~ Mint/ Obi: Near Mint ~ Mint). Bloody rare and original Japan first original pressing that came out in the early 1960s. Comes complete with the rare booklet, insert and impossibly RARE OBI and the record is in impeccable condition. First time ever I can lay my eyes on a virginal all complete copy. Recorded for Tom Wilson’s Transition label in 1956, Jazz By Sun Ra, Vol. 1 is made up of the type of skewed big band music featured on Jazz In Silhouette and a smattering of other recordings The Arkestra made in Chicago but did not release until they had relocated to New York City in the 1960s. As an album made specifically for a willing record label, this sounds quite a bit more hi-fi than the many rehearsal tapes from the same time period released on El Saturn records in the coming years. As for the music, it’s all quite good. The Arkestra sounds very polished. Some great songs too, with Sun Ra’s arrangements giving this an adventurous feel. The harmonies were advanced and novel for the day. Hindsight may not make this seem all that innovative, given what came later, but you wouldn’t have found solos like John Gilmore’s on “Brainville” or “Future” anywhere else in 1957. The prominent percussion on “New Horizons” and “Street Named Hell” were also rare in a jazz context when this came out Then of course there is the closer, “Sun Song”, on which Sun Ra’s organ gives a big hint as to where he would go in the next few decades. This album is consistently good from beginning to end. Sun Ra and his Arkestra may have made even better recordings, but this still ranks among their most listenable efforts. Hardly ever surfaces this clean and with everything complete…just never turns up. Price: Offers!!!!
346. SUN RA & HIS ARKESTRA: “Super-Sonic Jazz” (El Saturn – H7OP--0217) (Record: Near Mint/ Jacket: Near Mint). Original El Saturn orange colored label release in top shape. Looks like is has been hardly played at all and stored away for several decades. “Sun Ra had only been heading his Arkestra for a couple of years when they recorded the 12 songs featured on this 1956 session. But while the arrangements, ensemble work, and solos are not as ambitious, expansive, or free-wheeling as they became on later outings, the groundwork was laid on such cuts as "India," "Sunology," and one of the first versions of "Blues at Midnight." Ra’s band already had the essential swinging quality and first-class soloists, and he had gradually challenged them with compositions that did not rely on conventional hard bop riffs, chord changes, and structure but demanded a personalized approach and understanding of sound and rhythm far beyond standard thinking. You can hear in Ra’s solos and those of John Gilmore, Pat Patrick, Charles Davis and others an emerging freedom and looseness which would explode in the future.” (Ron Wynn – All Music). Hard to improve on this one…..classic Ra in action catering to your aural pleasures. Top condition!!! Price: Offers!!!
347. SUN RA AND HIS ASTRO INFINITY ARKESTRA: “My Brother The Wind” (El Saturn – SR1970) (Record: Excellent ~ Near Mint/ Hand Painted Jacket: Near Mint & housed in Shrink). Saturn original in outstanding condition & comes housed in rare & beautiful hand-painted sleeve. A pretty darn incredible record from Sun Ra -- with a soulful, spiritual approach that's missing from most of his other albums of the time! The album features Ra playing a good deal of organ (dubbed "intergalactic organ" in this case!) -- grooving soulfully on some short tracks that almost hit a soul jazz mode, and which recall the late 60s experiments of organist Freddie Roach. Definitely one of Ra's most experimental LPs, he wrings all sorts of unearthly tones out of two pre-production Mini-moogs, accompanied by John Gilmore on drums, with a smattering of woodwind from Marshall Allen and Danny Davis. If you want to hear the most far-out synth record ever, give this a try... Price: Offers!!!!
348. SUN RA And His INTERGALACTIC RESEARCH ARKESTRA: “The Invisible Shield” (El Saturn – 527/529) (Record: Excellent ~ Near Mint/ Hand Pasted on Faux Snakeskin Jacket: Near Mint). Rare Saturn release with Yellow and White label respectively. Comes housed in faux snake-skin embossed sleeve with pasted on slicks on back and front. On The Invisible Shield, you get two (maybe even three) Sun Ra's for the price of one. Although many fans admire everything the maestro produced, some prefer his idiosyncratic take on jazz forms, while others thrill when Sunny dispenses with tradition and transmits killer sound waves from space. The Invisible Shield has something for both camps. There's big-band swing, propulsive hard bop, lounge jazz, and hypnotic Latin exotica. The counterpoints are lease-breaking skronk, destabilizing electronic alchemy, and pan-galactic sonic emissions. The Invisible Shield is an extremely rare LP. It was never officially released on El Saturn and just a few hundred LPs were pressed around 1974 and sold at concerts. It never even had a standardized, printed cover—each copy was hand-designed or hand pasted. Often referred to as “Janus”, it was apparently conceived by Sun Ra as a self-contained album around 1970, but it was never issued. Eventually, some of these tracks were scattered across various obscure Saturn LPs of the seventies and eighties, such as “Invisible Shield” and “Space Probe” which we have here and which is not surprisingly exceptionally hard to find, the hybridized pressings of that masterpiece. Side one has “Island In The Sun – The Invisible Shield – Janus” and side 2 has “Space Probe” on display. Comes housed in a amazing faux snake-skin sleeve with paste on slicks. Hardly ever surfacing version! Price: Offers!!!
349. SUN RA and his ARKESTRA: “Discipline 99” (El Saturn 61674) (Record: Near Mint/ Jacket: Near Mint) Top condition original 1974 Saturn pressing. From 1974, out of Chicago, comes Sun Ra and his Arkestra with their album Discipline 99/Out Beyond The Kingdom Of on El Saturn 61674 private press. It was recorded at a Hunter College, New York, performance by Sun Ra & His Arkestra on June 16, 1974. Selected titles were issued that year on LP (Saturn 61674); the album went thru several pressings with different-colored labels, at least as late as 1980. As with many privately pressed Saturns from the 1970s and '80s, the total press run is unknown, but presumably it totals in the hundreds, not the thousands, hence original copies are rare. Rare homemade private press by Sun Ra and his group! It is a plain white cover with a slick glued onto the front! Comes with hand-colored labels and this is the very first issue of this title. One of the rarer versions of this LP! Seven cut album of great free jazz! Most of Sun Ra's private presses on the El Saturn label were only 50-200 pressed! Amazingly clean and top copy! Price: Offers!!!!
350. SUN RA And His ARKESTRA: “Horizon – Recorded Live in Egypt, 1971” (Saturn – 121771) (Record: Excellent ~ Near Mint/ Paste-On Handmade Jacket: Near Mint). Original 1st pressing on Ra’s own Saturn label from 1972 with earliest label version and housed hand pasted sleeve art. This one came out in various sleeve art mutations but this sleeve is the earliest and rarest variation of the Horizon mutations. Top Shape! Price: Offers!!!!
351. SUN RA AND HIS INTERGALACTIC RESEARCH ARKESTRA: “The Invisible Shield” (El Saturn – 14400) (Record: Near Mint/ Hand Pasted Jacket with Hand Colored Pen Drawings near borders: Near Mint). Top copy of this illusive mind-bending Sun Ra slide. This one comes issued in rare alternative paste-on sleeve art. Released in 1974 in a limited-run LP sold at live shows, Invisible Shield is one of the rarer Sun Ra albums. Mostly recorded in 1961 and 1962 with a final piece from 1970, the nine tracks here have a trajectory that mirrors Sun Ra's career and seemingly the progression of jazz itself. The opening original, “State Street,” is a big band effort long on swing, with tight horn charts and solos propelling it along. The context shifts to small group versions in stereo of standards “Sometimes I’m Happy” (with soulful piano by Sunny), “Time After Time,” “Easy to Love,” and “Keep Your Sunny Side Up,” which feature tenor saxophonist John Gilmore, trumpeter Walter Miller, and a driving Ronnie Boykins on bass. Things close with the wild electro-acoustic free jazz title track and the echoey and ambient “Janus.” There's no real reason why this should be so obscure, because it certainly in Sun Ra flashing one of his many colors. Totally essential mind food! Comes housed in rarest cover variation. Price: Offers!!!!
352. SUN RA AND HIS INTERGALACTIC RESEARCH ARKESTRA: “The Invisible Shield” (El Saturn – 14400) (Record: Near Mint/ Hand Pasted Jacket: Near Mint). Top copy of this illusive mind-bending Sun Ra slide. Released in 1974 in a limited-run LP sold at live shows, Invisible Shield is one of the rarer Sun Ra albums. Mostly recorded in 1961 and 1962 with a final piece from 1970, the nine tracks here have a trajectory that mirrors Sun Ra's career and seemingly the progression of jazz itself. The opening original, “State Street,” is a big band effort long on swing, with tight horn charts and solos propelling it along. The context shifts to small group versions in stereo of standards “Sometimes I’m Happy” (with soulful piano by Sunny), “Time After Time,” “Easy to Love,” and “Keep Your Sunny Side Up,” which feature tenor saxophonist John Gilmore, trumpeter Walter Miller, and a driving Ronnie Boykins on bass. Things close with the wild electro-acoustic free jazz title track and the echoey and ambient “Janus.” There's no real reason why this should be so obscure, because it certainly in Sun Ra flashing one of his many colors. Totally essential mind food! Price: Offers!!!!
353. SUN RA and his ARKESTRA: “On Jupiter” (Saturn – 101678) (Record: Near Mint/ Paste On Sleeve: Excellent ~ Near Mint). Scarce 1979 original pressing. “Whatever it was that sparked Sun Ra to investigate the funk between 1976 and 1979, we should all be thankful that he did. Having explored dreamy languid rhythms before with off-key arrangements and chants on records like New Steps, Lanquidity, Of Mythic Worlds, and Disco 3000? On Jupiter sees Sun Ra really flexing his funk muscles, stretching the group like a rubber band. Blissful flanged guitar threads its way throughout the title track, and Ra throws up piano chords and vamps all over an upfront, but fragmented bass pulse. But while the Arkestra might be getting their oblique grind on in the rhythm section, the music still carries those cosmic messages from the stars. Just as Ra transplanted the big band traditions of Fletcher Henderson and Duke Ellington into his own cosmic vision, here he takes the back beat of funk and disco, and teleports it into another dimension. Despite revamping the current musical trends, the emotional core of this LP is something that Sun Ra never forgot. There is a story that when they were rehearsing [UFO], some of the musicians complained when Sonny asked them to listen to examples of currently popular disco records: “This is some hokey shit, Sonny”, they said. “This hokey shit is somebody’s hopes and dreams,” he chided them. Don’t be so hip!" Something else to note on this singular LP is the way it’s been mixed. Michael Ray, the horn player, was sent back to the Arkestra base by Sun Ra during the mixing session, and returned with “a handful of tapes”, with which he then dubbed all kinds of percussion, guitar, and vocals into the studio mix, bringing another ghostly, spacey element to the layers. This album stands out in one of Sun Ra’s most exciting creative periods, and it’s incredible to think of Ra, then in his mid 60’s, still pushing the group to further heights, and taking no prisoners. As he chants on UFO: "I know you got a hiding place, somewhere deep in outer space! Watch out!” (Light In The Attic) Top shape and damned scarce cover variation. Price: Offers!!!
354. SUN RA And His ARKESTRA: “Omniverse” (Saturn – 91379) (Record: Near Mint/ Hand Drawn Jacket with Sticker: Excellent). Original 1979 pressing. Omniverse, recorded in New York in 1979 and released that year on Sun Ra's Saturn label, has been gathering dust for too long. It's a fine, overlooked item in the vast Ra catalog. The tracks aren't so much compositions as they are excursions, with only a few memorable themes or recurring motifs. It's pure jazz, somewhat "inside" (for Sun Ra), with little of the aggressiveness and confrontation for which the bandleader was known. (Track 5, "Visitant of the Ninth Ultimate," is an exception.) Omniverse is a very intimate album, offering lots of reflective piano in trio, quartet, and quintet settings, with spare horns. But instead of exhibiting a keyboard showcase, Sun Ra engages in dynamic interplay with the rhythm section. Moreover, the horns are featured largely as soloists; there are few ensemble passages. Three of the works exist as recordings only on this album; there are no documented concert performances of these titles. "West End Side of Magic City" doesn't reappear in the known repertoire for twelve years—it surfaces at a May 1991 Atlanta concert, and was reprised in August at a New York club date (for which the piece was announced from the stage as "Vita Number 5"). "The Place of Five Points" is known to have been performed at a smattering of gigs between 1985-1988. Price: Offers!!!!


355. SUN RA: “Aurora Borealis” (Saturn – 91379) (Record: Near Mint/ Jacket with front and back pasted slicks: Near Mint). Original 1981 Saturn pressing with P.O. Box 7124 Chicago address on label. “Aurora Borealis is a very interesting album of solo piano from Sun Ra. Side A features two Ra compositions, "Aurora Borealis" and "Omniscience," both of which feature pretty melodic passages laced with dissonance and some thunderous low chords. Despite getting pretty "out," there is always a strong sense of structure and some downright stunning passages. Side B begins with Ra interpolating Rachmaninov’s Prelude in C# Minor (!), then moving into "Quiet Ecstasy," a beautiful, sparse and contemplative piece. Aurora Borealis is one of only a handful of solo piano dates from Sun Ra and remarkable for that alone.” (All Music Guide). Essential Sun Ra slide, original pressing in top shape that comes in handmade sleeve. These do not turn up that often – especially in such top notch shape as this beauty here. Price: Offers!!!!
356. SUN RA And His ASTRO-INFINITY ARKESTRA: “Continuation” (El Saturn – 520) (Record: Excellent ~ Near Mint/ Hand Made jacket: Near Mint) Scarce Sun Ra recording housed in arty handmade sleeve. “Continuation is an interesting late-'60s date with a nice mixture of styles. "Biosphere Blues" is a great slow blues with room for a number of solos, but anchored by the phenomenal playing of Ronnie Boykins. "Intergalaxtic Research" has some creepy space voice over a plodding beat which is joined by creepy organ, and "New Primitive Earth" is a weird flute/bells/koto experiment. "New Planet" is very cool space-exotica with Bugs Hunter (presumably) adding enormous washes of reverb and echo at various points in the tune. "Continuation To" starts with a crazed circus fanfare and then features Sun Ra on speed piano before calming down for a trumpet solo over an eight-beat bass ostinato. "Jupiter Festival" is a cacophonous romp with the saxophones' swooping squeals matched by Boykins’ squealing arco. Continuation features several interesting instruments, like the Jupiterian Flute and Neptunian Libflecto and the space voice of Art Jenkins and is one of several albums that demonstrate what a great player Ronnie Boykins was.” (AMG). Mind-blowing music from Sun Ra & The Arkestra – sounds recorded during the same marathon session that gave the world the records Other Planes Of There, When Sun Comes Out, and When Angels Speak Of Love! Ra plays a variety of unusual instruments alongside piano – including the piano strings, space organ, and clavioline – alongside some sublime straight horn work from John Gilmore on tenor, Marshall Allen on alto and oboe, Pat Patrick on baritone, Danny Davis on alto and clarinet, Walter Miller on trumpet, Robert Cummings on bass clarinet, and Ali Hasaan on trombone! The lineup here has that raw power the Arkestra first unleashed after their initial move to New York – almost a sense of new freedom in the new environment – even at a time when they weren't clicking on a financial level, but still continued to push forward with new ideas in music! Some passages have this great approach that links the cosmic ideas of the Arkestra with older traditions of jazz soloing – while others reflect the growing concern of the group with new textures and sounds – making for some very impressive elements on both the horns and percussion. The group is completed by Ronnie Boykins on bass, Art Jenkins on space voice and percussion, and Tommy Hunter on drums, percussion, and some mighty nice reverb. Amazing Sun Ra slide that brings forth especially the versatile capabilities of Boykins. That alone is already worth the price of the admission. Comes housed in unique handmade sleeve by Ra or somebody in his then entourage. Price: Offers!!!!
357. SUN RA and his ARKESTRA with Black Harold and PHAROAH SANDERS: “Gods On A Safari” (El Saturn – 165) (Record: Near Mint/ Past On Sleeve: Near Mint). One of the rarer Sun Ra recordings, 1976 US first original pressing in impeccable condition with past on sleeve art by LeRoy Butler and featuring Pharoah Sanders! In order to grasp the significance of the word 'featuring' on Featuring Pharoah Sanders And Black Harold, consider how infrequently Sun Ra used it and the exact way it had been used. The October Revolution in Jazz, organized by Bill Dixon in the West Village in 1964, presented a vivid cross section of approaches to the new music, including a sextet led by Ra. Here, always omni-present leading tenor player John Gilmore shines by his absence due to his session involvement with Paul Bley and other scenesters. Hence Pharaoh Sanders stepping into the vacant spot and dipping his toes into the burgeoning Free Jazz scene. He was still far removed from is now legendary status. For the October Revolution's continuation, titled Four Days in December, held at nearby Judson Hall on the last days of 1964, the Arkestra performance presented Pharoah Sanders as well as a flautist (who was and remained obscure thereafter) named Harold Murray, nicknamed Black Harold. It wasn't until long after Sanders had achieved worldwide acclaim with John Coltrane that Ra and manager Alton Abraham decided to issue the music they'd recorded at Judson Hall. After its first release in plain or hand-decorated covers in 1976, Featuring Pharoah Sanders and Black Harold remained an exceptionally rare item in the El Saturn discography, known to a few lucky collectors. That said, this record blows all the fuses out! Right from the get-go, Sanders makes his presence known although his powerful and emotional tyle of playing was still far from perfect. Still he is loud, squeaky and his serrated tone is instantly recognizable, although the more melodic and lyrical side of signature sound is still not fully formed. But that does not prevent him from his solos to liquidify and obliterate the skies! The record kicks off with a slamming and stuttering piano solo of “Gods On A Safari”, slowly merging with an intimate bowed bass solo before the flood gates come crashing down and the horsemen of the apocalypse incinerate all in their wake and the bands veers off towards the stratosphere. Black Harold adds some exotic, tripped-out touches. Quality Sun Ra recording that fuses neatly the bombastic and explosive with tunefulness and craft. Alan Silva executes some excellent arco playing throughout and the whole floats on tons of percussive rattles and shakes, while Art Jenkins provides some space voicings…before the whole group slip briefly into “Rocket Number Nine”! At last Black Harold does a Rashaan Roland Kirk kinda thing on flute on “The Voice of Pan” and steering into a head-on mind melting collision with Jenkins’ space whisper. Either way, this is some serious heady stuff and the whole affair is pretty wyld! Top shape! Price: Offers!!!!

358. SUN RA: “Soul Vibrations of Man” (Saturn – 772-5) (Record: Near Mint ~ Mint/ Jacket: Mint, still in shrink). Rare and one of the best Sun Ra slides. This one is the 1st original 1976 pressing and in the best possible condition imaginable. Unbelievable! One of the rarest Sun Ra records and it's also one of the most compelling. There are no tracks listed on the label (although the Sun Ra discography lists them as "Sometimes The Universe Speaks", "Pleiades", "Third Heaven", "When There Is No Sun", "Halloween In Harlem", and "Shadow World") – and the sound is very very unusual. The first two tracks feature lots of spare reed work, mixing flutes, oboe, and clarinet with some occasional percussion. Then, the record shifts into an all-vocal number – almost like one of Ra's older doo wop tunes, but with a very strange sing-song lyric about the cosmos. Side two moves into larger group sounds, more in keeping with the mid 70s style of the Arkestra, and featuring some very fiery solos mixed with a bit of synth. Great stuff, and the Arkestra at its most mystical! Price: Offers!!!!


359. SUN RA And His ARKESTRA: “Sound Mirror” (El Saturn Records - #19782) (Record: Near Mint/ Paste On Jacket: Near Mint). Rare original first pressing in TOP condition and one of the more difficult to track down Saturn releases. “Side one ("The Sound Mirror") is a fairly typical full-ensemble space chant from a live show in Philadelphia, 1978: lots of percussion and Ra’s vocals over a simple bass/horn ostinato. Side two contains more of the Italian Sun Ra Quartet sessions from January of 1978. These tunes sound more improvised than others from the same sessions, with each player basically soloing over Luqman Ali’s drumming on "Jazzistocology." "Of Other Tomorrows Never Known" is mostly a fairly tuneful synthesizer solo until John Gilmore joins him for the last part of the song, which has a surprisingly quick fadeout.” (All Music Guide). Cleanest one and best shape ever I have seen so far, impossible to ever upgrade upon. Price: Offers!!!!
360. SUNNY MURRAY: “Big Chief Sunny Murray In Paris” (Odeon – OP-8755) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near Mint). Original Japanese pressing that comes on high quality Japanese vinyl + the whole affair comes housed in a Japan ONLY designed sleeve, making this issue one of the rarest Murray slides out there. To raise the stakes a bit – this copy here comes complete with the mega rare OBI – took me well over a decade to find a copy complete with OBI!!! “The group assembled for this Parisian studio date includes musicians from France (Guérin, Tusques & Vitet), South Africa (Beers), Jamaica (Terroade), and the US (Bibbs, Friend & Silva), and the huge sweeping sound they conjure while absolutely NAILING Murray's highly irregular compositional structures is as thrilling as free jazz gets. Hart Le Roy Bibbs appears once only in a wildly memorable turn. Everywhere and throughout Murray uses the ensemble's orchestral instrumentation to explore his fascination with "sound displacement" & the far extremes of the frequency range. Prepare your hearing for searing high-end burn! The record resolves beautifully in a performance of "this nearly was mine" that manages to be both otherworldly and poignant.” (reissue notes). Killer free jazz slide and this is the 1st time ever I have come across this Japan only issue all complete with insanely rare OBI – TOP COPY. Killer!! Price: Offers!!!!
361. SUZUKI AKIO: “Analapos – Jikan No Anna” (ALM Records – AL-3010) (Record: Excellent/ Jacket: Near Mint/ OBI: Near Mint). Bloody rare 1st original pressing all complete with hardly ever offered before OBI. Edition of only 200 copies. It was released way back in 1980 and the whole of the music on display here was recorded at a performance of “New Sense of Hearing” at the Nagoya American Center on October 5th, 1979. So now that we have that out of the way, time to focus on the music embedded within this beast. Akio Suzuki is known as a pioneer of sound art, but the breadth of his activities and the form of his works far exceeds the normal boundaries of sound art. It is perhaps more as a "quest after sound and space" that he has received the most attention from artists in many fields. Suzuki's journey as an artist began in 1963 with a performance at Nagoya station, in which he threw a bucket full of junk down a staircase. The inspiration behind this performance - the idea that if one were to hurl an object down a well-balanced stairway, a pleasant rhythm might be the result - took the desire to "listen" as its subject. That desire to hear, to listen has remained the one constant in Suzuki's stance as an artist. During the sixties, Suzuki's sense of playfulness led him to undertake a series of Self-Study Events, where he explored the processes of "throwing" and "following", taking the natural world as his collaborator. The experiences he gained in these events led him in the seventies to invent an echo instrument he named Analapos. It has been said that the structure of the "Analapos" resembles that of two mirrors facing each other, reflecting into infinity; and indeed, there seems to be an orphic elongation of reverberation that of which Akio controls like a cosmic whip. On this recording, Suzuki uses first three portable record players, his voice and sound instruments and two or three records of each kind recorded at the Holland Festival are played at alternating times and set in relation with the other elements that manipulate the space. It results in what he called “Poetry of Sound”. The second side of the LP sees him improvising with original sound instruments, the Analapos, which are drums incorporating long coil springs on both ends. On one side, the transitional part of the performance is recorded where Analapos for voice is witched to Analapos on stands. Then using his hands and sticks he plays various tones. By doing so Suzuki becomes one of the true sound art pioneers worthy of the name. Analapos is a blood chilling beautiful and austere recording. Sadly enough, not many have heard it since copies of this disc are scarce and virtually inexistent. Original pressing in top condition and so far, the sole copy ever unearthed out of the dungeon of oblivion and offered for sale. A true eargasmatic document and hopelessly rare in the true sense of the word’s meaning. Price: Offers!!!
362. SUZUKI HIROMASA: “Kumikyoku Furukotofumi – Rock Joint Biwa” (RCA Records - R4J-7015) (Records: Near Mint/ Gatefold Jacket: Near Mint). Stunningly rare 1972 original Quad pressing of unbelievable freak out psychedelic jazz monster. Hiromasa Suzuki recorded many albums as pianist, composer, arranger and producer. He made two “Rock Joint” LP’s in 1972-1973. This album “Rock Joint Biwa-Kumikyoku Furukotofumi” was his first effort, with at its sonic vortex the skeletal & pulsating strumming of the Biwa, a traditional Japanese instrument that Suzuki transplanted into a psychedelic rock/ groovy deep jazz-rock setting. Upon hitting the first groove of the LP, you are catapulted into a head-swimming depth of detail that meets pristine studio reification for the ultimate mind-fuck that seems to have sprung from nothing to fully formed life. As the name suggests, “Rock Joint Biwa” showcases an improvisatory fusion of methodology and sound palette, drawing upon deep jazz/free improvisation, psychedelic rock moves and the textures of traditional Japanese sounds. The end result is an explosion of weird dynamics, suggestive in its inclusiveness and entirely psychedelic in its approach. Although that the biwa is at the forefront here, the whole affair breathes out a freewheeling progressive psychedelic jazz vibe with Suzuki’s electric piano interlocking perfectly with authentic classical Japanese gipsy/folk styles and deep, spaced out Japanese psychedelia. In the form of blazing wah-wah fuzzed out guitar licks (courtesy of Kiyoshi Sugimoto), freewheeling killer bass grooves, dizzying drum licks (Ishikawa Akira) and groovy horns turn the whole into a weird hell broth melting pot of acid rock and deep jazz interspersed with indigenous Japanese flavors. Silk as it’s eternal/groove aspect the end result is especially narcotic as organ, Biwa and fuzz guitar power-crys their way through a suite of contemporary domestic psych/prog fantasies and oozing subterranean sweaty jazz funk vibes. Suzuki also recruited a strings group, the Tamaki Quartet, who added some extra cinematic moods to the already heady mixture. Absolutely fantastic and utterly addictive, one of Japan’s unheralded deep space jazz & psyched out acidic masterpieces. Top copy original 1st pressing, rarely surfaces in its original format. Killer with absolutely NO filler. Price: Offers!!!!
363. SUZUKI ISAO QUARTET + 2: “Orang-Utan” (Three Blind Mice – TBM-44) (Record: Near Mint/ Jacket: Near Mint – has faintest trace of foxing/ Booklet: Near Mint/ Obi: Near Mint). Japan 1st original pressing all complete with rare Obi and booklet. A very compelling set from Japanese bassist Isao Suzuki -- one that draws on the electric traditions being forged at the time by artists like Miles and Joe Henderson -- but which is also graced by the warm lyricism that was running through other Japanese jazz sessions of the 70s! Suzuki plays a surprising range of instruments -- electric piano, cello, and bass -- and the group displays an amazing ability to move into freely flowing numbers, then shift abruptly into sparer, subtler territory. The vibe of the record is quite unique -- and group members include Kenji Mori on alto and flute, Kazumi Watanabe on guitar, Samu Kawakami on bass, and Shinji Mori on drums -- and one title features vocals from Mari Nakamoto. One of the high-water marks in the TBM catalogue with all the tracks are on the longish side and hypnotically great. Awesome condition! Price: Offers!!!!
364. 13th FLOOR ELEVATORS: “Easter Everywhere” (International Artists – IA-LP-5) (Record: Near Mint/ Jacket: Near Mint/ Lyrics imprinted Inner Sleeve: Excellent). Original 1967 pressing & rare very first press issue with the printing error on the back sleeve that lists “Posturos” instead of “Postures”. TOP condition with NM~M sleeve as well!!! The 2nd Elevators LP following “Psychedelic Sounds Of” and it sold out its original pressing. Probably the best Elevators LP in my opinion, blessed with a muddy sound due to the low volume mastering by IA. Due to disappointing sales the LP was not repressed and since no unsold stock was left, it is hard to find a very clean and spotless original press copies of this LP. Cover is extremely clean and graded as EX with only the faintest of wear and has no splits, tears, or writings whatsoever – it will be difficult to find a better one. The record is utterly clean. Comes with the rare lyrics imprinted inner sleeve. There is NO “masterfonics” printed in the trail-off dead wax, making this the very first 1967 original pressing. (masterfonics one came out in 1977 so… This is an ultra-clean stereo press issue, which is clearly superior to the mono mix due to its hypnotic and elaborate soundscape of the stereo mixing. Awesome copy, comes housed in top condition jacket and record is also NM - very hard to find this clean so… Price: Offers!!!
365. TAJ MAHAL TRAVELLERS:  “August 1974” (Columbia – OP-7147-8-N) (2 LP Record Set: Near Mint~ MINT/ Gatefold Jacket: Excellent/ Insert: Mint/ Obi: VG++ - has 2 vertical folding creases and upper seam crack/ Additional Taj Mahal Travellers Live Concert Insert: Mint). ORIGINAL COPY! Beautiful condition. The fragile sleeve is untouched but has upper and lower middle seam rubbing, records are untouched and not even a single spindle mark insight and the obi is present but has a few creases. Heavy hitting monster rarity, complete with always missing obi!!!! Here is the real deal, one of the rarest albums out of Japan. It is estimated that there are no more than 300 copies in circulation of which only 100 are adorned with the obi, making this gem rare as hell. Taj Mahal Travelers first album is quite easily to track down but their 2 LP successor, this one, is just impossible to get. The record is a fragile masterpiece, sound wise as well as art wise since the gatefold is made out of flimsy carton. Jacket is top all the way. Vinyl is shiny with no signs of any use at all, looks like it was pressed yesterday and crawled out of a time capsule. Amazing complete & amazing copy, hideously rare and bloody collectible. Once in a lifetime opportunity maybe, especially with the obi present. Act now and hold your peace forever. Price: Offers!!!
366. TAKAGI MOTOTERU & TOSHIYUKI TSUCHITORI: “Origination” (ALM Records – ALM-04) (Record: Near Mint/ Jacket: Near Mint). Top condition copy!!! Well, here you have one of the Holy Grails of the Japanese free jazz underground, a disc that just never surfaces anymore. Impossible to track down these days, hardly ever turns up anymore. Small pressing so a tough one to unearth. Sadly enough, the outside world has their myopic gaze only locked unto the much-hyped (they are stellar of course and need to be hyped) two key players of that period, being Takayanagi and Abe, but fail to look beyond the yonder at the other hardcore players that often even surpass all the others. This is mainly due to music critics’ inability to scrap beyond the surface layer in order to dig out some of the nuggets that remain hidden underneath. And since people tend to put their faith and trust in such critics who hype middle-of-the-road mediocrity instead of stellar lunacies, gems like this one remain hidden from hardcore music enthusiasts. This disc is such a nugget and well conserved pearl of musical greatness. Mototeru Takagi may and should ring a bell if you ever took the time to check out PSF’s early releases. If so, you are certainly aware of his brain peeling recording “Deep Sea” (PSFD-47) of the early seventies with Yoshizawa Motoharu, another totally underrated player of that scene. Mototeru was a totally wicked sax howler, spewing out ashes of volcanic deep subterranean fury and eager malice, creating a tornado of dusty sax noise that will engulf the aural landscape of your listening quarters. Skin mangler Toshiyuki Tsuchitori who unleashes a boundless fury of pounding pulses and crashing sticks flanks him and provides a perfect counter-balance force to Mototeru’s all engulfing apocalyptic waves of sound. In all both of them are responsible for creating high-tension music that resemble at times as if they were engaged in trench warfare, although that both move through it on an intuitive approach. In short, this disc stands shoulder to shoulder with the best records of that golden free jazz age and is without a single doubt one of the Japanese underground scene’s defining moments of free interplay. It is a shame that this disc rarely if never turns up any more. It was released in a smal run on the ALM records label in 1975. Slowly attaining super rarity status. Highest recommendation. Price: Offers!!!
367. TAKAGI MOTOTERU TRIO: “Mosura Freight” (Interval – ILP-101) (Record: Near Mint/ Jacket: Near Mint) Getting almost impossible to dig up these last years and this is possible the most perfect condition one I have ever had. One of the fastest in value rising Japanese jazz slides as of late. The Holy Grails of the Japanese free jazz underground, a disc that just never surfaces anymore. This was Takagi’s first (and sole) disc as a leader, released in 1975 in an edition of 300 copies only. Although that the outside world has their myopic gaze locked unto two key players of that period, being Takayanagi and Abe, they fail to look beyond the yonder at the other hardcore players that literally played until they blew themselves to smithereens. This is partly due to music critics’ inability to scrap beyond the surface layer in order to dig out some of the real nuggets hidden underneath. And since people tend to put their faith and trust in critics who shovel up middle-of-the-road mediocrity instead of stellar lunacies, gems like this one remain hidden from hardcore music enthusiasts. This disc is such a nugget and well conserved pearl of musical greatness. Mototeru Takagi should ring a bell if you ever took the time to check out PSF’s early releases. It contains his brain peeling recording “Deep Sea” (PSFD-47) of the early seventies with Yoshizawa Motoharu, another totally underrated player of that scene. Mototeru was a totally wicked sax howler, spewing out ashes of volcanic deep subterranean fury and eager malice, creating a pyroclastic tornado of dusty sax noise. His teammates Takashi Tokuhiro (bass) and Tsutomu Ono (drums) unleash in response a boundless fury of pounding pulses. Crashing sticks tumble all around Takagi’s whirlwind of sax squeals, providing the perfect counter-balance force able to counter-attack his all engulfing apocalyptic waves of grizzled sound. The trio is responsible for creating high-tension music as if they were engaged in trench warfare. In short, this disc stands shoulder to shoulder with the best records of that golden free jazz age and is without a single doubt one of the Japanese underground scene’s defining moments of free interplay. It is a shame that this disc rarely if never turns up any more. It was released in an edition of 300 copies in 1975. Slowly attaining super rarity status. Highest recommendation. Price: Offers!!!!
368. TAKAGI MOTOTERU – SABU TOYOZUMI – TAKASHI KAKO TRIO: “Blue Sea” (Private) (Record: Mint/ Paste On Hand Made Jackets: Mint/ Insert: Mint). Rare private press Japanese free jazz slide that was released in a tiny edition of only 90 copies – all of which came in handmade jackets and no two of them were identical. These dried up the minute they were released, making them elusive killer slides from day one. Music-wise, this is a vicious slide and an important creative free form jazz document by these three Japanese musicians (Takashi Kako / Mototeru Takagi / Sabu Toyozumi) recorded live in 1976. The material was salvaged from unreleased live recordings that were found on long lost original cassette tapes. The trio is on fire on these recordings and performs two pieces titled; "Blue Sea" and "New Sea". An extremely heavy archival recording. This is Japanese free music at its height. Clean and crisp with the musicians finishing each other’s ideas and phrases. Piano, percussion and saxophone at a high level of energy, but no unnecessary sounds. In fact, all sounds played were very necessary. Totally insane material, killer from start to finish and rare forever!!! Price: Offers!!!!
369. TAKAYANAGI MASAYUKI: “Independence” (Union Records – UPS – 2010-J) (Record: Excellent ~ Near Mint/ Jacket: Excellent ~ has some mildew spots visible on back of the sleeve). One last copy back in stock – has been ages since I could lay my hands upon a copy again. Mucho in demand first original pressing. Top copy: Unbelievable, Independence on vinyl. Original 1971 press. This one just never turns up and I bet not many of you have seen this Holy Grail of a disc, well – it is much rumored about but has not been seen by too many eyes. This is the Loch Ness Monster of Japanese free jazz records – rumored to be out there but elusive to say the least. Until now… The first original pressing of 1971, probably one of the rarest free jazz documents ever to be put up for sale. It was an edition of only 500 copies so go figure it out. Still it is unclear how many copies are in circulation, it is estimated that no more than 300 remain in existence due to terrible sales at the time. This was Takayanagi’s first recording as a leader after his involvement with Togashi Masahiko’s “We Now Create” brain ripper. Here, Takayanagi gets flanked by the best free blowing heads on the scene being bass monster virtuoso Yoshizawa Motoharu and skin mangler Toyozumi Yoshisaburo. Hardcore kerosene driven free jazz blats from 1969. This is vicious music that until this day remains unequalled by any players on the scene. The defining free jazz document. All time highest recommendation. Not for pussies. Freakingly rare original pressing. Very nice condition, strictly graded at EX〜NM. These babies are virtually impossible to get these days as Japanese jazz is beyond hot and freakingly sought after these past years and it won’t get any easier. So serious offers invited for this free jazz cornerstone of a disc. Price: Offers!!!
370. TAKAYANAGI MASAYUKI: “A Jazzy Profile Of JoJo” (Victor Records – SMJX-10096) (Record: Excellent ~ Near Mint/ Gatefold Jacket Insert: Near Mint/ OBI: Near Mint). One of the rarest and hardest to track down Takayanagi slides, 1st time I have copy of this one all complete with impossibly rare obi and all in amazing condition. It only took me about 16 years to finally lay my eyes on a copy with obi, making this one rarer and harder to get than his Eclipse or the Independence LP or the one with Abe, all insanely rare but at least once a year a copy pops up. This one is a different affair, all complete with obi just about once every 20 years or so. First original pressing of this obscure album, originally recorded in Dec. of 1979. A "cool jazz" recording in the Tristano tradition, all executed solely by Takayanagi. Brilliant throughout and very introspective nature highlights Takayanagi’s high-level exquisite guitar playing. It's the same thing in jazz. I find no value in the free jazz of a musician that doesn't swing in 4 beat and plays a dreary in-code ad lib. Avant-garde music or Free Form does not exist without a respect for the classic, and thus, it turned out to be a special album reflecting Jojo's sincerity." One of the rarest Takayanagi recordings, never had a copy of this beast before all complete with Obi and in decent shape. Monster rarity and amazing condition with obi, which will make you wanna bleed a little if you are desperate to wheel this one in….Price: Offers!!!!!!!!!
371. TAKAYANAGI MASAYUKI: “850113 – Takayanagi’s Angry Waves Live, January 1985” (Aketa’s Disc – AD-23) (Record: Mint/ Silk Screen Jacket: Near Mint ~ Mint/ Obi: Mint/ Insert: Mint). Freakingly rare Takayanagi LP, together with “Eclipse” and “Independence”, one of the 3 most sought after entries in his limited LP discography. Only the 2nd time I have a copy up for grabs, this one comes all complete with obi and always missing insert. This release can be seen – just as his “Eclipse” disc – as one of the more difficult to track down recordings since it was in fact a released as a private pressing on Aketagawa Aketa’s Disc imprint. Here, Takayanagi’s group is called Angry Waves and consisted out of Masayuki Takayanagi (electric jazz guitar), Nobuyoshi Ino (electric contrabass) and Hiroshi Yamazaki (drums, percussion). Recorded on January 13th, 1985 at the Hamamatsu Seibu City-8 Hall and released shortly thereafter, the trio literally take the jazz back to and reinsert it again into “free jazz”, invigorating it again with Takayanagi’s accumulated jazz techniques but redirecting them into a free-roaming aesthetic. His playing is almost stripped of the feedback roar that characterized his “Mass Projection” approach and instead fuels with some bare whispers alluding to feedback, a bare approach pregnant with imminent tension, obliterating and wailing string action, wild, free but always vibrating with modal deconstructed scales that obliterate right in front of your eyes into clouds of radiant meteoric dust. Takayanagi’s dense, free-riffing and compressed fleeting lines get underscored by a frantic and cascading drum rolls of Yamazaki and Ino’s slapping bass action, tearing into Takayanagi’s steel strings stirrings and setting down a polyphonic racket that perfectly gels together unorthodox wild, free playing with a gutted and restless modal-swing vibe, creating once again a new methodology for improvisation. Killer recording, original pressing complete with obi and insert. Awesome & top condition copy!!!! Price: Offers!!
372. TAKEBE YUKIMASA: “Yufusuge Hito no Uta” (Victor – SF-1029) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ 4-Paged Insert: Near Mint/ OBI: Excellent ~ Near Mint). Bloody rare 1st press original copy with obi. Copies all complete with obi only come around once every 10 years, seriously rare but fantastic Japanese acid/ downer folk. Totally obscure and under the radar release that came out in September 1972 on the legendary and ultra collectible SF series of Victor Records and which till this day remains completely undetected by a psych-out collecting crowd outside of Japan. This sole release by mystery man Takebe is without a single doubt one of the most beautiful lysergic folk releases to come out of Japan, a release that makes the much revered “Melting Glass Box” shrivel up in shame when compared to this one. According to these humble ears, this sole recording by Takebe is one of the best folk albums ever to have been put down on wax, a recording filled with a hard to pin down sadness from below the well that gets underscored by bizarre hallucinatory dreams of fever and delusory but fragile musical accompaniment by some heavy scenesters such as Yanagida Hiro (Food Brain, Milk Time, Apryl Fool, early incarnation of Tokyo Kid Brothers, Love Live Life + 1, Sato Masahiko & Soundbreakers, etc main man), Melting Glass Box chieftain Nishioka Takashi, Chito Kawauchi (of Happenings Four fame), Nakagawa Isato and other heavy weights. The music breaths out a deep resonating feeling of nostalgia, solitary seclusion and splendid isolation. Takebe drew his inspiration from Harvest era Neil Young and early times pastoral UK folk dwellings. If a terminology has to be applied in order to stigmatize this disc Acid Folk would be an appropriate banner to saddle it up with. But then again, that term solely falls hopelessly short to convey the total load the disc carries. Without a single doubt one of my all time favorite Japanese discs and possibly one of the greatest folk albums of all time. But then again, who am I to make such claims? Judge for yourself. The music on this disc surpasses hypes and trends and words will always fall short in an attempt to catch its brilliance. It just vibrates with a stupefying down to earth honesty and the beauty reminiscent to the fragile nature of a spider’s web covered in morning dew. Highest possible recommendation and mega rare + haven’t seen a copy complete with obi for over a decade now!!! Killer Japanese deep acid folk!!! Price: Offers!!!!
373. TANAKA K. (SEIJI) & SUPER SESSION: “British Rock Live In Japan” (Teichiku – FX-419) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint, has some faint mildew spots inside gatefold, for the rest perfect). One of the rarest heavy psych and killer fuzz-derelict jammers to seep out of Japan, this is a mega rare 1972 original pressing. Released on the same label as Ceremony ~ Buddha Meets Rock and equally rare, good & obscure, this is a killer live recording by a one-time only session band that has guitar god Kimio Mizutani wielding the axe (Ceremony, Love Live Life + One, Sato Masahiko & Soundbreakers, Outcasts, Dema, Milk Time, etc) in a totally brain melting way, breathing out heavy fuzz and wah-wah licks of molten lava all over the place. Recorded live at an US army base in Japan, the group leaps right from the start in a maniac fury kind of jam, breathing out high tension exploratory lysergic music that surfs on the high crest of an intuitive approach and creates as such one of the Japanese psychedelic underground’s defining moments. As song titles suggest on the cover (although calling it songs would stretch it a bit – “Trip To The West Coast From Britain ~ Song For Grateful Dead/ Song For Deep Purple/ Song For Atomic Rooster/ Song For Mothers of Invention/ Viva Uria Heep/ Jimi Hendrix Mad Song” = all originals + one deep fried acid cover of Pink Floyd’s Echoes) the group veers off by feeding its deranged freak out assault on occasional haunting echoes of sonic surges that reigned the airwaves during 1972 and churning out as a result an oriental urbanized take on Western psychedelia and taking it a couple of notches further, turning this record into a king-hell, highlife psychedelic fuck-around from start to finish. Tanaka, Mizutani and cohorts may suffer dilution beneath a riptide of Western influences and as a result guide their asymmetric psychic maze through mutant variations sweating out heavy psychedelics. Just like Ceremony ~ Buddha Meets Rock, this record is the fast lane folks … and some of us like it there. Best listened to at night with a head full of acid!!!! Mega rarity, only seen 2 copies in 20 years time….this one is TOP condition…Price: Offers!!!!!
374. HORACE TAPSCOTT QUINTET: “The Giant Is Awakened” (Flying Dutchman – FDS-107) (Record: Near Mint/ Gatefold Jacket: Near Mint – still housed in Shrink/ Insert: Near Mint/ Direct Import Obi: Near Mint). Original 1970 first pressing in top shape, with sleeve still housed in SHRINK and adorned with never seen before Japan first issue Direct Import Obi – so far the 2nd copy ONLY to have surfaced with obi. Pianist and composer Tapscott was one of the most unique and important figures in LA's jazz world, a guy who embraced self-determination and independence after leaving the Lionel Hampton Big Band in 1961. Tapscott was barely known outside of the city. But a year before he made The Giant Is Awakened, the great LA hard-bop saxophonist Sonny Criss recorded a classic album on Prestige called Sonny's Dream (Birth of a New Cool), all six pieces on which were composed and arranged by Tapscott, so it makes sense that producer Bob Thiele (who'd recently left the Impulse label) sought out the pianist for his new Flying Dutchman imprint. The band featured an unusual lineup with two bassists—David Bryant and Walter Savage Jr.—but aside from the pianist, there was the great alto saxophonist Arthur Blythe, who plays with a sharp, keening tone and relentless intensity. Intensity, in fact, is the defining quality of the record, which has a hard-driving energy that never seems to flag; drummer Everett Brown Jr. and Tapscott—making the molten vamping of post-'Trane McCoy Tyner feel almost polite—provide serious propulsion for the dark, stormy melodies at the heart of his writing. Four improvisations with lively piano, groovy rhythm section and bluesy sax. Tapscott demonstrates advanced techniques and by its inspired sound this album could be easily placed at the same level with similar Archie Shepp or even John Coltrane albums of "spiritual jazz". The album's opener, 17-minutes long "The Giant Is Awakened" is one among greatest composition coming from that time and genre. Top rare issue with obi and in best condition imaginable…. So…. Price: Offers!!
375. TAYLOR, CECIL UNIT: “Nicaragua: No Pasau – Willisau Live 1983” (Private) (2 LP Set: Near Mint/ Silk Screen gatefold Jacket: Near Mint). Rarest Cecil Taylor LP, only privately issued in Germany at the beginning of the 1980’s and elusive ever since. Stellar line-up consisting out of Cecil Taylor (p), Brenda Bakr (vo), Jimmy Lyons (as), William Parker (b), Rashid Bakr (ds, per) and finally André Martinez (ds, per). Fierce Taylor performance, burning rubber and sucking in exhaust fumes as his free flying free jazz bird takes off and does not intend to touch down until this 2 LP set grinds to a halt. The man and his cohorts certainly had fire-breathing power, killer set, his rarest by far, first time ever I have a copy of this beast. TOP condition! Price: Offers!!!

376. TECHNICAL SPACE COMPOSER’S CREW aka CZUKAY, HOLGER & ROLF DAMMERS: “Technical Space Composer’s Crew – Canaxis 5” (Music Factory – SRS-002) (Record: Near Mint/ Jacket: Excellent). Top copy original first pressing of this Can related ear-bleedingly beautiful LP, released back in 1969 in a tiny run of supposedly 300 copies. Without a doubt the best solo album Czukay ever recorded, this disc originally released in 1969 in a miniscule edition of 300 copies has in recent years achieved a monstrous status. Upon listening to it is easily to understand why. Comprised out of two side long compositions, being the stunning “Boat-Woman Song” and “Canaxis”, Czukay and Dammers succeed in fusing and simultaneously surmounting genre restrictions such as avant-garde, psychedelic, tape music, musique concrete, trance, field recordings, world music and experimental music, blending all into a melting pot of mind melting beautiful sounds. Highest recommendation. This is a stunning disc that will certainly enhance the quality of your everyday miserable life. Top copy, I believe it will be quite difficult to upgrade on the condition of this one. Flimsy thin jacket is solid Excellent condition as well. Hard to improve upon and one that surfaces only once in a blue moon it seems. Price: Offers!!!

377. The TEMPOS: “Speaking of …” (Justice Recording Co. – J-LP-104) (Record: Near Mint/ Jacket: Near Mint ~ Mint – still housed in original shrink). Perfect condition original press copy. Damned rare 1966 original pressing of US garage cornerstone. “This is usually considered the best of the 22 rock titles released on the Justice custom label and it’s even rated as the best local garage LP from anywhere by some. I wouldn’t go that far but this is a fun, kick-ass album that has a true garage edge. There are numbers of great Stonesy band originals such as the opening “Two Timer” and “You’re Gonna Miss Me” (not the Elevators tune), along with some of the usual surd and R’n’B covers of the era. One of the few (maybe the only) Justice rock bands not to hail from the Atlantic seaboard states, this also sticks out due to an atypical recording with plenty of punch that reflects a hip moptop mindset among these Sylacuga High School punks. The LP came out in April 1966. A vital title to check out even for album-phobic garage fans” (PL – Acid Archives). Simply, a teenage garage masterpiece, top 5 record in my crumbling universe. Absolutely flawless condition. Price: Offers!!!
378. TENJOSAJIKI – J.A. SEAZER – TERAYAMA SHUJI: “Throw Away Books, Let’s Go Out On The Streets” (Tenjosajiki – TENJ-99002) (Record: Near Mint/ Gatefold Jacket: Near Mint/ 4 Paged Insert: Near Mint/ Triangular OBI: Excellent). One of the rarest heavy psychedelic private press records to seep out of Japan, 1970. Privately released in a run of about 300 copies – this is the first copy I see complete with OBI. Music-wise one of the most amazing teenage psych-cum records to seep out of Japan. "Typical of the company's early, crazed style is this viciously rare and obscure Throw Away The Books, originally released on their own label in 1970. Confusingly, there is a film soundtrack of the same title, but this is the extremely rare original theatrical version and contains entirely different material. Subtitled 'A High-Teen Symphony,' the performance centers around untrained adolescents reading out their own tortured, angry (and in one case, stuttering) texts and poems. Their stories of family disintegration and mother-hate, dreams and hopes for the future, and love songs to teen murderer Norio Nagayama and Mick Jagger are set to an attractively rough and ready pounding psych-rock soundtrack largely composed by organist Kuni Kawauchi. Kawauchi had been a member of pioneering Prog group Happenings Four and his brooding organ riffs feature throughout. As well as heavy rockers like the great opening 'Lets Go Ornette', with its ripping fuzz lead, Orff-style choral chants and motorbike effects, Kawauchi was also capable of delicate, folkish pieces ideally suited for some of the company's outstanding female vocalists, several of whom developed successful singing careers outside of Tenjosajiki. Also of note is a track composed by a young design school dropout, Shinjuku street hippy and winner of a nationwide longhair competition, by the unlikely name of JA Caesar (Tenjosajiki also had its own Sinatra and Salvador Dali). Set to a simple handclap rhythm, Caesar's tale of the panhandling life possessed a subtle melodic strength and depth that hinted at the minor keys of traditional folk song. Caesar soon came into his own, composing all the music for Terayama's performances and films for the next decade, and finally inheriting the remnants of the troupe after Terayama's death in 1983." -- Alan Cummings. Rare original with mage rare obi present. Comes housed in thick textured sleeve. All killer and no filler brain-freeze of a record. Price: Offers!!
379. TENJOSAJIKI – TERAYAMA SHUJI – J.A. SEAZER: “Baramon” (Tenjosajiki Records – 1972/2002) (Record: Near Mint/ Jacket: Near Mint/ Tow Separate Gatefold Inserts: Mint). Top copy of this ultra rare privately released Tenjosajiki record “Baramon”. 1972 private pressing that came out in a limited run of about 300 copies back then and which was solely sold at the gay bars of Nishi Shinjuku. But about the music: “Some of the most exciting and evocative music of the early 70'ties in Japan was born out of the avant-garde theatre groups that had played such a central role in the 60'ties ferment. One of the most important was the Tenjosajiki Company formed by poet, filmmaker, boxing fan and all round agent provocateur Terayama Shuji. Renowned for Living-Theatre inspired audience participation happenings and extreme street theatre designed to shock the bourgeois; by 1970 the group had already a haven for runaway teens, and a focus for police investigation. Terayama was canny enough to realize that co-opting their music was an ideal way to hijack adolescent energies and he consistently used heavy amplified rock to jumpstart his chaotic, socially critical acid operas…By 1972, Baramon saw J.A. Seazer and Kuni Kawauchi (of the Happenings Four and Kirikyogen) splitting the compositional scores on a bizarre musical manifesto for sexual liberation. So far so Hair, but rather than a tribute to free love, Terayama instead composed an eloquent plea for the liberation of the sexual underclass suffering discrimination, in the form of a “gay revolution”. It wasn't Terayama's first engagement with the Tokyo queer scene – one of the earliest plays he wrote for the Tenjosajiki was a vehicle for transvestite actress and chanson singer Akihiro Miwa, who was rumored to have had a dalliance with Yukio Mishima. Baramon's opening is a blast – a densely narrated and impassioned call to arms set to a Nazi military march that links sexual second-class citizenship to imperialist social control and warmongering. Featuring the actual voices of numerous smutty, cross-dressing scene queens, the record's content was deemed so subversive that it was only sold under the counter of Tokyo gay bars. Like a biker backstage at the Cage Aux Folles, fuzzed out guitar riffs and heavy s welling organ-based psych rock tracks rub shoulders with the lachrymose ballads and tawdry, mascara smudging chanson still favored in certain Shinjuku nighteries.” (The Wire, Alan Cummings). So I guess you get the picture. Highest recommendation and rare to say the least. Pristine and immaculate condition. Price: Offers
380. TENJOSAJIKI/ J.A. SEAZER: “Shintokumaru” (Victor – SJX-20086) (Record: Near Mint/ Jacket: Near Mint/ 4-paged Insert: Near Mint/ Obi: Near Mint) Hideously rare 1978 original pressing in top condition. Complete with rare obi and the 4-paged insert – all is in perfect nick. Recorded and released in July 1978 and comes with 4-paged liner notes with nice photographs. This edition is the rarely offered first pressing as released on Victor Records way back in 1978. The music is just heavenly bliss, theatric play all topped off with great Magma and Carl Orff influenced, psychedelic guitar licks, pounding esoteric chants and percussion, demented female vocal choruses, swirling organ leads, all under the supervision of musical director J.A. Seazer and guided, staged and created by Japan’s enfant terrible of the avant-garde arts and all-round artists, playwright, poet, novelist, social critic and all-round agitator Terayama Shuji. More theatrically tinted than the other Tenjosajiki related recordings, “Shintokumaru” is a beast of a disc nevertheless and will haunt you day and night. Completely vanished hideously rare original pressing in good condition for a give-away price. Doubt that this one will ever cross your path again this cheap. Act now and hold your peace forever!! Price: Offers!!!!
381. THEM: “Gloria – Them No Subete” (King Records – SLC-206) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Insert: Near Mint/ Circular Obi: Near Mint). Amazingly TOP condition and viciously rare Japan 1st original pressing as released in June 1968. All complete and in archive condition. Impossible to find in such perfect condition, disc is virtually unplayed, fragile flip back sleeve is completely virginal, the insert is pristine and the obi is utter perfection. Stunning condition for a disc over half a century old and sounding like a bell. Never surfaces with first obi intact, let alone as perfect as this one…. I believe it will be impossible to ever upgrade upon this one. Price: Offers!!!!
382. THEM– Featuring VAN MORRISON: “S/T” (London – King Records – SLC-462) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Rare Japan only issue, first pressing all complete with genuinely rare first issue obi and insert – all in immaculate condition. Japan only Them release housed in Japan only jacket art from 1972!!! All complete with rare obi. Japan London/ King Records LP from 1972 that it is primarily a singles compilation. But then, only four of Them’s singles were hits, either in the U.K. or the U.S. -- "Baby, Please Don't Go," "Gloria," "Here Comes the Night," and "Mystic Eyes," all included here. Also featured are such non-charting singles as "Don't Start Crying Now," "I’m Gonna Dress In Black", “It’s All Over Now Baby Blue”, “Turn On Your Love Light” and "Richard Cory." This is not the ideal Them compilation, but this is the one that contains Them’s most familiar material. Rarely seen Japan only issue, with OBI – has been ages since I last saw an all-complete copy – next to impossible to ever upgrade upon. Price: Offers!!!
383. THESE TRAILS: “S/T” (Sinergia – SR-4059) (Record: Near Mint/ Jacket: Mint, still in shrink/ Insert: Mint). Original US private press – top condition with jacket still in original shrink-wrap and complete with insert inner. Sole self-titled release from 1973 by These Trails from Hawaii. It is an album that skillfully combines a keen sense of melody with otherworldly vocals from the enigmatic late Margaret Morgan and innovative sonic experimentation. What’s more the band furnished each of its tracks with the colors, scents and atmospheres of the botanical treasure of the volcanic Pacific Island paradise that birthed them. Members of the group were Margaret Morgan (vocals, guitar and dulcimer), Patrick Cockett (guitar, slide guitar and vocals) and Dave Choy (arp synthesizer, recorder, arrangements and final mix). Margaret Morgan handles most of the lead vocals with Patrick Cockett occasionally chiming in. Morgan’s vocals are dreamy and ideally suited for this kind of organic music. Comparisons that come to mind are Linda Perhacs, though Morgan’s vocals are more innocent and angelic and the music on this LP clearly betrays a Hawaiian influence. The synthesizers give tracks an otherworldly sound. Truly entrancing fragile male/female soft warbles and bewitched intonations. Gorgeous six-string strumming--of the acoustic, electric, and slide along with a multi-colored dose of Eastern-isms (tabla and sitar) and synth-dither to visually guide you along a uniquely exotic tour of rain-soaked jungles and belching volcanoes, to the silent mesmeric groove of ocean waves. Rays of Hawaiian sunshine seep out of its pores, the arrangements are free and green with lots of interesting twists, the vocals are beautifully exotic. TOP COPY with all complete. Price: Offers!!!!
384. THOMPSON, MAYO: “Gorky’s Debt To His Father” (Texas Revolution – CFS-2270) (Record & Jacket: Mint, still bloody fuckin’ SEALED) TOP copy, US first original pressing!! An all-time classic neuro-stunner of a disc, housed in a simple apricot colored sleeve that enshrouds a half hour of insulation wilder than any of your bedroom fantasies. There where Thompson’s previous work had fractured the human heart so far that Red Krayola were accused of being a cheap and amateur art school prank, the material on this disc is even more daring the atonal bashings of his combo. Starting off with The Lesson, it already alludes at the regions the album will wade through at knee-length - guilt, obsession, depraved lust and indulgence. “I held your little breast in my hand, and I kept my eyes on your knee. I was breathless when you crawled in the door, and gasped when you sat on my lap.” That’s Vladimir Nabokov’s Lolita for you through the eyes of an acid flashback plagued Texan dessert rat. “You parted your legs with a smile...” Boy, that that coming out of puritan America – thank god Bush was not waving his scepter then. Still, it hints at the overall tone the album is spray painted with being that the only love worth having is a doomed one. At the time, the album attained but a fraction of the success of the Red Krayola albums - themselves notorious rather than popular. Originally released by the label Texas Revolution and like all stellar discs Gorky’s Debt was recorded in mono. After it had hit the streets and was largely ignored by all the hip cats, the album was left to attract dust and cobwebs, sinking into oblivion. Still the general outcome remains the same: compact Dadaist poems distilled into a half-hour of personal confessions. One of the greatest discs ever made without a single doubt. Original press copy, just about impossible these days, let alone a SEALED one. Price: Offers!!!

385. THOMPSON, MAYO: “Gorky’s Debt To His Father” (Texas Revolution – CFS-2270) (Record: Near Mint/ Jacket: Mint, still housed in original shrink) TOP copy, US first original pressing!! An all time classic neuro-stunner of a disc, housed in a simple apricot colored sleeve that enshrouds a half hour of insulation wilder than any of your bedroom fantasies. There where Thompson’s previous work had fractured the human heart so far that Red Krayola were accused of being a cheap and amateur art school prank, the material on this disc is even more daring the atonal bashings of his combo. Starting of with The Lesson, it already alludes at the regions the album will wade through at knee-length - guilt, obsession, depraved lust and indulgence. “I held your little breast in my hand, and I kept my eyes on your knee. I was breathless when you crawled in the door, and gasped when you sat on my lap.” That’s Vladimir Nabokov’s Lolita for you through the eyes of an acid flashback plagued Texan dessert rat. “You parted your legs with a smile...” Boy, that that coming out of puritan America – thank god Bush was not waving his scepter then. Still it hints at the overall tone the album is spray painted with being that the only love worth having is a doomed one. At the time, the album attained but a fraction of the success of the Red Krayola albums - themselves notorious rather than popular. Originally released by the label Texas Revolution and like all stellar discs Gorky’s Debt was recorded in mono. After it had hit the streets and was largely ignored by all the hip cats, the album was left to attract dust and cobwebs, sinking into oblivion for nearly the next twenty years until Drag City made it available for the masses many years ago. And even that version is getting thinner and scarcer every minute. Still the general outcome remains the same: compact Dadaist poems distilled into a half-hour of personal confessions. One of the greatest discs ever made without a single doubt. Original press copy, just about impossible these days, especially in such a nice condition as this baby here….Price: Offers!!!

386. THE TIFFANY SHADE: “Would You Take My Mind Out For A Walk b/w One Good Reason” (Mainstream/ Nippon Columbia – LL-2151-MS) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Japan only picture sleeve issue from 1968. Classic psych jammer with harmonious vocals, jangling guitars and some great riffing. Cornerstone trippy acid classic floating on kaleidoscopic guitars, jungle shoot-out vox that pop up in weird angles, sweating out that glorious heyday US heavy psych feel we all came to adore. Only released as a single in Japan and sales were so depressingly non-existent that a full LP release never materialized, making it insanely sought after and virtually unobtainable. This one just never surfaces and is seriously rare. Killer acid-leaking picture sleeve to match the sounds within. Price: Offers!!!

387. TIMMONS, BOBBY: “Jenkins, Jordan And Timmons – Soft Talk” (Top Rank/ Nippon Victor – RANK-5078) (Record: Excellent ~ Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Insanely rare Japan first original pressing all complete with OBI. MONO issue that comes housed in japan ONLY sleeve art, just never ever offered before. Four of the five selections on this LP are obscure jazz originals by altoist John Jenkins, tenor saxophonist Clifford Jordan or trombonist Julian Priester. Inspired by both Charlie Parker and Jackie McLean, Jenkins teams up with Jordan, pianist Bobby Timmons, bassist Wilbur Ware and drummer Dannie Richmond for some bop-oriented improvising. Strange that this would be one of only two sets led by Jenkins. This is truly a great set and the tunes are all very nice. Favorite tune is probably "Soft Talk". "Tenderly" is a nice ballad with superb piano solo work from Bobby Timmons. Jordan’s tone is round and strong much like a nice cup of sake. Bobby Timmons flows effortlessly through the tunes with extremely nice rhythmic lines. The other two cats in the rhythm section gel perfectly well with Jenkins and Timmons. Damned rare Japan 1st original pressing that comes housed in never seen before Japan only sleeve art and complete with obi. A one of a kind true rarity for your eargasmatic pleasures. Price: Offers!!!!
388. TITUS GROAN: “S/T” (Dawn Records/ Nippon Columbia – YS-2468-YD) (Record: Mint/ Laminated Gatefold Jacket: Mint/ Insert: Mint/ Dawn OBI: Mint). Top copy of mega rare Japanese 1st press issue all complete with rarely seen DAWN Records OBI – all is in untouched virginal condition. Glorious underrated complex psych meandering into prog and filled with highly inventive arrangements and superb musicianship. “This is prog and no mistake – but it manages to avoid the self-indulgence of many contemporary LPs in the genre. This owes to several factors: the production is crisp and punchy, the band are particularly good musicians who are happy to rock hard (there are some memorable tough guitar parts) and their songs are tightly-structured with plenty of interesting twists. Their name is taken from Mervyn Peake, who also lends the title to the album’s magnum opus, the 12-munte four-part epic ‘Hall Of Bright Carvings’. ‘I Can’t Change’ is another cracker, combining an unusual structure with driving rhythm and a catchy melody. The only mis-step is the mainstream pop ballad ‘It’s All Up With Us’ which is respectable but out of place. A solid LP for people who like their prog lean.” (RMJ – Galactic Ramble). Hardly ever seen dead mint Japan 1st original press complete with freakingly rare Dawn Records obi. Best condition imaginable. Price: Offers!!!
389. TOGASHI MASAHIKO QUARTET (with TAKAYANAGI MASAYUKI, TAKAGI MOTOTERU & YOSHIZAWA MOTOHARU): “We Now Create” (Victor Records – SMJX-10065) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ OBI: Excellent ~ has a middle tear faintly visible). First original pressing out of 1969 – green colored Victor label imprint, top notch copy. Comes all-complete with the freakingly rare first issue obi!!! The first free jazz record to be released upon Japan 's shores by a domestic free-blowing combo was “We Now Create” by a group spearheaded by Togashi Masahiko. Their groundbreaking album was recorded within the span of a single day on May 23rd, 1968 and obtained in that same year a grand prize awarded as “best record of the year”, administered by the rather conservative mainstream jazz magazine Swing Journal. Masahiko Togashi released as a bandleader, under his name, the first domestic free jazz document to hit the epicenter of Tokyo. Assisted by the crème of the crème of the that day pioneering and adventurous musicians, the line-up counted amongst its members Takagi Mototeru (ts, cornpipe), Takayanagi Masayuki (g) and Motoharu Yoshizawa (b). Their glorious and only output (in this particular line-up) was released in 1969 under the title “We Now Create” by Victor. A staggering document. Originally the quartet had been active as a quintet with trumpeter Oki Itaru in their ranks. Free howling assault on the senses, scorching interplay, vicious feedback outbursts and soaring saxophone blasts howling against tumbling-down percussive rattles. A killer all round. One of the defining moments of Japanese free jazz. Indispensable and highest recommendation. Price: Offers!!!!
390. TOMOKAWA KAZUKI: Satoru” (Tiliqua Records – 004LP) (Record: Near Mint/ Hand Painted Jacket: Mint/ Bonus regular Jacket: Mint/ Insert: Mint). Rare TEST PRESSING, only one single copy in existence. Comes housed in a unique hand painted sleeve by Tomokawa, he made 40 of those all individually designed and numbered. Found this last unique one in storage so… Hand painted jacket edition – edition of 40 individually painted jackets, each one is unique….one copy surfaced again…..Music wise the record is identically to the version noted here above. But the real treat resides in the fact that Tomokawa personally has hand-painted 40 jackets, making each jacket unique and individual. Not two jackets are even vaguely similar to each other. If you are acquainted with Tomokawa’spaintings and visionary world, you know that this might be a once in a lifetime opportunity. 20 hand-painted ones were unleashed in Japan and snapped up instantly, the other 20 are destined for foreign fans. Seen against the prices one pays for a Tomokawa painting here in Tokyo, these hand painted editions are hard to pass on. They will never ever be offered again. Initially 30 copies were scheduled but due to the demand the edition was augmented to 40 copies. Searched high and low to acquire one hand-painted copy again, finally found one in a private collection. One of a kind copy, next to impossible to lay your hands upon these days. Music is stellar, deep demented Japanese acid folk howlings that will slap you in the face as a cold northern blizzard. This numbered copy is the top of the line, 1/40…the first one he ever painted, most sought after one and Rare forever so need a nice offer on this one!!!! “There is a raw immediacy to Tomokawa' performances that effortlessly hurdles many linguistic barriers, speaking direct to the listener’s nerves and emotions … Tomokawa’s voice constantly storms against the confines of his own vaguely symbolist words, harshly screaming or melodically moaning, the emotional voltage that courses through his delivery constantly threatening to melt their neural circuitry.” (AC) and “Tomokawa succeeds in triggering apocalyptic waves of emotionalism through the tiniest gestures exhorted from his guttural howls and fevered guitar strummings. Keeping a razor-sharp balance between self-tormenting pained gloominess and soul-searching poetic lyricism he manages to create a tense and innovative acoustic music, sounding simultaneously ancient and contemporaneously authentic. And it is here that his especial strength resides, a music fully drenched in the past, yet so attuned to the present moment. His snarling howl and single syllable guttural moans seem to bridge time and space, epoch and eras; hermetic yowls recalling Enka crooners, circus sideshow barkers, carnival callers, Nikkatsu movie gangsters and soft-hearted balladeers, all embodied in the persona of Tomokawa Kazuki." A truly exquisite release, housed in a heavy full color jacket. Regular edition came out in a run of only 250 copies, all gone, and here is the single existing test pressing, unplayed condition and housed in a one of a kind unique hand-painted sleeve by Tomokawa himself of which he painted 40 individual and numbered sleeves with different cover art for each of them. These babies come never up for sale, let alone the one-of-a-kind test pressing. Another one that will make you bleed a little if you fancy it… Price: Offers!!!!
391. TOSHIYUKI TSUCHITORI & RYUICHI SAKAMOTO: “Disappointment – Hateruma” (ALM Records – AL-7) (Record: Near Mint ~ Mint/ Jacket: Excellent ~ Near Mint/ OBI: Mint). All complete copy with bloody rare obi. Bloody ultra-rare album that came out in 1975/6 on the legendary ALM Records label. First time ever I succeeded in wheeling in a copy and this one is in top shape, so buckle up for this one if you need it. The rarest entry in the whole ALM Records catalogue. Unlike his YMO efforts, this release is a heavy beast of free improvisation, a clash of the titans, two – at that time – still utterly unknown underground headz. A beast of a disc and if you are looking for YMO middle of the road crap then this release will certainly be too far out for your skull to wrap itself around to. But if adventurous, free form percussive assaults are your thang, then this disc will certainly leave you gasping for air. To these ears, Sakamoto has never ever sounded better – maybe except for his brief stint with Taco on Pinakotheca – and he display here hidden qualities that got molded out upon erecting YMO. A shame, but here at least you can hear a glimpse of what could have been a constant in his career. Brilliant and comes with the highest possible recommendation. One of the greatest free form improvisation discs to seep out of Japan. Never an easy one to dig up, hardly surface once in a blue moon and copy all complete with obi is totally out of the question, haven’t seen one in over a decade until now, so maybe a good time to move in for the kill on this one… Top condition! Price: Offers!!
392. TRADER HORNE: “Morning way – Asa No Hikari No Naka De” (Dawn Records/ Nippon Columbia – YS-2561-YD) (Record: Near Mint/ gatefold Jacket: Near Mint/ OBI: Mint/ 4 Paged Insert: Near Mint). Hopelessly rare 1st original Japanese pressing all complete with the green colored first issue obi. Rare dead mint copy of Trader Horne, Japanese Dawn Records issue of 1971. Like many bands before them Trader Horne released an album preceded by a couple of singles, the band promptly broke up and the album sank. Years later it is discovered by collectors and found to be high quality and of interest. The musicians in this band had a pedigree that should not have condemned the album unfairly. The female singer Judy Dyble had been the original one for Fairport Convention on their first album and Jackie McAuley had been a key member of primal Irish R&B band Them. However here they had both evolved into crafted folk with a production that should have crossed them over to the popular music charts. The songs are folk-pop with psychedelic production touches and like Amazing Blondel are infused with baroque elements of early music. Harpsichord, xylophone, auto-harp and organ all help this album sound different from many. There is a childlike air to many of the tracks, a fey innocence that is appealing. Some of the tracks have pseudo mystical themes such as the instrumental 'Three Rings for Eleven Kings' however this is never taken too seriously. Each track links to the next with a little short musical segue that provides continuity and reminds of the marvelous uncompleted 'Teenage Opera' by Mark Wirtz. Stand out tracks include 'Morning Way' with it's descending chord sequences and dual vocals and the deeply psychedelic 'The Mutant' with it's treated slightly unsettling vocals.” (Mark Coyle) Top shelf UK acid folk disc, ranging up there next to Trees, Fairport Convention, Mellow Candle and Caedmon. Original mint Japan 1st press with rare 1st issue obi. These babies do not surface at all anymore. Price: Offers!!!!
393. TRADITION: “Captain Ganja And The Space Patrol” (Venture – CUT-9) (Record: Excellent ~ Near Mint/ Jacket: Excellent ~ Near Mint). Top copy of delirious dub slide. Captain Ganja and the Space Patrol does exactly what it says on the tin - a stoned journey guided by a stash of hand-selected herbs and a love of Radiophonic Workshop style low-fi science fiction, deep through the outer-reaching cosmos of space and time. As a secretive and sought-after outlier in Tradition’s catalogue of lovers rock and dub aces, Captain Ganja and The Space Patrol represents the group’s most esoteric and liquidified experimental urges in full effect, springing dub’s mutable framework with a sample bank of crying babies, radiophonics and library soundtrack FX and then swirling the whole thing in Paul Thomson’s cosmic synths and keys. From the red-eyed bachelor lounge vibes of The Breathtaking Blast thru the lush recoil and tumble of Subaquatic Swerves and the pealing oddness of The Creepy Crawl to the bawling infants perfused around Rocket Repairs’ warbly melodica and decaying drums, if you are deep in the mix for Creation Rebel then this is gonna smoke your mind. Top condition original 1st press issue! Price: Offers!!!
394. TRAFFIC: “Last Album” (Fontana – SFON-7104) (Record: Near Mint/ Jacket: Near Mint exceptionally clean sleeve without any foxing/ Insert: Near Mint/ Obi: Near Mint). Damned rare Japan 1st original press issue in outstanding condition and all complete with damned are OBI! Comes housed in Japan only sleeve artwork. One of the rarest Japan released Traffic albums with obi present and one of their best!!!! Essential brainfood!! Price: Offers!!!!
395. THE TRIO: “The Trio By Contact” (Columbia Records – YS-2733-AX) (Record: Mint/ Textured Gatefold Jacket: Near Mint ~ Mint/ OBI: Mint). Mega rare Japan only September 1972 first original pressing. First ever copy to surface with mega rare OBI!!! Never offered before with obi, this is insane!!! Red label PROMO issue. This one was later reissued by Ogun Records in 1987 and came housed in totally different jacket art, but this one here is the very first Japan only issue. The reason that this record was solely released in Japan was because in 1972 Surman visited the World Expo in Osaka and with a freshly recorded master tape of the Trion in his possession he offered it to Columbia Records to release it. The LP comes housed in a gorgeous heavy textured gatefold sleeve that inside has detailed notes printed – which also states that next to Surman, Barre Philips and Stu Martin they were aided on side 2 by Alan Shorter on fluegelhorn. Of course, this is not 100% sure but listening to it, the playing tone fits Shorter like a glove and he had been playing with Surman around 1971 when in Paris. Nominally Thi LP is the third outing by the band, if one discounts "Conflagration" which was not strictly speaking a Trio record, though with the Trio at its core. As far as the Ogun label one goes it was released in 1987, 16 years after its being recorded in the Tangerine Studios in London. There's a misprint on the back sleeve saying it was recorded in 1979, but by then the Trio had long disbanded. Also the Ogun issue was remastered at the Rainbow Studios in Olso in 1986 and this one was remastered in 1971 in Tokyo. So this is the rarest Trio record out there and also – at least to these ears – one of the greatest recordings by the band. Sadly, it is viciously rare, first copy ever to be offered with the OBI complete…I know of exactly 2 people with an all-complete copy, making this one the 3rd out there, yes it is that rare, no shit.. Top condition and so bloody awesome!! One off chance to wheel in a true free jazz bloody rarity in the best condition possible. Act now & hold your peace forever!!! Price: Offers!!!
396. The TRIO – EI-ICHI HAYASHI + KATSUO KUNINAKA & SHOTA KOYAMA: “S/T” (Takeya – TY8804) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint). Japanese free jazz frontal lobe crusher private press slide that was released in a tiny run of only 100 copies back in 1986. This is one of the most refreshing free jazzing blasts I have the pleasure listening to in recent years. Although I knew of the existence of this record, I never had the chance to see or listen to an actual copy until recently and the sonic curveball this trio throws at you feels like a breeze of fire-breathing fresh air. Together they generate a vortex of rhythmic flux that gets accentuated with bursts of zigzagging lightning bolts of molten sonic lava. Eiichi’s explosive sax solos touch on all sorts of virgin turf while being propelled forward by the fat, throbbing pulsating bass lines of Kuninaka and the fluid grooves of tactile wood and wire feel of drummer Koyama. Eiichi claws through the sax upper register with atonal and groovy shrieks, advanced tone-wise and a primitively satisfying love cry. In short, a total ball-busting great free roaming recording that ranks amongst the best free jazz recordings you have never heard. Total killer, it just blew me away upon spinning it for the first time, trying to pick up my jaw from the floor where it had dropped after being subjected to this force of nature. But sadly enough, impossibly rare. Still, very reasonable, and not too expensive reserve for this monster slide so feel free to ask or curve ball me your best offer. So killer and so outrageously rare it is just mind numbing!!! Price: Offers!!!! Price: Offers!!!
397. TRIO BY TRIO + 1: “Yamashita Yosuke Trio + Oki Itaru Trio + Ono Yuji Trio + Kasai Kimiko” (Victor Records – SMJX-10101~2) (2 LP Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint). One of the hardest to track down Japanese free jazz documents from the early 1970s is this no filler all killer 2 LP set you do not mess around with. Released in 1970, Trio By Trio is one helluva fuckaround & ravaging document filled with teeth-grinding frenzy & high voltage music bringing together three different trios, augmented by a female vocalist for the closing recording. Each performer gets granted a full side to his disposal, enabling them to showcase their respective exploratory sound. The first two sides are taken up by Yamashita Yosuke Trio and Oki Itaru Trio respectively, doing what they are best at, creating a panoramic sound floating somewhere between the controlled burn of frantic interplay and the boundless fury of a stampeding herd. The other two sides are invaded by the Ono Yuji Trio and again the Oki Itaru Trio where each combo is joined for one excursion by vocalist Kasai Kimiko. With her on board, the sonic horizon broadens up, balancing between free roaming flashes and spiritual intoned vocal delights and curious yowls, with the backing by each trio igniting sparks and setting of fireworks, creating a delirious female vocal spiritually inclined free jazzing exploratory marvels. On paper the line-up looks salivating great, however in reality it even blows away all preconceptions and expectations to be had by far. Damned rare Japan first original pressing which just hardly ever sticks out his head out of the murky mists of obscurity. Price: Offers!!!
398. TUDOR LODGE: “S/T” (Vertigo – 6360043) (Record: Excellent ~ Near Mint – couple of faint sleeve hairlines barely visible on side B – so visual grading Excellent throughout, very nice and clean copy, the play grading is also excelent throughout, hard to improve upon/ Multiple Gimmick Gatefold Jacket: Near Mint, has thick perfect spine and NO wear on the seams, perfect all round – some foxing spots inside the gatefold/ Vertigo Company Inner Sleeve: Near Mint). Top copy 1st original UK pressing with stamped matrix numbers Side A: 3 6360043 1Y//1 ?420 1 1 and side B: 6360043 2Y//1 ?420 1 1 3 04. Comes with company inner sleeve with the Vertigo swirl logo. Original 1971 UK pressing on Vertigo swirl label. Original UK swirl label copy of great femme psych folk housed in sublime multi-foldout cover art. Superb copy. They do not surface that often in such a nice nick as this one here. Price: Offers!!!!!
399. TUSQUES FRANCOIS & BARNEY WILEN: “Nouveau Jazz” (Columbia – SL-5005-AX) (Record: Near Mint/ Heavy Gatefold Jacket: Mint/ OBI: Mint). Monster rare Japan first original press, housed in Japan ONLY heavy gatefold jacket and complete with never offered before OBI. Top copy!!!!!Assembling the very same group of musical sorcerers this albums personnel (featuring Barney Wilen) reads like a who’s who of France’s early improvised music/free jazz scene resulting in a wholly unique European flavor while preserving the essence of other global inter communal travelers such as Don Cherry and Krzysztof Komeda. Originally extracted from three separate recording sessions in early 1967, Le Nouveau Jazz opens with themes conjured up for the short film Coda by French jazz documentarist Marc Pauly highlighting the composers adept ability in his multi-disciplined art further aligning him with the aforementioned pioneers. The rest of the album combines frenzied macabre picture music and emotive piano improvisations with the sui generis inclusion of a double - double bass formation courtesy of Beb Guerin and Jean-Francois Jenny Clarke. As Tusques’ second official album (following Free Jazz from 1965) this LP expands on this important French musicians vision. Stupendously rare Japan 1st original pressing, housed in Japan ONLY heavy gatefold jacket art and complete with never seen before OBI. This baby is … bloody … rare. Price: Offers!!!!!
400. TUSQUES FRANCOIS, GUERIN B., VITET B., PORTAL M. & OTHERS: “Free Jazz” (Disques Mouloudji – EM-13507) (Record: Near Mint/ Jacket: Excellent – with langluette still attached and present – small white on white price tag tear on back, lower left – no splits or any damages). Original French 1st pressing in possibly the best condition ever offered. Fragile jacket is NM with original “langluette” still attached. This is always missing but complete here. Disc is also NM with hardly any signs of being played at all. TOP COPY!!! The LP was recorded on 26 October 1965 at the Comedie de Champs Elysee in Paris and issued on the small Mouloudji label the year after. These days it is regarded as the disc that originated the birth of free jazz in France. Main man Francois Tusques was flanked by Michel Portal, Bernard Vitet and Bernard (Beb) Guerin who later down the line would team up again in the ranks of the Michel Portal Unit. That all aside, this sonic masterpiece is a mature, cohesive and above all lunar jazz waves of simultaneous sound. The music veers from arranged to improvised passages in a very smooth manner in a heads down momentum kind of way that builds up into compulsive group interactions before meandering again in spontaneous individual sonic punctuations. There are hardly any extended solo sections or prominent egos to work around. Instead, time signatures change rapidly, pieces of melody are picked up, tossed around and then disappear as quickly as they came. Instruments intertwine throughout the entire record and everybody is on tiptoe and on the alert to what's going on around them. Decidedly "free", yet retaining melody, structure, rhythm, but never for too long before somebody comes up with another idea. The group as a unit accesses here the dawn of free music in France as the pure sound, teleporting these primal communication modes back towards each player’s individual sound that is in an ongoing state of expansion and derangement. Just beautiful and one of the key-recordings to document the birth of true free music in Europe. TOP COPY original 1st pressing in great condition, next to impossible to ever upgrade upon – apart from the tiny price tag tear – white on white on the lower left corner on the back. Price: Offers!!!!
401. TUSQUES FRANCOIS, GUERIN B., VITET B., PORTAL M. & OTHERS: “Free Jazz” (Nippon Columbia – SL-5008-AX) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near Mint). First ever copy I encounter all-complete with stupidly rare OBI!!!. Japanese press of this legendary hyper rare slide that originally (and only) saw the light of day on the Mouloudji label. It was simultaneously released in Japan only but with a totally Japan only different jacket art, making it even rarer than its French counterpart pressing since it virtually did not sell anything here in Japan. Neither one of these issues turns up these days, making it one of the rarest European free jazz slides around. That aside, the LP was recorded on 26 October 1965 at the Comedie de Champs Elysee in Paris and issued on the small Moloudji label the year after. These days it is regarded as the disc that originated the birth of free jazz in France. Main man Francois Tusques was flanked by Michel Portal, Bernard Vitet and Bernard (Beb) Guerin who later down the line would team up again in the ranks of the Michel Portal Unit.That all aside, this sonic masterpiece is a mature, cohesive and above all lunar jazz waves of simultaneous sound. The music veers from arranged to improvised passages in a very smooth manner in a heads down momentum kind of way that builds up into compulsive group interactions before meandering again in spontaneous individual sonic punctuations. There are hardly any extended solo sections or prominent egos to work around. Instead, time signatures change rapidly, pieces of melody are picked up, tossed around and then disappear as quickly as they came. Instruments intertwine throughout the entire record and everybody is on tiptoe and on the alert to what's going on around them. Decidedly "free", yet retaining melody, structure, rhythm, but never for too long before somebody comes up with another idea. The group as a unit accesses here the dawn of free music in France as the pure sound, teleporting these primal communication modes back towards each player’s individual sound that is in an ongoing state of expansion and derangement. Just beautiful and one of the key-recordings to document the birth of true free music in Europe. Top condition and with seriously rare OBI!!!! Price: Offers!!!!

402. TWINK: “Think Pink” (Polydor – 2343-032) (Record: Near Mint/ Fragile Jacket: Excellent ~ Near Mint/ Insert: Is copy). First original UK pressing, in outstanding condition but sadly insert is copy so you have a deal here!!!! Record is the best copy imaginable, Near Mint condition, jacket is EX ~ NM – has very minimal signs of handling on back of sleeve but nothing serious, jacket is very hard to get NM, this one is actually a great copy, disc is near mint. You know the deal, this is a brain meltingly great awesome UK psych classic. “Think Pink is an incredibly varied album with no two songs resembling each other, but then one assumes an acid masterpiece like "Ten Thousand Words in a Cardboard Box" will stay on high rotation for at least a week on the stereos of most psychedelia fans, so overall album flow may not be such an issue. This is pure psychedelic acid rock of the highest order. If one can imagine a fusion of the Incredible Stringband, Deviants, early Pink Floyd, and a fair dose of Twink’s heredity as a member of Tomorrow and the Pretty Things, you get an idea of what he was up to. Not known for doing things in halves, he shows little restraint in the assembly of a group designed to tear the roof of the psychedelic scene. The band was made up of the Deviants guitarist Paul Rudolph - the U.K. equivalent of Fred Sonic Smith - who provides the most astonishing fuzz freak-outs and arrangements on the album. Other players included Viv Prince; Wally Waller; John Povey; Victor Unitt (Edgar Broughton Band Kingpin); Deviants bassist Honk; John Wood of Tomorrow; and, of course, the not-to-be underestimated contributions from Steve Peregrin Took (once the middle point of early Tyrannosaurus Rex). Regardless of the connotations the term "psychedelic" carries with it, it's not all Pink Fairies and Tolkien. Things get ominous and dark on "Fluid" and "I Remember Nothing"; then, by the first half of the album, the mind is expanded enough to take in side two, where the presence of Steve Took really starts to come into play. His brilliant "The Sparrow Is a Sign" is a psychedelic anthem that is worth acquiring the album for alone. Essential stuff, not to be missed by those following the U.K. underground psychedelic scene circa 1968-1972.”(Dean McFarlane - AllMusic). So how is that for heavy weight underground credentials? Cannot go wrong with those as far as lysergic psyched out grandeur is concerned. As explained, this is a superb copy, which is no meager feat since seen the ultra-fragile cover. The LP on the other hand is next to impossible to upgrade upon I believe so…yeah, heavy duty baby!!! Price: Offers!!!

403. TYRANNOSAURUS REX: “Deborah b/w Child Star” (Polydor – DP-1598) (7 Inch Single Record: Near Mint – has faint hairline visible on run in groove of side A/ Flip Back Picture Sleeve: Near Mint). Insanely rare and scarce Japan only single issue in top shape & that comes housed in killer picture sleeve. Never pops up in a condition like this one here. Price: Offers!!!
404. TYRANNOSAURUS REX: “Ride A White Swan b/w Summertime Blues” (Blue Thumb Records/ King Records – HIT-1857) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Stupidly rare 1971 Japan only picture sleeve issue – the RAREST Tyrannosaurus Rex release out there. The couple of times (so far only a few copies have been known to have surfaced) this 7-inch popped up out of the fog it was always a copy with the dreaded promo stamp on the label and condition was always questionable. This copy here is a NM copy and comes without the stamp on the label making it the rarest version out there of already a white whale amongst records. Top condition mega rare stock copy. Just about never offered for sale and this baby here is the best condition imaginable. Price: Offers!!!
405. UKAJI SHOJI: “Sound of Vision” (Private release 1987) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint) Over a decade or so, this record was fairly unknown and could – if lucky to encounter it – dig it up for under 200 euro or so. Sadly, due to a tsunami-like upsurge of interest in privately pressed Japanese jazz slides, those Golden Days can be considered ancient history. For over a decade now, I failed to unearth or get any lead on another copy of Ukaji Shoji’s sole privately released monster LP. Fortunately, a heavy trade with a free jazz collector yielded a copy straight out of the deepest dungeon of secret sonic marvels. The record is as a wild beast and the music is a recording of Ukaji flanked by all time free jazz drummer Yoshizaburo Toyozumi recorded at the legendary Tokyo’s Kid Ailakku Hall. A real free jazz monster of a disc. A slab right in yer face of vicious interplay between two of Japan’s finest still active fire music practitioners. Ukaji himself is a criminally under-recorded artist to say the least and discs by him just never surface. This one was released, I believe, in a tiny edition of 150 copies and only sold at local gigs way back. It is the first time in over a decade I have ever seen a copy up for sale, so rare does not even come close to describe the scarcity of this monster. Very nice recording in top condition. This one is the sole copy I know of so far that comes with the insert. Hideously rare, from the first groove it sounds like an acoustic tidal wave exploding into shards of dynamite. It breathes out that much beloved punk-primitive aesthetic that evolved out of the wake of US/Euro free jazz ground leveling. Ukaji’s blows caters evanescent, twisting runs in a style that, while hardly lacking in energy, stands in stark contrast both to Arthur Doyle's monumental sonic edifices and to the dense, furious blowing of the New York school of improvisers who grew out of Ayler and Coltrane. Throughout, Toyozumi gooses the proceedings with a masterful array of polyrhythm’s and his reactions are as lightning fast and tonally astute as anyone who came up in his shadow. Upon spinning this slide, you will be reaching for the seatbelt in anticipation of another obliterating slab of high energy instant composition. Ukaji’s playing is so hyper-focused, so exactingly executed, that he devours the minutes, bracketing accelerated, smeared scales with boppy heads and sudden invasions of the alto’s most phantom registers. It’s a fantastic set, one that explodes the tradition while simultaneously bolstering it, like all of the most ass-flattening free jazz dates. Ultra minuscule pressing that is getting so rare and sought after it is almost criminally insane. Price: Offers!!!!
406. UNIVERSAL EXPRESSIONS: “Roach Om” (United Sound – USR-4626) (Record: Near Mint ~ Mint/ Jacket: Mint, still housed in original shrink). This baby was sealed when I wheeled it in, so I let it breathe a bit and dropped the needle twice on the virginal record. Original 1971 US private press of excellent spiritual jazz slide. Universal Expressions’ is a superb, yet super obscure privately pressed album by a group spearheaded by poetess Roach Om hailing from the Bay Area. It’s quite tough to find proper information about any of the players involved or the album itself, not even the exact year this was pressed. All I can say is that this is a seriously deep and very funky spiritual jazz monster of the highest order, containing some gorgeous female afro-centric spoken word, rap-like vocals not unlike, for example, Camille Yarbrough or Sarah Webster Fabio. Sound-wise this could have easily been released on Strata East. Rumored to feature players from (Oneness Of) JuJu. Roach Om later on released one more Lp but had drifted by then into some deep gospel realms. But here she is flanked by stellar jazz cats and delivers a cornerstone spiritual free jazz slide that is nothing but totally intoxicatingly great. Top condition US original pressing, impossible to ever upgrade upon! Price: Offers!!!!
407. The UPSETTERS: “Clint Eastwood” (Pama – PSP-1014) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Damned rare 1970 UK first original MONO pressing in absolutely TOP shape & that comes housed in coated sleeve. More mind-blowing sounds turning dub inside out by master Lee Perry working from out of the producer seat. Nice condition of hard-to-get UK only issue. Record is absolutely flawless with only one faint press-miss bubble on run out groove of track 2 side 2 that causes 3 clicks. For the rest near flawless copy and best-ever to have crossed my eyes! Tough one to find this clean so… Price: Offers!!!!
408. URABE MASAYOSHI: “Jyu-U (A Brute)”, (Self Released/No Label No Cat 2xLP.), (2 LP Record Set: Near Mint/ Gatefold Sleeve: Near Mint/ Insert: Near Mint.) TOP copy of this impossible to find, long-gone self-released double album from the exhilarating and intense young alto saxophonist Masayoshi Urabe. With scalp-shearing performances from 1987, 97 and 2000, this album was only available direct from the saxophonist himself and was pressed in a tiny edition of 100. This is hand-numbered 86. Beautiful, delicate, fold out package. Very rare. “For all the talk of Japanese saxophonist Masayoshi Urabe’s eviscerating power, he has a beautiful voice on the saxophone, a forlorn castrato, and his staggering control of the upper reaches of his horn results in some of the most emotionally articulate playing of any contemporary saxophonist. Much more so than his shadow, the late altoist Kaoru Abe, Urabe is interested in immediacy of communication and perhaps this is why he sees his spiritual allies as coming more from Rock – he’s a huge Lou Reed fan - than jazz. Still, by the very fact of the saxophone in his mouth, there are echoes of other horn-wielding musicians, whether unconsciously channeled or not… but it’s Urabe’s expressive use of silence that most marks him off from anyone else, the way he holds a sound in his lungs for minutes before allowing it all to come screaming out, as if in an attempt to re-connect long-fried synapses, to tear a piece of himself back from the past. Despite the violence of his delivery the prevailing mood is deeply melancholic, with huge sections of nothing serving to supernaturally magnify the significance of the slightest gesture,” The Wire. For fans of Free Jazz, Improv, Keiji Haino, Kosokuya, Masayuki Takayanagi, Evan Parker, Albert Ayler, Acid Mothers Temple, Chie Mukai, Ghost, Fushitsusha, Mainliner, Musica Transonic, High Rise, White Heaven. Copies just never surface anymore, steadily becoming one of the rarest Japanese free jazz private pressings out there. KILLER!!! Price: Offers!!!!
409. VALENTE, DINO: “S/T” (EPIC – BN-26335/ XEM-119677) (Record: Mint/ Jacket: Mint still sealed and housed in shrink with Dino Valente name embossed on the shrink) Bloody rare US white label promo pressing & SEALED PROMO ONLY MONO issue by ex-Quicksilver Messenger Service kingpin.. First original press issue that came out in late 1969. Top copy, fully sealed with Dino’s name embossed upon the shrink. Rarely turns up at all – especially a sealed MONO only PROMO issue. Brilliant solo album, every song is a winner and especially Valente's cover of "Me & My Uncle" rips like no other. Dino Valente's sole album recalls the one issued by another San Francisco artist signed to CBS in the late '60s, Skip Spence: quirky, lyrically vague, folky yet psychedelic, and nearly devoid of commercial potential in spite of its largely pleasant (if moody) melodies and textures. Valente, however, was not as intriguing a lyricist as Spence, nor as intensely soulful a vocalist, and overall much sunnier in tone. Valente had a rather whiny voice, so it was wise to put so much echo on both his 12-string guitar (which accounts for most of the instrumentation on the record) and vocals, which both covered up some of his vocal deficiencies and added a sheath of mystery. Listening to his songs is like listening to some hippie trying to talk a vulnerable, confused, attractive girl, on the rebound from a failed romance, into taking up with him as a panacea to her problems: phrases are uttered and rejoinders offered, but one can't be sure exactly what the situation is or where it's leading. It's not the insufferable experience this description might lead you to expect, mostly because of the enticing (if similar-sounding) melancholy of the tunes. Definitely a dessert island record for me. Price: Offers!!!
410. VAN DYKE PARKS: “Song Cycle” (Warner Japan – P-8095W) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Mint/ Rock Age Flower Obi: Near Mint). Ultra-rare Japanese press that comes all complete with rarely seen Rock Age obi. Comes with insert & record on olive-green warner label. Stunning original copy, Japanese press with obi of this historical recording where field recordings, psychedelic music, mondo elements and plain weirdness blend beautifully into one mishmash of sound. Stunningly beautiful copy and deadly rare. Price: Offers!!!!
411. VAN MORRISON: “Blowin’ Your Mind” (London – HAZ-8346) (Record: Near Mint/ Laminated Jacket: Near Mint). Top copy, original MONO UK 1st pressing in exquisite condition. “Blowin’ Your Mind” was Van Morrison's first solo album that contained the hit "Brown Eyed Girl," but the LP is actually dominated by the agonizing "T.B. Sheets" -- all nine-plus minutes of it -- that dominates this record and takes the blues and reinvents it as noble tragedy and humiliating mortality. It is a devastating song, beautiful, yet very poignant with Van Morrison belching out his dilemma when visiting his girlfriend, rendering the experience into a song that is one of his most spirited exercises in blue-eyed soul. As Morrison narrates this true story about a girl with whom he once lived, he takes a magnifying glass to mundane details, grasping at distraction, trying desperately to sidestep the creeping Conradian terror—the horror— of experiencing firsthand our fleeting, fragile mortal existence. Fevered, you can almost feel the man’s cold sweat just prior to his transformation into a household name and major stardom. “The cool room Lord, is a fool’s room. The cool room Lord, is a fool’s room. And I can almost smell your T.B. sheets. I can almost smell your T.B. sheets. I gotta go.” The sound of a sick room. Of terminal bed sheets sticky with cold sweat and sputum. There’s an eerie inevitably to the groove of “T.B. Sheets,” the titular nine-and-a-half-minute psychedelic R&B opus. It is one of the most real songs about death you’ll ever hear. As life saps steadily from the singer’s beloved, tuberculosis-ridden Julie, there is no trite drama, no nostalgic sugar coating or grand deathbed epiphany, but rather an “Is That All There Is?” fatalism—a mild, detached, slowly-suffocating bleakness. “The sunlight shining through the crack in the window pane numbs my brain,” Morrison moans over a skittering Hammond organ. Bewitchingly great. Original UK pressing in amazing condition – lamination fully intact with NO damages, record also Near Mint, probably the best copy one may ever encounter. UK pressing is rare especially in great condition, the record barely caused a ripple on the surface of the lake when it was released and tanked quickly until it was re-released in the Staes. Top copy in glorious mono. Music wise - a total killer. Price: Offers!!!!!
412. VAN MORRISON: “Astral Weeks” (Warner Bros. Japan – BP-8790) (Red Wax Record: Excellent ~ Near Mint/ Jacket: Excellent ~ Mint). Impossibly rare and never offered before Japan original 1971 TEST PRESSING with white stamped labels and pressed on RED WAX and with the Warner Bros. turquoise label lettering on the label’s rim and hand-stamped catalogue number on label. “Van Morrison never sounded more warm and ecstatic, more sensual and vulnerable, than on his enigmatically beautiful solo debut. Fresh off the success of "Brown Eyed Girl" and newly signed to artist-friendly Warner Bros., he explored the physical and dramatic range of his voice during extended poetic-scat singing, and set hallucinatory reveries on his native Belfast to wandering Celtic-R&B melodies. The crowning touch was the superior jazz quintet convened by producer Lewis Merenstein to color the mists and shadows. Bassist Richard Davis later said that Morrison never told the musicians what he wanted from them or what the lyrics meant. Maybe he didn't know how to. He was going deep inside himself, without a net or fear.” (Rolling Stone) Total classic slide that never seems to age how many times you spin it. Never offered or seen before Japan first original white label with stamped catalogue numbers test pressing on red wax. Great condition and needless to say….one-of-a-kind issue. Price: Offers!!!
413. VAN MORRISON: “Moondance” (Warner Bros. Japan – BP-8960) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Impossibly rare Japan very first press issue all complete with first issue obi in immaculate condition. Just about impossible to find very first press issue with obi, actually this is the very first copy I encounter in over 15 years! “The yang to Astral Weeks yin, the brilliant Moondance is every bit as much a classic as its predecessor; Van Morrison’s first commercially successful solo effort, it retains the previous album's deeply spiritual thrust but transcends its bleak, cathartic intensity to instead explore themes of renewal and redemption. Light, soulful, and jazzy, Moondance opens with the sweetly nostalgic "And It Stoned Me," the song's pastoral imagery establishing the dominant lyrical motif recurring throughout the album -- virtually every track exults in natural wonder, whether it's the nocturnal magic celebrated by the title cut or the unlimited promise offered in "Brand New Day." At the heart of the record is "Caravan," an incantatory ode to the power of radio; equally stirring is the majestic "Into the Mystic," a song of such elemental beauty and grace as to stand as arguably the quintessential Van Morrison moment.” (All Music Guide). Top condition, just perfect and next to impossible to upgrade upon. You know how rare this baby is so….give me your best shot and we will see where we end up. Price: Offers!!!!!
414. VANITY RECORDS – 2 LP SET BOX: “Vanity Music – Various Music” (Vanity Records – Vanity-0010~0011) (2 LP Record Set: Near Mint/ Gimmick Outer Box Set: Excellent ~ Near Mint with no defects only very faint trace of edge wear/ All 7 Inserts (or 8 if you count the 2 cloth one’s separately) with cloth patch with safety pin included: Near Mint). First time I can offer an all-complete set with all the inserts and in great condition rare 2 LP box set on illustrious label. Best condition copy I have seen so far, near immaculate! Vanity Records out of Osaka, run by Agi Yuzuru, was responsible for birthing out new sounds and labeling this new style of sounds “techno-pop”, a term Agi used to describe Eno-produced bands such as the Talking Heads and DEVO. Techno-pop would eventually achieve international fame via the Yellow Magic Orchestra. Inspired by the punk movement and the mass of independent labels that boomed in its wake in London and New York, Agi started Vanity Records in 1978 and released in total eleven LP’s, three singles, twelve flexis and six cassettes. Each of Vanity’s releases was limited to a run of 300 to 500 copies. The item here is an amazing 2 LP set crammed to bursting with primitive, murky minimal electronics. The set gives an overview into the label’s stock-in-trade musical philosophy, which was centered on raw, electronic experimentation which sounds impressively contemporary when put up against current glitch, minimal techno and laptop artists. The music on the other hand consisted out of various home-recorded materials by totally obscure and anonymous artists. It featured in total 13 groups such as Pessimist, Unable Mirror, MR, Anode/Cathode (see Pinakoteca label), Kiiro Radical, Tokyo, Daily Expression, Plasma Music, Nose, New York, Arbeit, Isolation and Nectar Low. Most of the recordings that ended up on this compilation were low-fi electronic music exploits that are at times quite interesting. In short fantastically zonked minimal synthesizer buzzing gems, light-years ahead of their time. Totally elusive and never offered for sale before ultra-rare item, the rarest issue/ edition on the ultra-collectible Vanity Records label. Top copy of rare and in demand title in outstanding condition and all complete!!! Price: Offers!!!!
415. VANNIER, JEAN-CLAUDE: “L’Enfant Assassin Des Mouches” (Suzelle – JR-9414) (Record: Near Mint/ Gatefold Textured Jacket: Near Mint). STEREO TOTALE!!!! Comes with the rarely seen killer hype sticker present. Original French 1st pressing in top condition. “Jean-Claude Vannier is best known in Europe (and all but unknown in the United States) as a celebrated composer of film scores, and as an arranger and producer of French pop music, he has worked with everyone from Brigitte Fontaine to Francoise Hardy To Johnny Hallyday. He is also known among music aficionados as the genius-arranger behind Serge Gainsbourg’s classic concept LP Histoire de Melody Nelson. That recording, with its bizarre and otherworldly blend of musical and non-musical sources, which effortlessly wound rock, jazz, pop, found-object music, avant-garde, and even funk into a seamlessly, utterly disconcerting whole, has been sampled worldwide by hip-hop artist and has been listened to with reverence by virtually everyone who's ever heard it. L’Enfant Assassin des Mouches ("The Child Killer of the Flies") is Vannier’s first solo recording, and an underground Francophone (and now worldwide) classic. Inspired by the work he did with Gainsbourg on Melody Nelson in 1972, he and his ensembles Insolitudes, set out to create his own concept work, blending everything he'd been working on and extending his range with total studio and aesthetic freedom. This suite, comprised of 11 parts (with truly weird and creepy track introductions by Gainsbourg), is a wonder, a truly strange bit of '70s musicalia. This set is the terrain where soundtrack music, classical music, gauche pop, hard rock, French café music, Middle Eastern modal music, vanguard musical iconoclasty, and sound effects collide, stroke, and ultimately come into union with one another -- often in a single cut. This music is alternately violent, garish, tender, elegant, silly, and gritty. Vannier plays piano, clavinette, and flutes, and directed the orchestra. The strings here are the result of a multi-tracked string quartet sounding like a 10001 string orchestra. He used three guitarists, electric bass, a single drummer and two percussionists, a reed and brass section, an accordionist, and a choir to achieve this. Its seamlessly beautiful yet hideous juxtapositions should never have worked, but they become the face of something so far beyond their individual parts that the end result is singular in both conception and execution. L’Enfant Assassin des Mouches is to music what surrealism was to literature: a bold new step that has been unmatched in vision and unequaled in performance since it was recorded. Highly recommended to anyone interested not only in soundtrack music, but in anything adventurous. This is a truly underground classic.” (Thom Jurek – All Music). Top original copy in almost virginal condition, hardly if ever offered in such pristine nick as this copy here and without a doubt one of the best records to seep out of France in its genre. Just bewilderingly awesome. Price: Offers!!
416. VELVET UNDERGROUND & NICO: “S/T” (Verve Records – V6-5008) (Record: Excellent ~ Near Mint – no marks or scuffs, has very faint slightly visible hazing on one side that causes some static crackle in between tracks for the 1st half/ Gatefold Jacket: Near Mint ~ Mint with clean unpeeled banana sticker intact). Clean and top shape stereo East Coast pressing 2nd state sleeve art with the Torso airbrushed out. Has been ages since I last saw such a clean copy. Price: Offers!!!!
417. VELVET UNDERGROUND: “S/T” (Verve Records/ Polydor Japan – MV-2060) (Record: Near Mint/ Jacket: Near Mint/ Peelable Banana Sticker: Excellent ~ Near Mint/ Insert: Near Mint). 1st original Japanese pressing WITH first issue 2000 Yen Jacket + never offered before WHITE label PROMO issue!! Well, this is a disc that needs no explanation at all. If unfamiliar with this baby, you need to jack up fast and suck up desperately all the info you can get on music because this baby is the milestone in rock and psych and improv history. This here is a near mint copy of this 1st ever Japanese pressing that came out around 1970 housed contrary to the US and EU versions in a single cover, which is NM and with the peelable Banana sticker still firmly attached to the sleeve with tiniest part of the upper right side of the stem missing. This copy here is the rarely seen first press with 2000 Yen price printed on the sleeve (2nd issue has 2300 yen printed on sleeve). Never seen WHITE label PROMO in near mint copy in great shape. This is the original first edition Japanese pressing. Rarely – if ever - turns up in such great shape… Price: Offers!!!!!
418. VELVET UNDERGROUND: “S/T” (MGM Records – SE-4617) (Record: Excellent ~ Near Mint/ Jacket: Near Mint) Closet MixYELLOW label PROMO issue in top shape. The album was produced by the band themselves, and issued in two different stereo mixes. The more widely distributed mix is the one done by MGM/Verve staff engineer Val Valentin. The other mix was done by Lou Reed, boosting his vocals and guitar solos, while reducing the level of other instruments. This version was dubbed the 'Closet Mix' by Sterling Morrison, because it sounded to him as if it had been recorded in a closet. The most dramatic difference is that the two versions use entirely different performances of 'Some Kinda Love', both taken from the same recording sessions. Stunningly beautiful condition copy here but not an audiophile pressing so… still one of the cleanest copies out there I think! Price: Offers!!!!
419. VITET, BERNARD: “La Guepe” (Futura – SON-05) (Record: Near Mint/ Jacket: Near Mint). One of the rarest releases on the legendary label and also one of the best in my humble opinion. Bernard Vitet was a key figure in the French free jazz / improv scene of the early 70’s. This mythical avant jazz LP is the result of a truly magical session Vitet put together in December 1971. Setting up around the concept of what he called a “free-dada-surrealist” ensemble/ group, Vitet embarked on creating a polyphonic adventure build up around a text by Francis Ponge. Central is the voice of Françoise Achard, around which Jouk Minor (reeds and “bizarre” instruments), François Tusques, the double bassist “Beb” Guérin, the composer Jean Guérin and the trumpeter (violinist, horn player, pianist, vibraphonist) Bernard Vitet invented an unattainable sound object in order to birth out an instantaneous musical drama of theatrics, sounds and words. The end result is quite a challenging excursion into free improvisation. This is not just your standard free jazz honk from the early 1970s but instead incapsulates it with even bridging over into the realms of 20th Century avant-garde/ experimental sound detail that would not have been misplaced on some of the most memorable albums on the Italian Cramps label. To these ears, “La Guepe” is one of the true high-water marks on the legendary Futura records imprint, cementing the creative genius that was Vitet while no one was listening. Price: Offers!!!!
420. VITOR ASSIS BRASIL: “Desenhos” (Forma – FE01.017) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). Top condition and stupidly rare Brazilian 1966 original STEREO pressing, which is scarcer than the Mono one. Incredibly hard to come by Coltrane influenced debut of Brazilian sax great Victor Assis Brasil for the cult label Forma, of Roberto Quartin. To many this is where Brazilian jazz truly began: 1966, the legendary saxophonist and composer Victor Assis Brasil laid down his debut album at just 21. He lead this session on January 11th 1966 with his quartet, featuring the legendary pianist Tenório Jr plus double-bassist Edison Lôbo and drummer Chico Batera. It’s one of the greatest jazz albums ever recorded in Brazil and the highlights go to the original compositions and the wonderful João Donato tracks. Still as smoky and sentimental as it was 50 years ago (but sadder knowing his life was cut short by a rare disease just 15 years later), the playful sense of space, rhythm and technique displayed are delivered with a certain blunt and pure rawness, clarity and sense of fun such as the R&B double bass backdrop of "Simplesmente" or the cat and mouse style counterplay between the horns on "Dueto". A touching and ultimately timeless piece of jazz history. Top condition original – next to impossible to ever upgrade upon. Price: Offers!!!
421. VODKA COLLINS: “Tokyo New York” (Express) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Mint) Rare Japan original 1st press – WHITE LABEL PROMO ISSUE with OBI!!! The band Vodka Collins was like a comet that burned briefly and brightly over the Tokyo rock scene. In their two year existence as a unit they dominated the rock n roll world of Japan and their sole album “Tokyo New York” is considered a milestone and a ground breaking LP amongst musicians in the domestic Japan rock scene. The disc contained three hit singles, “Sands Of Time”, “Automatic Pilot” and “Billy Mars”. All killer tracks. The core band of Vodka Collins consisted of singer-guitarist Alan Merrill and drummer percussionist Hiroshi Oguchi (of Tempters and PYG). Music-wise they can be affiliated with their British counterpart band T Rex. Quickly closing the ranks of the outfit was Hiroshi “Monsieur” Kamayatsu of Spiders fame on rhythm guitar, and Take Yokouchi (of the Four Leaves) on bass. Initially Vodka Collins actually started out when Merrill and Oguchi were called in to back up Monsieur on some solo shows after his band The Spiders broke up. Merrill and Oguchi started to experiment with Merrill's newly written glam rock songs providing the foundation for what would merge into Vodka Collins. With the addition of guitarist Take Yokouchi Vodka Collins was born. Right from the star they began recording and a steady fan base grew in their wake. The demand for an album was so great that the LP was hastily recorded a fact that attributed its charm and sparkling interplay. The Vodka Collins phenomenon was growing, and they were spearheading a new direction in the Japanese rock scene. However, beneath the surface, their management was choking the life out of the band by withholding money. Before Vodka Collins became insanely busy, Merrill was able to augment his Vodka Collins income by doing recording sessions as a session player for producers Yuya Uchida and Miki Curtis, playing on records by the likes of Garo, Too Much, Yamashita Kejiro and Hirao Masaki. When Vodka Collins’ fame hit the ceiling, he had to rely on the meager income the band was able to generate. Sucked dry by managers and chocked by overnight success, Vodka Collins split up in the winter of 1973. The band was being ripped and raped sideways, front and backwards which left Merrill with no other option but to board a plane for London the day before Vodka Collins were about to headline at the Budokan. Stellar disc comes with fold out insert and RARE OBI. To boot, white label promo issue. A must, one of the greatest gem and widely overlooked Japanese rock artifacts. Price: Offers!!!!!
422. MILT WARD And VIRGO SPECTRUM Featuring Carlos Garnett and Cecil McBee: “S/T” (Twin Quest – No Number) (Record: Near Mint/ Jacket: Excellent – Discoloration on upper seam and lower left corner). Original US 1st press no LP with Milt Ward as leader and featuring Carlos Garnett on tenor sax and Cecil McBee on bass. Released in 1977 on the utterly obscure Ward’s own Twin Quest records label. This is a superb and quite unique set, played by a prominent cast of players. Ward himself can be heard on trumpet & flügelhorn while being accompanied by a mighty devotional bunch of scenesters including heavyweights Carlos Garnett on tenor and Cecil McBee on acoustic bass. The ensemble is completed by Bill Pierce on soprano & tenor, Eddie Alex on alto & flute, Glenn Barbour on bari sax, Delmar Brown on electric & acoustic piano and synth, Coucho Martinez on Fender, Ignacio Mena on percussion as well as Hugh Peterson laying down his drums, delivering a mighty strong set of soaring, contemplative spiritual jazz with a slight leaning towards the freer side of things, just enough to keep it interesting without going totally overboard. The overall sound gets underscored by a tight but loosely-lipped groove, sprinkling some funk vibrations into the overall sound whenever things tend to get a little too lose. This is some lovely and highly rewarding stuff, in parts quite reminiscent of the Pharoah Sanders material from around the same time, and totally worth filling it in your so-called spiritual jazz collection. Original press copy in nice shape. Price: Offers!!!!
423. WENDELL HARRISON: “An Evening With The Devil” (Tribe – PRSD-2212) (Record: Near Mint ~ Mint/ Jacket: Near Mint with faintest trace of foxing). Top copy!! Original 1975 deep groove pressing on the highly collectable Tribe records. Bloody hard to score in MINT condition, so here is finally a top copy. Comes housed in FIRST issue sleeve with white frame around the design and with silver label – the full cover design with red label came out slightly later (damned an discogs is again feeding disinformation on this topic, stating it reversely and wrongly, bloody amateurs). Classic spiritual jazz/ free jazz/ black power political groove monster. "The compositions we play are reflective of the music of our times whereby we play Jazz, Funk and African music with its poly or many rhythms. I wrote all the tunes in this particular L.P. and it is written as a suite of 5 movements, which means that the music can be performed along with poetry and dancers. On our last L.P. 'Message From The Tribe', we featured the compositions of our very talented composer, arranger and trombonist Phil Ranelin. On one side of the L.P. he wrote all the compositions and on the flipside I wrote all the tunes. This album was produced by the Tribe record label. As far as the music in 'Evening With The Devil' is concerned it really speaks for itself. In addition to the music it features some relevant poetry by two very talented young poets named Oba and Vajava who are also members of a very excellent theater group in Detroit called the Black Messengers." (Wendell Harrison). One of the rare early albums on the Detroit based Tribe label, now made legendary by the compilations on Soul Jazz and P-Vine. Tenor player Wendell Harrison leads a group that includes heavyweights such as Marcus Belgrave, Charles Eubanks, and Phil Ranelin, and which features occasional poetry by the "Black Messengers". The groove is laidback and spacey, spiced up with some groovy electric piano, and good mellow solos that have a nice soulful vibe to them. Other parts of the album are a little bit more free jazz intoned and have a sharp edge to them. Just a killer album and in TOP condition VERY first sleeve and label issue!!!!. Price: Offers!!!!
424. WEST COAST POP ART EXPERIMENTAL BAND: “Part One” (Reprise – R-6247) (SEALED original). Extremely rare US first original pressing – stereo sleeve but spine indicates MONO issue numbering. Also comes with the first numbering on sleeve’s spine is R-6247 for the MONO as opposed to RS-6247 for the stereo issue. Next to impossible to find these beauties in SEALED condition, making this copy is as perfect as they come, impossible to ever upgrade upon. Rare first original pressing. Top original 1st press copy of this all-time psych classic. Best copy and condition imaginable!!! Never seen a sealed copy being offered anywhere before so…. Price: Offers!!!!!
425. WEST COAST POP ART EXPERIMANTAL BAND: “A Child’s Guide To Good & Evil” (Reprise – R-6298) (Record: Excellent/ Jacket: Excellent/ Company Inner Sleeve: Excellent). Freakingly rare WHITE label PROMO ONLY MONO issue. Probably the strongest and most representative of the band’s recordings, Child’s Guide is a surreal set of beautiful lysergic folk rock and off-the-wall psychedelic excursions from the mind of notorious west-coast playboy Bob Markley. The band’s legendary weirdness is omnipresent here and the opening track already says it all. Damned, a record that opens with as stunning a pop-psych song as “Eighteen Is Over the Hill” should deserve a place in your collection, if not….stop chasing psych records all together. Multi-tracked finger-picked acoustic guitars and wide-open sun-tanned beach-breezy harmonies help drive this piece into one of the catchiest choruses this band has ever put to tape. Just envision a hipper, uncanny, cockamamie, dopped out Simon and Garfunkel and you’re maybe halfway there. And if you ever thought Sgt. Peppers Lonely Hearts Club Band was just way too tame and predictable, then this record might do you good to check out! All of the West Coast Pop Art Experimental Band’s output released during their short lifetime are worth chasing down, from the garage-band mishmash that is “Volume 1” to the unmitigated Freudian crackpotism that is the band’s official swan song, “Where’s My Daddy”. But “A Child’s Play To Good & Evil” takes home the price! Hardly ever seen White label PROMO ONLY MONO issue. Price: Offers!!!!
426. The WHO: “Sell Out” (Polydor Japan – SLPM-1394) (Record: Mint/ Flip Back Fragile Jacket: Mint). Original first issue Japanese pressing that comes housed in a Japan only jacket. Released in 1968 and in total mint condition, impossible to upgrade upon. Music needs no introduction I guess, a classic all way round. Amazing TOP condition and hardly ever surfaces on these shores so rare forever. In this condition it will be impossible to score, perfect all way round. Price: Offers!!!!!
427. WOORDEN: “S/T” (Omega – 333.023) (Record: Near Mint/ Gatefold Jacket: Near Mint). Bloody rare original 1967 Dutch private pressing. The best – rarest – most disoriented psychedelic & crackbrained weird/ disoriented avant-garde/ frenzied free jazzing and lysergically dysfunctional LP to seep out of the Low Lands. This is nothing short of being the most legendary Dutch underground piece that appeals to just anybody – whatever your musical persuasion may be – folk, free jazz blowouts, poetry, weird effects, musique concrete, tape effects, psychedelic rock, lysergic daydreams, improvisation jams, doped up freefall for all, etc it is all there because it was a time when there were no limits and no laws. There is one female vocal folk track on this disc that blows the whole of the “Wicker Man” album (which I deeply and dearly love) straight out of this solar system. Then there is the totally delusional tripped out gatefold jacket art that again ranks amongst one of the best jackets ever to have hit the streets. Totally lysergic and mentally confusion. The record was instigated by Holland's most revered writer/ poet/ enfant terrible Simon Vinkenoog and was issued in an edition of 300 to 500 copies (depending on the source) and only been offered for sale at the time at head shops and coffee shops of Amsterdam. Never ever turned up in quantity so rare for eternity. Top copy so…hit me with your best shot and we take it from there and further, to infinity and beyond… Price: Offers!!!
428. WRIGHT, FRANK QUARTET: “Church Number Nine” (Odeon Records – OP-88019) (Record: Near Mint/ Jacket: Near Mint/ OBI: Excellent ~ Near Mint). Bloody rare and never seen before 1st original Japanese press complete with OBI. White label PROMO issue. Very first press issue from 1971 – came out TWO years before the French issue on Calumet and as a bonus the music on side B is 5 minutes longer than the French pressing. This is the free jazz record everyone seems to be after. No wonder, hideously rare, released in a tine private run of only 300 copies back in 1971 and ominously freaking heavy. “Church Number Nine” was originally released in 1973 (though recorded on March 7th 1970) on the Calumet label, a venture that instantly evaporated into thin air after its initial release. This here is the even rarer Japanese pressing with always missing OBI! Only 300 copies of the album made it into circulation, the rest were apparently destroyed. The two sides of the disc are entitled “Parts One” and “Two”, although that each was recorded as an individual piece in its own right. The line-up on the other hand is mouth wateringly great, similar to Wright’s BYG Actuel outing "One For John": Wright on tenor, Noah Howard on alto, Bobby Few on piano and Mohamed Ali on drums. The opening track is a monumental twenty-six-minute slab of holy rolling free gospel. Heavily indebted to Ayler, Wrights take on the spiritual is spiced up by adding additional percussion. This is when not blowing their horns to smithereens since both Wright and Howard unleash an all-incinerating racket, an ominously heavy whirlwind of feverish sonic infernal blowing. Bobby few can stay impassive and exerts explosive, alternating churchy licks and furious clusters until the whole comes crashing down like the walls of Jericho under the blasts of the horns. The second piece is comprised out of tight bursts of energy, ripping notes to pieces like a there is no tomorrow. Heavy, mind bendingly great and without a single doubt one of the greatest free blowing jazz discs ever to be put down on wax. This is a top copy; I do not believe they come any better than this one. Act now and hold your peace forever. Best copy around!! Price: Offers!!!!
429. X-RAY SPEX: “Identity b/w Let’s Submerge” (EMI Records – EMR-20589) (7 Inch Single Record: Near Mint ~ Mint/ Picture Sleeve: Near Mint). Insanely rare Japan 1978 original – WHITE label PROMO issue in top condition + comes housed in Japan only sleeve art. Impossible to get punk cornerstone piece. Price: Offers!!!
430. YAMAMOTO HOZAN with Sawai Tadao; Miyama Toshiyuki & His New Herd Orchestra: “Oriental Bossa Nova – Standard Bossa” (London Records – SLD-1) (Record: Mint/ Gatefold Jacket: Mint/ First Issue circular Obi: Mint). Freakingly rare but oh so bloody awesome Japanese first pressing of 1968 in absolutely Top condition and all-complete with hideously rare first issue circular obi. Incredible work from the Japanese scene of the end of the 60s – a record that mixes together traditional instrumentation, bossa rhythms, and groovier jazz touches – all in a sublime blend that would have been a feather in the cap of A&M or Verve Records at the time! The work here is really unique – bits of koto and shakuhachi amidst the fuller, soaring backings of the New Herd of Toshiyuki Miyama – who themselves are supported by some extra Latin percussion! The mix of modes is wonderful – a strong bossa undercurrent that keeps the whole thing gliding along nicely – thanks in part also to a great array of tunes from Brazil, Europe, and the US. Titles include "Constant Rain", "Mas Que Nada", "Sunny", "Il Bacio", "Un Homme Et Une Femme", "Vivre Pour Vivre", and "Agua De Beber". Best condition imaginable, perfect all the way. Obi is damned rare, first time I see a copy with obi in such a pristine condition like this one here. Price: Offers!!!!
431. YAMASHITA YOSUKE TRIO: “Mina’s Second Theme” (Victor – SMJX-10075) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Bloody rare 1st original 1969 pressing with rare very first gold colored OBI variation, complete with never seen or offered before OBI!!, making this baby an instant bloody rare collectible item. Recorded on October 14th, 1969, this is again a milestone recording in the history of free jazz in Japan. Right from the start the genius of Yamashita gets hurled in your face like an avalanche of impressive physicality that his piano playing exerts while immediately the harsh and angry tenor of Nakamura Seiichi (the big revelation on this disc) interlocks with Moriyama Takeo’s dynamic and frenzied drumming, making that both circulate like fruit flies over and around Yamashita’s dervish-like twisting and spinning piano centrifugings. He manages to steer the trio right into his simultaneously disarranging and discomposing counterflows of heavy hardcore jazz, creating a turbulence of trepidation. This is free jazz fermenting under a feverish urge to display a dynamic and determined harmonic grounding that is dissonant as well as angry, cubistically disjunctive as well as physically engaging, a collective sonic combustion as well as individualistic subsuming. The whole disc is a stroke of genius and true fire music in the real meaning of the term. A classic Japanese free jazz scorcher, original 1969 pressing, complete with obi in top condition!! Highest possible recommendation. Price: Offers!!!!
432. YAMASHITA YOSUKE TRIO: “Mokujiki” (Victor Records – SMJX-10088) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Obi: Near Mint ~ Mint). Another vintage cornerstone of the Japanese first wave free jazz pantheon. Classic first wave trio line-up with Yamashita manning the ivory keys, Nakamura Seiichi fire-breathing on tenor and soprano saxophone with Moriyama Takeo’s dynamic and frenzied drumming interlocking perfectly and catapulting the whole affair into the stratosphere. When the first burst of sonic madness comes in, it is every bit as violent as the intervening action. Clangorous piano chords burst in over a kaleidoscopic array of sax and drum interaction, flying aloft and with impetuous roar pursues the foaming surges of water breaking on rocks, making it feel as if the trio is engaged in trench warfare. The particular chemistry & poetry between these three players is furiously alive. Drums skitter in freefall, as Yosuke Yamashita’s piano-playing veers from modal jazz to free atonality, switching dance partners from Alice Coltrane to Anton Webern while Nakamura makes you feel like standing in the midst of a prison riot in full swing with Moriyama keeping the beat amidst tears and fist shaking tirades. This is the real deal a free jazz king-hell, highlife fuck-around sonic experience from start to finish. Bloody rare first original pressing all complete with rare obi and in top condition. One of the hardest to track down of Yamashita Yosuke’s early releases. First copy I have in over a decade. Price: Offers!!!
433. YAMASHITA YOSUKE TRIO: “Concert In New Jazz” (Union Records – UPS-2011) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Never seen before WHITE label PROMO complete with OBI! The rarest Yamashita Yosuke Trio record complete with obi, as released in September 1969. Top condition!!! Grab on to something solid. You’re in for a head spinning mind fuck that will paralyze all your senses. This is heavy shit and one of the hardest blowing free jazz artifacts to come out of Japan. Recorded live in 1969, the Yamashita Yosuke Trio – a power trio in their own right – set out in the calm eye of the hurricane and unleashes quickly a surreal whirlwind of jet-blasting all scorching free jazzing power interpolating with heavy teeth-grinding frantic moves, shuffling, cries, shrieks, piano bashing, spastic puffing and demonic exorcising Neanderthal drum rolls as if they set out to re-erupt the Krakatau through a series of ravaging high tension moves that result in high voltage sonic reactions. The sounds are great and are unlikely anything you have ever heard by them before. This heavy blast of freedom recorded here comes close to experiencing the actual fire-breathing whirlwind in person in real time. Ominously heavy, soul scorching, deliriously insane, the Trio acts as if on fire, Yamashita Yosuke’s is busy folding and manipulating space whilst pounding and kicking the living daylights out of his piano, interlocking at the same time with Nakamura’s howling saxophone antics and Moriyama’s propelling drum rolls. The Trio’s power antics excavate sub-conscious and primal impulses that make you feel like standing in the midst of a prison riot in full swing. Like a soaring whirlwind of freshly unleashed and freely roaring all incinerating power jazz trio, they rip jazz modes apart like a pile of cheap hay, producing all the proper ingredients for an outrage. Heavy shit. This record is like a cloud of hellish intensity come down straight at you. Original 1969 pressing complete with obi and extremely rare. Complete copies with obi just do not exist anymore these days. Without a doubt, his rarest disc and what a killer slide it is. Price: Offers!!!
434. YAMAYA HATSUO with J.A. SEAZER & HACHIMITSU PIE: “Yamaya Hatsuo no Horo Shishu – Shinjuku” (Victor – SF-1045) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint/ Obi: Near Mint). Heavy rarity alert!! All complete with OBI!!! Released in November 1974, original press and not many copies are around due to the depressing sales and the eventual withdrawal of the album. This masterpiece of Japanese psychedelic outsider folk is one of my all time favorite discs. I had been hunting this one down for ages and now is the first time I can offer a totally mint copy up for grabs. Like the discs’ atmosphere already hints at upon playing, poet and old skool rural country dweller Yamaya gets here on all the compositions and texts assisted by wunderkind of the avant-garde Terayama Shuji (see Tenjosajiki and consorts) who provides the whole project with its unique blueprint. This bohemian rhapsody gets further more underscored by musical dervishes J.A. Seazer, Hachimitsupai and Agata Morio amongst others. So what does it sound like? Well that is a whole different affair and probably not many non-Japanese will be able to enjoy the delicate beauty of this gem. Like the title already hints at, Yamaya who came down from the deep country side finally struck down in cosmopolitan Tokyo’s Shinjuku district. There he graces through song and poetry the evaporating Taisho and Showa sleaziness of the district that is hastily making way for modernity to seep in. It is like an archeological treasure set to music, trying to catch a whiff of the fleeting time and charms of the past, a past you will be unfamiliar with unleash you could sniff it put about 50 or 70 years ago. Ranging from drunken balladeries to erotic reveries and kayokyoku excursions, the whole affairs brings to life the atmosphere that hovered over Shinjuku during the early sixties till the very early seventies, an atmosphere of downtown leaze, jazz bars run by old timers, street vendors, hookers and hustlers. He eloquently evokes the whole fluid surrounding of glorified tastelessness by virtue of being cheap and vulgar that ruled the area. This musical journey transcends genres such as folk, acid folk, loner folk, field recordings, psych and so much more, it encapsulates all yet it remains in a world of its own where genres do not apply. This is timeless music, beauty carved out of stone and collected sound, a personal diary set to music. People who like their music neatly catalogued and labeled should not try to break into this one, you won’t be able to get it. However, if you are a bit open minded, would like to have a peak unto what lies beyond everyone’s musical horizon and are not afraid of trying to come to terms with a music al piece even if it takes considerable time to grasp it all, then I cannot recommend this one strongly enough. And still it never fails to sound uniquely Japanese, unlike any other disc you may have heard, be it gagaku, shamisen strummings or the Flower Traveling Band, this one encapsulates and goes way beyond that all. This disc had me haunted for years, first on tape, then the CD version and finally when the bug fully bite through I went hunting the vinyl down. Life has not been the same ever since. First time I have seen a 2nd copy and the 1st time I can offer you this spare. These babies are so bloody rare it makes my ears and eyes bleed vinegar. Comes in a beautiful drawn jacket and gold lacquered like front jacket and booklet. Obi also intact. Highest possible recommendation and almost a give away price. Price: Offers!!!!
435. The YARDBIRDS: “Happening’s Ten Years Time Ago b/w Psycho Daisies” (Odeon – OR-1638) (Red Wax Two-Track Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Rarest Yardbird’s single – Japan only issue that comes housed in unique picture sleeve with the record being pressed on RED wax (usually only black wax copies surface). Best condition around as most copies – if they turn up at all – are VG++ at best). This one here is pristine condition – and bringing forth two absolutely vicious killer Yardbirds tracks and gave a hint of the bedazzling Beck/ Page tandem guitar possibilities that hereafter sadly never came to full fruition. By shaking off their earliest blues purism (and Clapton along with it) they started producing their most original and experimental material. The single, “Happenings Ten Years’ Time Ago” was one of their most staggering moments: a pop art/freak-out single that was both simultaneously psychedelic and punk: occurring one year before the former and ten years’ time before the latter. A proponent of glorious proto avant-noise. The Beck/Page dual Telecaster attack (accompanied by then-session man John Paul Jones on highly percussive bass) shoved into a brutal three-minute epic caught in the confines of a pop single that paved the way for similar mutli-passage headfucks like The Pretty Things’ 1967 crushing acid flash, “Defecting Grey.” Opening with a near folk-like riff, “Happenings” wastes no time at all shifting gears into slashing rhythm guitars, co-joined by a far hurried, rhythm guitar cluster running down the neck at a mercurial speed that will repeat over and over throughout. Drummer Jim McCarty rains down a simple, pounding beat as Jeff and Jimmy slashing strings savagely all over the place with zig-zagging guitar lines. Just simply…jaw-dropping great! Price: Offers!!!

436. YARDBIRDS: “Five Live Yardbirds” (Odeon – OP-7479) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Insert: Near Mint) Japan first original pressing that comes on RED WAX and in amazing condition, impossible to ever upgrade upon. “Here is a rare animal – a live album from a major 60s band that actually makes sense, is great even. Like a well-oiled locomotive, the Yardbirds roll and groove their way through ten classics and obscurities from the US R&B scene, several of which the group made their own for decades to follow. Cheered on by an enthusiastic Marquee crowd, Keith Relf and Eric Clapton engage in a series of harmonica-guitar battles with outstanding peaks reached in a blazing ‘Too Much Monkey Business’, a surging ‘Smokestack Lightnin’ and of course the rave-up blueprint par excellence ‘I Am A Man’. The recording has the presence and dynamics (often lost on inferior reissues) to bring the band right into your living room and all over this is a British Beat classic no happy homestead can do without. Its historical importance cannot be overestimated, especially in America, where four of the best tracks made up one half of the massively influential Having A rave Up album.” (PL – Galactic Ramble) Top condition, next to impossible to upgrade upon. Red wax, killer sound and so bloody rare….Price: Offers!!!!

437. YASUI KAZUMI: “Sora Ni Ichiban Chikai Kanashimi” (Philips – FS-8002) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached 8 Paged Illustrated Booklet: Near Mint/ OBI: Near Mint). Her second and final album, original first pressing out of 1971 and complete with never offered before OBI. Only the 2nd time I ever see a copy of this one and far out the best condition one I had so far. First time ever I see a copy with OBI!!! Yasui Kazumi was a renowned essayist, fashion model and poetess who only recorded two albums, being Zuzu and Sora ni Ichiban Chikai Kanashimi. Both recordings are highly regarded as soft rocking psychedelic pearls against which Yasui recites her poetry in a sultry soft-spoken voice that simply puts you under a spell you hope never to be awaken from. The musical background is always subtle rather than of the dramatic kind, mostly a leisurely first gear pace as melody ripples gently around the periphery of her silky sexy voice, vocals and poetry. Just listening to her vocals brings around an everyday surrealism, virtually collapsing on itself as the music’s impact is intensified as Yasui’s delicate musings that shimmer around the laidback musical core. Her poetry set to music is the perfect encapsulation of beauty meeting elemental force and suggests that capturing this sense of natural perfection is something to generate excitement. The album is the perfect successor to Zuzu, picking up where the former left off and taking it a step further and deeper, making it a more stripped down affair where less is definitely more. It shows that Yasui was the hippy-chick poetess gifted with apart from being a talented word juggler, her strong articulations also led to denseness that never sounded cluttered or untidy but blessed the music with an air of girlish spontaneity, present in her phrasing and cadence and that together with the melodic development and transmutation shaped swirling into existence a highly bewitching recording. And for that, Yasui Kazumi became one of the finest – be it criminally under-recorded female vocalists to seep out of Japan. Fantastic record, hyper rare, original 1971 pressing, top condition with complete booklet and OBI present!!! Price: Offers!!!!
438. YOKOTA TOSHIAKI & BEAT GENERATION: “Exciting Flute” (Express – SX-68) (Record: Excellent ~ Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Damned rare 1970 Japan 1st original pressing all complete with hardly ever offered rare OBI. Exciting flute from the Japanese scene of the 70s, a wicked little set that's filled with funky numbers throughout! The backings are large, but often nice and tight -- kind of a groove-ified version of the 60s approach to bigger band jazz albums based around a single soloist -- a great choice here for flute man Yokota Toshiaki, whose lead lines are filled with soul, and mighty nice -- almost a bit like Hubert Laws at the same time in the US! Most titles are covers -- and the set includes versions of "Spinning Wheel", "Vehicle", "Travelin Band", "Little Green Bag", "Born To Be Wild", and "The Maltese Melody", Seriously rare Japanese groover that comes all complete with rarely seen obi in top shape so… a rare opportunity to wheel in a genuine Japanese jazz rarity. Price: Offers!!!!
439. YOUNG, NEIL: “S/T” (Reprise Records – RS6317) (Record & Gatefold First State Sleeve: SEALED). Wow time to strap in, fasten your seatbelts and put on those dust goggles. I wonder if you have ever seen an item like this being offered for grabs before. What we have here is a SEALED copy of Neil Young’s first album, as far as I know a sealed copy has never been offered before. Let’s be realistic, probably not more than 10 copies of this floating around, maybe even less but then again I am guessing here. Young’s first solo LP, with the first state sleeve and the withdrawn first mix. So maybe you have an unique opportunity here to acquire a one of a kind item, of his other records sealed copies have turned up but his solo debut – as far as I know – no sealed originals have been offered so far. Price: Offers!!!!!!!
440. YOUNG, NEIL & CRAZY HORSE: “Ichigo Hakusho aka – Everybody Knows This Is Nowhere” (Victor World Group – SJET-8277) (Record: Near Mint/ Jacket: Near Mint/ Obi: Excellent ~ Near Mint/ Insert: Near Mint). WHITE label PROMO issue! The RAREST Neil Young release out there – the very first Japanese pressing that was immediately withdrawn from sales a due to a licensing shift from Victor Records to Warner, making that the Victor Records release of this album was withdrawn. It also bearded the Japanese title of “Ichigo Hakusho” the Japanese title given to the “Strawberry Statement” soundtrack that also has some Neil tracks on it. So this mage rare issue comes with the first issue OBI with alternate title, first issue single sleeve design and insert. To make things even more deliriously appealing is the WHITE label PROMO version. Never up for sale – this is the true Japan 1st issue pressing of Everybody Knows This Is Nowhere that was – due to a licensing shift between 2 record companies – was withdrawn from sales immediately upon its release, followed by the Warner Japan issue of this slide. But this is the shit…without a single doubt rarest Neil Young release, eclipsing even the Sultans single so…. One of a kind item. Please feel free to go ballistic and lose your sanity for all I care…. Price: Offers!!!!!!
441. YOUR EXOTIC PRINCE: “Music That Is In” (RLA Records Co. LP-505) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Impossibly rare private press free jazz/ odd ball/ real people freak out - free jazz funk slide. This is the mega rare original first press issue that just never turns up. This one was bootlegged and released in different cover art, but here is the real thing!!!The holy grail of Spiritual Jazz movement, cosmic echoes and free jazz at the best. "Credited only to "Your Exotic Prince" on the jacket, this record is completely out there and next to impossible to unearth for some perverse reason. As unindefiable as the cover is, the music is even more so. It comprises six tunes, each one essentially a nonstop caterwauling of horns, accordion, banjo (or is that a ukelele?), wah-wah guitar and drums. The musicians, if you can call them that, sound for all the world like a combination of Sun Ra's Arkestra, the Preservation Hall Jazz Band and your local junior-high stage band rolled into one. Even stranger are the bizarrely cut-off endings to each track. Just as the songs are clearly coming to a close, the sound stops, mid-din, as if the tape just ran out on the four-track. Awesome bastard-cum-free jazz-oddball deranged lunatic spiritual jazz slide from beyond the planet Jupiter. Released as a private pressing in a minuscule run, copies just do not surface. This was his 2nd LP and rare forever. Top condition to boot so, probably a one-off chance to wheel this one in. Price: Offers!!!!
442. YUASA JOJI with SATO MASAHIKO & YOSHISABURO TOYOZUMI: “Koten” (Ex-House) (Record: Excellent ~ Near Mint/ Plastic Case Jacket with Inserted Artwork: Near Mint/ Triangular Obi: Near Mint). Lucky to offer another copy so quickly…Great copy original 1st pressing all complete with outer plastic slip case sleeve and triangular obi. Freakingly rare private press by this electronic music and avant-garde composer Yuasa Joji for and with the help of Terayama Shuji’s Tenjosajiki guerilla theatre troupe on one side and teaming up with free improvisation players on the other side. The whole of the material was recorded live on December 19th ~ 21st, 1977. But instead of steering of in some highbrow avant-garde noodlings, Yuasa hooks up with free jazz heavy scenesters such as Sato Masahiko and Yoshisaburo Toyozumi, flanked by Yoshihara Sumire on percussion and Fujikawa Yoshiaki blowing his sax to smithereens and in unison they whip out a whirlwind of dusty tornado like free form blood-sucking action moves. But this freeform tordano is blowing hard but be it in a stripped down and in an almost austere kind of way. Minimal freeform actions, heavy on sonic resonances and moving into deep subterranean kind of spaces, creating weird hell broth kind of sonics that has the players moving around as if they were engaged in a trench warfare for snipers, constantly hurtling in and out of focus. In all the interaction has more emphasis on the avant-garde aspect than on the bluntly free-jazzing dialectic – focusing on tiniest of gestures that trigger little butterfly-induced storms on the horizon and engaging in some panoramic sonic intercourse that still manages to engulf the aural landscape. On the B-side he hooks up with some Tenjosajiki players/ actresses such as Ran Yoko, Wakamatsu Takeshi, Nemoto Yutaka, Shinozaki Ko and Suetsugu Akiko. Together they set out on a piece heavy on theatrical vocals and embarking on a more Tenjosajiki induced trip. In all an amazing recording that sheds some more light on Japanese avant-garde and its hook-ups with the Tenjosajiki guerilla troupe. Bloody rare private press, was released in an edition of 300 and came housed in a heavy plastic case holding the record and artwork as well as the triangular obi. 1st copy to cross my path in 10 years and getting near to impossible to wheel in these days. Top copy. Act now and hold yer peace forever. Price: Offers!!!!
443. ZAID RAHBANI: “Abu Ali” (Zida International – LP-ZIDA-601) (Record: Near Mint/ Jacket: Near Mint.) Freakingly rare 1978 Beirut original pressing of head-fucking Eastern tinted groovy disco jammer, a 12" single from Lebanese composer, pianist, playwright and political commentator Ziad Rahbani. Late 70s Lebanon, Beirut to be precise, the Paris of the Middle East was a funky place to be! Each side of the record features one long track – building on a melody that's catchy, but spread out with a mix of jazz instrumentation, and "oriental" percussion and flute – so that the whole thing builds and builds as the music moves on, but with a sense of variety and sophistication that's quite different than the usual extended disco tunes of the time – which usually just have the same rhythm with just a few slight variations! There's a bit of vocals from Joseph Sacre, but most of the record is instrumental – a beautiful blend of Mid-Eastern elements and disco sounds – handled better than anything else of this nature we've ever heard. 'Abu Ali' is a 10-minute epic that fuses neatly Arabic orchestration around an atmospheric disco groove and cosmic synthesizer lines. It begins with a few seconds of delicate cinematic embellishment - and then the bass slaps down, soulful and driven by a simmering beat. The mix gradually grows more and more symphonic, a bold regiment of brass alternating with sinuous violin lines and electronics: guitar, bass, and keys. The percussion moves steadily, with subtle changes throughout the piece. Jazz keys add glitter. A ney flute and hand drums, along with melismatic calls from Joseph Saqr, lend more clearly Levantine influences that emerge organically from the more traditional disco soundscape. No less beguiling is the more laid-back b-side, "Prelude (Theme from Mais El Rim)". Mais El Rim is based on classic premises: love, family, and trouble. All play a role in inspiring this overture, simpler than "Abu Ali" but no less careful in its arrangement. Here, Rahbani crosses from the cinematic into the theatrical but refrains from losing control over his composition at any time. Never is it bombastic; instead, it sounds like the beginning of a production worth sitting through, neither too light to be engaging nor too far into melodrama to entertain. Bloody awesome. Top condition. Price: Offers!!!!
444. The ZOMBIES: “S/T featuring She’s Not There & Tell Her No” (London Records/ King Records – MH-206) (Record: Near Mint/ Fragile flip back Sleeve: Excellent ~ Near Mint/ Insert: Near Mint/ Obi: Excellent ~ Near Mint) Freakingly rare Japan very first Zombie issue all complete with hardly ever seen first issue obi. “After the double-sided hit single "She's Not There" b/w "You Make Me Feel Good" topped the U.S. charts in the fall of 1964, London Records quickly culled together this LP for 1965 release. The dozen tracks were taken from material the Zombies cut for their 1965 U.K. debut album, Begin Here. Also included are "It's Alright With Me" and "Sometimes" from the combo's self-titled EP. Regardless of presentation, The Zombies aptly portrays the quintet of Chris White (bass), Rod Argent (keyboards/vocals), Colin Blunstone (guitar/vocals), Paul Atkinson (guitar), and Hugh Grundy (drums) in terms of the band's fresh blend of intelligent Brit-pop. Their efforts are equally laudable on the strength of originals such as "Tell Her No" and "What More Can I Do" as they are on the blue-eyed soulful medley interpretation of the Miracles’ "You've Really Got a Hold on Me". This is stylistically complemented by the R&B rave-up on Muddy Water’s "I Got My Mojo Working" and the ultra-hip jazzy arrangement of the Gershwin standard "Summertime." The Zombies' obvious appreciation for adeptly crafted melodies and rich vocal harmonies likewise made them favorites of pop fans as well as more discerning listeners. "Work 'n' Play" is an instrumental credited to producer Ken Jones. Initially, the piece was simply used to fill out the long-player. That was until the tune was more fully developed by the band, and under the direction of Argent’s fiery lead harmonica they turn the proposed filler into a rock & roll killer.” (All Music Guide) Stupidly rare Japan 1st original press with OBI. Price: Offers!!!!
445. ZOO NEE VOO: “Golden Zoo Nee Voo” (Columbia – YS-10070-J) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Near Mint). Original press of this rare Cult GS artifact. The band’s rarest LP. Top condition and all complete with RARE OBI!!! I have a problem, I just love this stuff way too much, probably too much for mere mortals to ever be able to get a grasp on and the same goes for this Zoo Nee Voo album which keeps my world rocking and shaking, although it might sound ordinary to you, it certainly sounds ground shattering to me. Released on October 10th, 1968, this album was the band’s first ever effort, bringing forth a swirling collection of cover tunes but transforming them into something…else. Previously active in the amateur band Makkuruzu, lead guitarist Yamamoto hooked up with fellow university mates (bass player Tsukaya who played bass in various outfits roaming the discotheque scene + Machida and Kamiike who were active in the student folk band Castle & Cuits and finally fellow Makkuruzu member Kiriya– all students at Tokyo’s Meidai University) and decided to form a new outfit, mainly focusing themselves upon a R&B repertoire and formed the newly born Zoo Nee Voo on March 1968. The quickly secured their place in the sun and shortly after their formation they appeared (on March 23rd!!) on the Nippon Broadcast program “Baitaris Folk Village” where they performed “Mustang Sally”, “My Girl” and “Aoi Kage”. Hereafter, they got signed to Columbia Records and released their first album, this viciously delirious R&B monster. Covering songs with great conviction and over-saucing them with Japanese styled English, demented organ swirls and sharp cutting guitar riffs, the Zoo Nee Voo brought forth songs by Sam and Dave, James Brown, Otis Redding and so forth. Fantastic genre piece that is sadly overlooked. I live by this album, it may sound banal but actually it is a soul jerker and vicious blast of a disc, so highest recommendation and rare to say the least. Killer record and first time ever I have a copy all complete with obi of this Japanese R&B fuzzed out garage corker. Price: Offers!!!