RARE RECORDS CATALOGUE
Offers!!!
Offers

Last updated: June 11th, 2021

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. ALTENA ’72: “Eine Dokumentation Fur Die Freunde Und Teilnehmer Des New Jazz Meetings Auf Burg Altena” (Private/ JG Records – 1972) (2 LP Record: Near Mint ~ Mint/ Hand Pasted Gatefold Jacket: Near Mint/ Attached 8 Paged Booklet: Near Mint). Top condition German private press free jazz beast that saw the light of day in 1972 in limited run. Hard-hitting improvisational interplay recorded live at the Internationale New Jazz Meeting auf Burg Altena on 24th and 25th June, 1972 under the banner “New Jazz Altena” and spearheaded by some of Europe’s finest Avant-jazz combos. Burg Altena was a smaller small but equally interesting festival, organized by Heinz Bonsack and Karl-Heinz Klüter respectively. Bonsack, a dentist, wanted to push new music like Krautrock and free jazz and also promoted musicians from Eastern Europe. The line-up is very exciting, providing some utterly amazing music that really shows the transformation that was taking place at the time in Germany! The range of performers here was amazing and here 4 groups are included, everyone getting a sidelong exposure to showcase their incendiary sound clusters with performances and improvisations by Michal Urbaniak Group, Scandinavia New Jazz Group, Wolfgang Dauner’s Et Cetera and Karl Berger Company. The whole set is pure heat, making your speakers to ooze out liquid lava! Pristine condition. Price: Offers!!!

6. AMANCIO D’SILVA: “Integration” (Columbia Records – SCX-6322) (Record: Near Mint/ Non-Laminated Fragile Jacket: Near Mint). Top condition UK 1969 original pressing of rare and awesome jazz slide released on the highly collectible and infamous Lansdowne Series. Most perfect copy I have ever encountered so far and to make things even more salivating – this is the rare “FACTORY SAMPLE – NOT FOR SALE” Promo issue! “In the late '60s, the British jazz scene was still suffering from the crippling belief that the best jazz could only come out of the USA and that anything made in Britain must, by definition, be derivative and inferior. It was the Indo-jazz movement of the time, spearheaded by London-based Indian composer/arranger John Mayer and West Indian saxman Joe Harriott and their Indo-Jazz Fusions 1 and 2 albums, together with D'Silva, which as much as anything helped overturn this inferiority complex. More visceral—and more gone—than Mayer's sometimes overly academic and self-conscious multi-cultural constructs, the music on Integration also has little to do with the blissed out sitar sounds then popular within the counter culture. The first three tracks in particular, with saxophonist Don Rendell sharing the solo spotlight with D'Silva, are much more fiery, rough edged and incantatory, closer to the sort of music you'd hear in a Rajastan town square on market day. D'Silva's hard-picked and percussive style, wholly original and uncategorisable, performed throughout the album on electric guitar, references classical sitar and primal Link Wray with a little bit of bouzouki thrown in for good measure, while the horn arrangements evoke both the Skatalites and the Jazz Messengers. Rendell, on tenor for the majestic "Ganges" and "Jaipur," affirms his position as one of the most exciting hard bop saxmen and reveals some gloriously raucous ska and R&B roots. Rendell drops out for the last four tracks, which foreground D'Silva and Carr and are more measured and reflective than their predecessors—but no less magical. Carr, in '69 almost obsessive in his devotion to Miles (and later, of course, his distinguished biographer), is practically right up there with his hero's In A Silent Way initiatives, and with D'Silva conjures some top ranking early electric Miles. On the closing "Joyce Country," the duo mix Carr's Spanish tinge with D'Silva's "Rumble" moments to evoke Ennio Morricone's spaghetti western soundtracks. Unforced in its sweeping cultural inclusiveness, and utterly convincing in its execution, Integration is a stone delight from start to finish.”(All About Jazz – Chris May). A hard-to-find classic UK jazz slide and especially a bitch to find in top condition. Without a doubt one of the 5 cornerstone recordings of the UK late 1960s and early 1970s jazz scene. Things are never ever gonna get any better or more deliriously eargasmatic as this one here. Near pristine condition, no spindle marks, sharp sleeve with no ring wear or damages…and a PROMO issue to boot… what is there not to drool over? SOLD

7. APPEL, KAREL: “Musique Barbare” (Philips Records – 99954.1 L) (Record: Near Mint/ Hard Cover Jacket with Picture Book: Near Mint/ Attached Picture Book: Near Mint). Original hideously rare 1963 pressing!!!!! Very first pressing on PHILIPS, not the second issue that came out slightly later on The World’s Window. Original Holland first pressing, MONO issue. Top condition!!! “I paint like a barbarian in these barbarian times” Appel often told journalists and the same can be said about this recording eh made. In 1961, Jan Vrijman made a movie about COBRA expressionist painter Appel and the artist himself provided the soundtrack to it, completely erected and recorded with devises set up according to his directions in the electronic music studio of the Utrecht University. Some conventional instruments were also added to the mix at the Phonogram Studio in Hilversum. The soundtrack – which you see here – came out in a delusion eye popping beautiful book like hard cover jacket with cloth bound spine, contained a 30 pages counting photo book for which Jan Vrijman the text wrote with pictures of Appel taken by Ed van der Eslken. On the LP, Woebot wrote some nice words: “Quite a few famous artists have made records. I have seen LPs by Salvador Dali, Kurt Schwitters, Jean Dubuffet and Jean Tinguley. Usually the great men are assisted by a few musically-inclined chums. I've always been fascinated by Karel Appel, the Dutch "Abstract Expressionist" and founder member of COBRA. That collective's stuff pushes at the boundaries of the acceptable, it takes Expressionism down one of it's ill-trod paths, towards a scatalogical, wilfully out-of-control naiveity. I'm surprised COBRA isn't a bigger touchstone for musical things like Throbbing Gristle, Gabba etc. It's one of those rare instances of a hooligan bourgeois art-form.” (Woebot) In my book, this is one of the best ever recorded electronic art discs ever and Appel just sounds like he painted. Aggressive, wild, going berserk while shouting “My paintbrush is a rocket” which gets carried away in a maelstrom of electronic sounds, a tsunami of noise and assorted debris and we are talking 1961 here!! This is noise avant-la-lettre, but not like the noise salon bourgeois kids shit out these days, this on the contrary is quite mind alteringly innovative, rich in sonic texture and challenging upon spinning it. If I had to choose one disc to cling onto I would probably take this one. Top copy!!! Price: Offers!!!!

8. 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!!!! 

9. 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!!!!
10. 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!!!
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. AT HOME: “S/T” (Accessory Records – ACC-002) (Record: Near Mint/ Flimsy Gatefold Paper Jacket: Near Mint). Finally!!!! After all these years of searching for a spare copy, I am able to offer one of the best oddball psychedelic recordings ever. Apart from my own personal copy, this is the 2nd copy ever to cross my eyes in 12 years time! OK, sorry for the hyperbole but to these ears, At Home is simply one of the best psychedelic oddball & weirdo records ever released and ranks proudly in my top 3 of best recordings ever. Released in the late 1970s or early embryonic 1980s, At Home was a UK studio project of some dodgy scam producer who was good at cooking up strange musical cocktails. He recruited a Frank Hannaway (farfisa accordion & rhythm box) and Michael Barclay (guitar) and without ever meeting each other commanded them to record some tracks. The end result was strung together in some crappy afterhours studio and resulted in the most waked-out Prozac soaked underwater-demented lunacy psychedelia ever to have been put down on wax. Out of tune desert twang guitar swirls interlock with cheap kaleidoscopic farfisa accordion moves and shift gearing rhythm box lines. Together the two protagonists move into some the grey area of the mazed elderly unhinged, taking them to a sub-aquatic world of psychotic anti-depressants reigned by asymmetric grooves and synthetic sounds. At Home sets free a sound that is a peculiar mix of low style, highly effective anti-depressants, liquid Prozac shoot-ups and pure dumbness. Listening to it makes you feel like diving into a pool that got emptied yesterday. Disintegrated Alzheimer symptoms get mixed up with limb numbing psychotic drunkenness and a kind of hysterical fatigue that comes from spending too much time with the elderly insane. The end result is this jangled mix of zombie-like psychotic lysergic madness and degrading lethargic Thorazine shoot-ups that it makes it hard to keep a focus on what is really going on around you. At Home is the best thing ever to hit my aural senses but it comes at a cost and your mental sanity will never be the same again. Don’t come wailing back at me that you haven’t been warned. Best record ever and I mean this!!!!! Price: Offers!!!
13. 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!!!!
14. 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!!!!!
15. 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!!!!!!

16. 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!!!

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. The BAND: “Music from Big Pink”. (Capitol Records – CP-8661) (Record: Near Mint ~ MINT/ Jacket: Near Mint ~ Mint/ 2 Inserts: Near Mint/ OBI: Near Mint ~ Mint). TOP COPY - Rare 1st original Japanese press issue that comes on RED VINYL. Comes complete with rare first issue OBI in top shape. Exquisite copy of this all time masterpiece, rare original Japanese press. Wow baby, this album is so bloody perfect that according to these ears it is one of the defining discs to seep out of the 20th century. So further explanation is completely unnecessary I guess. Brilliant record, stunning condition, and rare Japanese press –blood red wax that sounds astonishing. Only the 2nd time I have a true 1st pressing of this all time beast of a record and the very first time I can offer an all complete one with OBI present. A masterpiece and quite a hard one to dig up all complete. Price: Offers!!!!
19. 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!!!
20. BASIL KIRCHEN: “The Shuttered Room” (Trunk Records – SHUT001) (Record: Near Mint ~ Mint/ Stamped letter pressed sleeve: Mint/ Insert: Mint). Never before available 1967 soundtrack to UK horror flick which was released completely legitimately and taken from the movies original master reel....and put out in a tiny edition of only … 25 copies, so bound to be rare forever. That aside the music is a stunner. “As for the film and soundtrack, both were made in 1967. It was a horror film starring Gig Young, Oliver Reed and Carol Lynley, all directed by the most interesting director David Greene. Very few people really know about David Greene but his cinematic work includes Sebastian, I Start Counting and this, which is pretty impressive if you ask me. He obviously liked Kirchen and used him for four of his movies., but in all the times I spoke with Basil, I never found out why. And perhaps we’ll never know.” (Trunk) Very beautiful film score that has both that typical 1960s UK jazzy feel as well as the gift for the unexpected impact that quells the darker side, sliding into a deep subterranean slur and cutting across cinematic dustup-jazz again. An austere intimacy as well emanates out of the jazzy tracks that offers direct access to deceptively intense skeletal music that displays nevertheless a meticulous lyrical economy. This score to the Shuttered Room stands shoulder to shoulder with the best slides of that era and should be filled next to John Taylor’s LP on Turtle, Neil Ardley and the likes. Just stunning. Pressed in an edition of only 25 copies, this is bound to be rare forever…. Top condition. Price: Offers!!!!

21. 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!!!!

22. The BELFAST GYPSIES: “Portland Town b/w People Lets Freak Out” (Warner Bros Records – BR-1643) (Red Wax 7 Inch Single Record: Near Mint/ 4 Paged Picture Sleeve: Excellent/ Company Inner Sleeve: Near Mint). Extremely rare Japan only picture sleeve issue that came out 1968 on red wax. As you know this one is seriously rare, so far only 3 copies have surfaced for sale over the past 20 years. It was a commercial failure upon its release in Japan, hence the scarcity of this one. The copies that have turned up so far were all promo copies, this one here is the rarer red wax stock copy with the misprint “Belfast Gipsies” printed on the label. Stunning to see that it even got beyond the promotion stage at the time. The Belfast Gypsies' sole single was a very credible blast of British Invasion-styled R&B-rock. Produced by Kim Fowley, it gives this rough-hewn R&B a manic, freaky edge on the cut "People, Let's Freak Out," especially. Total killer single, heavy garage vibe with wild exploding fuzz bursts, wailing vocals and a demented youthful sneer to ring through your deserted mind. Stick your nose in the speakers and get frostbite! SOLD
23. 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!!
24. 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!!!

25. BROOKS, ROY & THE ARTISTIC TRUTH: “Live at Town Hall” (Baystate – RVJ-6028) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Damned rare Japan only issue from 1978. WHITE label PROMO issue all complete with insert and OBI!. “Recorded in N.Y.C., drumist (as he liked to call himself) Roy Brooks is joined by fellow Detroiter Marcus Belgrave  on trumpet, alto saxophonist (exclusively - no doubling) Sonny Fortune and Sonny Red (on tenor instead of his more familiar alto,) pianist Mickey Tucker, bassist Reggie Workman on loan from John Coltrane, and occasionally vocalist Eddie Jefferson. This is the initial version of what would become the most legendary of the bands Brooks led, dubbed The Artistic Truth. At a time when the percussionist was living in The Big Apple, this group was set apart from the leader's previous work with Horace Silver, and added a distinct edginess and urgency. There are three standards, Brooks’s famous " The Prophet" and "Blues for the Carpenter's Saw." A recording to seek and find if you can, it highlights a time before Roy Brooks and Belgrave returned to Detroit -- to stay.” (All Music) Damned shy bird this one, just about never turns up on these shores, let alone in such pristine shape as this one here and all complete with OBI + WHITE label PROMO to boot!!! If you are into the free and spiritual side of the jazz thang, well you just cannot pass on this one. But damned a tough one to unearth so…. Price: Offers!!!!

26. 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!!!!

27. 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). 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. 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!!!

28. 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!!!!
29. 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!!!

30. 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!!!

31. 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!!!!!!

32. The BYRDS: “Younger Than Yesterday” (CBS – NIPPON COLUMBIA – YS-824-C) (Record: Near Mint/ Jacket: Near Mint/ 360 OBI: Near Mint/ Company Inner Sleeve: Near Mint). Bloody rare first original Japanese pressing from July 1967, complete with seldom seen OBI. 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!!!

33. BYRON MORRIS UNITY: “Blow Thru Your Mind” (EPI Records – EPI-02) (Record: Near Mint/ Jacket: Near Mint/ PROMO ONLY 6 INSERTS: Mint).  Private press 1974 originall issue, this a never seen before “promo” issue that comes with 6 different promotional inserts!!!! Apart from that the condition is the best possible, clean like a newborn baby’s ass, virginal on all fronts. Blow Thru Your Mind is a lost classic of independent jazz, Byron Morris and Unity's "Blow Thru Your Mind", originally released in the USA in 1974. Unity was formed with similar values, aims and objectives to many other spiritually conscious groups at the time, as the name suggests. Uniquely, it managed to match the musical and spiritual searching of John Coltrane, Pharoah Sanders and Ornette Coleman alongside an equally experimental New York art-music dimension that was brought into the group by vocalist Jay Clayton, who had performed with, amongst many others, Steve Reich. With bassist Milton Suggs having played in Sun Ra's Arkestra, and Byron Morris having studied with Ornette Coleman and Rahsaan Roland Kirk, it is possible to see the musical path that makes up "Kitty Bey", twelve minutes of musical intensity, that sounds like nothing else ever recorded. Originally released on Unity's own EPI label and distributed by hand, this record has remained an underground classic recording for over 25 years. Never offered before unique copy with 6 different inserts and all is in virginal condition. One of a kind both condition-wise as package-wise, so do not think twice it is all right!!! SOLD
34. CAIRO FREE JAZZ ENSEMBLE: “Heliopolis” (Sono Cairo – 7037080) (Record: Near Mint/ Gatefold Jacket: Near Mint). Top condition 1970 Egyptian original press issue. Formed by Salah Ragab and Hartmut Geerken as an avant-garde offshoot, the Cairo Free Jazz Ensemble was one of the great projects in Egyptian jazz. As the first jazz big band in the country - formed in 1968 when Ragab was appointed chief of Egypt’s Military Department of Music, it was also responsible for creating one of the most striking and most out-there-avant-garde-free form Egyptian jazz recordings of the to seep out of the 1970s. It is an unusual recording done at the German Culture Institute in Cairo (hence the stamp inside of the gatefold reminding of that happening and financial support) that blossomed out of an early collaboration between Hartmut Geerken and Salah Ragab! Ragab plays drums and percussion but his approach is very different than his more rhythmic Cairo Jazz Band dates. Here, the ensemble really lives up to the "free jazz" moniker embedded into their name. Sonic-wise, they bear a certain resemblance to the mighty Sun Ra Arkestra during the peak of their free improvisational reign, abstract and wyld, abandoning structural boarders and gazing towards a wider sonic horizon. The ensemble includes renowned Egyptian heavyweight players such as Farouk Abdel Rahman on alto and percussion, Abdel Hakim Zael on baritone sax, Moohi El-Din Osman on bass and Mahmoud Ayoub on tenor – and of course Geerken himself playing a wide range of percussive instruments, rattles, shakes and other items – including even a toy car producing the sound of a siren. Upon listening to this slab of fire music from Mediterranean Northern Africa, the deep vibra-sonic resemblance found between the ensemble and its American counterparts becomes something one can clearly see as a reverberating connection between the two. Heliopolis is a stunning blend of big band spiritual free-roaming jazz, the music of the Middle East interlocking with the heat, fire and energy of intercontinental free jazz, producing a previously untapped but deep creative connection with contemporaneous efforts of Pharoah Sanders, Phil Cohran, and - of course - Sun Ra. The Cairo Free Jazz Ensemble succeeds in combining jazz instrumentation and musical style with indigenous melodies and instruments and by doing so creating a freshly sounding musical language that stands firmly on its own. The album is a throbbing, squealing, wild journey, a roller-coaster ride through the creative heights of sound, channeling a myriad of high energies, swirling interplay, focused but ravaged artistry that taps into a maniac fury and leaps from a deep ancient past towards an intergalactic sonic future, all within one single blow. This is high tension music born out of standing too long under the unrelenting heat of the Egyptian dessert sun, creating high voltage reactions that hurtle in and out of focus and sweat out a highly addictive animated strive of malicious sounds. The shit burns like oil on your legs, making you withholding silent screams deep down your throat while your nuts are on FIRE!!! Pristine copy, you know the deal…. SOLD
35. CATALOGUE: “Antwerpen Live 11 Aug. 1979 1.30 H Belgie” (POT-7901) (Record: Near Mint/ Jacket: Excellent ~ Near Mint, best condition jacket I have seen so far!!!). Top copy of maybe Catalogue/ Berrocal rarest release. Totally obscure Jac Berrocal/ Catalogue record that never seems to make it inside of lists or is ever offered for sale. Subliminal live performance by France's finest avant-rock combo to have ever mounted the stage. Their live performances are stuff of legends, filled with a boundless spontaneity that bordered at the suicidal; making them blood-curdling stage acts. This recording captures them as a part of several acts appearing at Antwerp's 1979 rendition of the Free Music festival. The surviving recording was released in a tiny quantity and displays the venomous raw punk power of the band mixed up and cut down with an abusing arsenal of gear, grungy free rock and distressing absinthial hardcore jazz that all gels together in the infectious jet blast that is Catalogue. The group's line-up for this gig was probably their most expanded to ever hijack a stage and consisted out of Jean-Francois Pauvros, Patrick Prado, Jacques Berrocal, Michel Potage and Jean-Pierre Arnoux. This disc is a vicious killer slide and captures one of the greatest ever performances. Impossible to come by these days or at the time it was released. Far rarer than hen's teeth. I do not think this one will ever surface again any time soon – at least not in the foreseeable future. Price: Offers!!!
36. CHARLEMAGNE PALESTINE: “Four Manifestations On Six Elements” (Sonnabend Gallery – Magne 8A~8D) (2 LP Record: Near Mint/ Heavy Gatefold Jacket: Near Mint). Original 1974 first press issue in TOP condition. Hardly ever surfaces and a genuinely rare and obscure release. This seminal work of early Minimalism was originally released in 1974 as a privately pressed double LP by the Sonnabend Gallery in a limited edition of 2000 they say but personally this was either an overstatement or a printing error and I believe not more than 200 copies of this LP were pressed at the day. (If actually 2000 copies were pressed this one would pop up all over and besides that selling 2000 copies at an art gallery seems a bit optimistic if not commercial suicide). These early-'70s electronic/piano pieces capture composer Charlemagne Palestine at one of his artistic peaks. The two lengthy electronic soundscapes, "Two Fifths" and "Three Fifths," were realized on some sort of acoustic-sounding synthesizer; sounding like pure piano overtones they possess a shimmering hard texture all their own. The three related pieces for Bosendorfer piano, "One + Two + Three Fifths In The Rhythms Three Against Two," are deceptively simple exercises that gradually build in density through the use of pedal and Palestine's "galloping" technique. "Sliding Fifths For Piano" is an overlapping series of sustained arpeggios, a babbling brook of pure sound, prettier than La Monte Young's similar "The Well-Tuned Piano," which it probably derives from. One of the key recordings that went on to define Minimal Music, this one is just as essential as La Monte Young or Taj Mahal Travelers recordings. Massive and top copy, impossible to ever upgrade upon. Price: Offers!!!
37. 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!!!
38. 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. Without obi it surfaces from time to time – as does a 2nd pressing with different cover art - and is very affordable. With the 1st issue 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!!!
39. CHILDREN OF THE SUN: “Ofamfa” (Universal Justice Records – 29105) (Record: Near Mint/ Jacket: Excellent). Great copy of totally vanished spiritual jazz slide. Children of the Sun was the first of the recording put out by the private press imprint Universal Justice and the Black Artists’ Group (B.A.G.) in 1971, a collective out of St. Louis featuring Oliver Lake. Whereas the later releases of this loose-knit group dwell into more confined and well-guarded waters and steering towards safe harbors, Ofamfa sees itself in the territory of unique and adventurous recordings; spiritual free jazz interlocking with poetry and testing the limits of the sound barrier as far as deep subterranean vibes are concerned in the quest for high-voltage reactions and high-tension music. This is top shelf early seventies private press spiritual jazz feeding off an intuitive approach and a shamanistic sense of poetry, putting down one of the jazz underground scene’s defining moments. Just stunning and much in demand these last years and a tough one to get your mittens on as of late. Amazing copy, highest recommendation!!! SOLD
40. 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!!!!
41. 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!!!!
42. 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!!!
43. COB: “Spirit Of Love” (Epic Japan – ECPL-25) (SEALED). Bloody rare Japan 1st original pressing from 1972 on high quality vinyl – so fooking rare I did not even has the faintest clue it existed SEALEd with never offered before OBI!!!. TOP COPY - SEALED & ALL COMPLETE with CAP OBI and 4 Paged INSERT!!! Ok, one can be fairly short about this album. Why? Because it is simply 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. 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. This disc comes out of the hands of its 1st owner who sadly passed away. So the one who will snatch this one up will be this LP’s second ever owner (myself not included because I am just the medium passing this one on to you). 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 pressing - MEGA RARE SEALED with CAP OBI present - never offered before all complete with OBI. Price: Offers!!!!
44. 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!!!!

45. COHRAN, PHILIP and the ARTISTIC HERITAGE ENSEMBLE: “The Malcolm X Memorial – A Tribute in Music” (Zulu Record - #0007) (Record: Side A = Near Mint ** Side B = Excellent – has one visible hairline that does not affect the play/ Jacket: Near Mint). First original pressing. Top condition original first pressing. Sleeve is in perfect nick as well as the record but on side B I can detect under a light a hairline mark that does not affect the play so overall NM condition. “A brilliant tribute to the late Malcolm X – served up by Chicago's legendary Artistic Heritage Ensemble! The record's got an even farther-reaching sound than the group's self-titled effort – a flowing style that unfolds as their tribute to Malcolm rolls on – starting spare and earthy at first, then picking up a fuller, prouder, much more righteous groove as things really get going! As before, there's plenty of heavy percussion at the bottom of most tracks – topped by complicated horn passages that often verge on the exotic – and which have a tremendously captivating sound. The ensemble's led by the great Phil Cohran, who played with Sun Ra for a bit, and also plays cornet on the record – the rest of the group includes Charles Williams, Don Myrick, Louis Satterfield, Pete Cosey, Henry Gibson, Willie Woods, and Aaron Dodd – a lineup of players who also worked with Sun Ra, The Pharoahs, and Earth Wind & Fire! The LP's a suite of 4 tracks dedicated to Malcolm X, each capturing a period of his life, "Malcolm Little", "Detroit Red", "Malcolm X", and "El Hajj Malik El Shabazz".” (Dusty Grooves). Killer record brimming over with tight groove-oriented vibrations that simultaneously breathe out soul, jazz, & Middle Eastern rhythms. A politically radical & intense recording not to be missed. Original pressing that is getting extremely tough to dig up these part years in decent condition. Has been ages since I last saw a clean one so happy to offer this near perfect one for ya. Indispensable private press spiritual free jazz masterpiece that is getting notorious for all the right reasons. Price: Offers!!!

46. 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!!!!
47. 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!!!
48. 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!!!
49. COMUS: “First Utterance” (Dawn Japan – YS-2543-YD) (Record: Near Mint ~ Mint/ Laminated Gatefold Sleeve: Near Mint ~ Mint/ 4-Paged Insert: Mint/ OBI: Near Mint). Rarest of the rare, Japan original in TOP condition all-complete with hideously rare DAWN obi present. Original 1971 Japan press on high quality vinyl. Comes with 4 paged illustrated insert and pressed on high quality Japanese vinyl. Comus and their first album “First Utterance” didn't make the big-time. The disruptive postal strike of 1971 apart, selected unfavorable press reviews suggest that Comus' music was an acquired taste; too damn spiky and unruly for the average folkie, yet too concerned with intricate arrangements and acoustic instrumentation to fire up a hard rock fan. The foreboding, quasi-medieval sounds on “First Utterance” give new meaning to the term “cult classic.” As the twisted, emaciated figure on the album's cover may imply, this is a very dark, chilling record. One critic described it as “a cross between a frenzied version of the witches chorus from Macbeth and Marc Bolan being squeezed to death”. Well, at its core it is based in idioms of British folk music, but it is fusionized and rendered with harsh, dissonant strikes with aliens bursting from the chest cavity. It can be rather heavy music -- not metal or hard rock heavy, but heavy in the atonal ferocity. I never thought acoustic instruments could sound so nasty. That raises another point: Comus' music is almost entirely acoustic -- acoustic guitar, electric bass, hand drums, flute, violin and so on. This gives the album a very stark sound, which adds to the genuineness of their doomy, dark fantasy world. The complex arrangements and rocking power of this band are tremendous. The vocals run a remarkable gamut, from evil munchkin snarls to wispy female vocals to normal male singing. Musically and lyrically, Comus evokes visions of pre-Christian pagan nature worship -- but this is starkly anti-Romanticist, dark, paranoid and vengeful. Goblin-like voices sing is a very credible hymn en masse to the eponymous goddess. Most of the lyrics are twisted and sometimes violent.As far as the lyrical content is concerned, it runs the gamut from a violent chase through a moonlit forest, a rape, religious persecution and subsequent hanging, incarceration, torture, and death. “First Utterance” was Comus’ debut. It barely sold anything, and perhaps because of this, they only released one other album with a much less alien musical palette and a sunnier disposition. Comus’ debut has achieved a remarkable cult status, which is decidedly deserved. The astonishing attention to detail and wholly original technique displayed by the group makes the album a uniquely rewarding listening experience, albeit a disturbing one as well. So it definitely is one of Britain’s greatest ever-folk gems recorded along side the two COB albums and Spirogyra’s debut. Call it acid folk, psychedelic folk or whatever trendy tag you have in your bag. To these ears, Comus does not fit any tag, they are best labeled as just Comus. Massive. Top copy and rare 1971 Japanese original press on the Japanese Dawn imprint, complete with mega rare obi in mint condition, impossible to ever upgrade upon. Price: Offers!!!!
50. CROSBY, DAVID: “If I Could Only Remember My Name” (Atlantic – P-8052A) (Record: Near Mint ~ Mint/ Heavy Gatefold Jacket: Near Mint ~ Mint/ Insert: Near Mint/ Rock Age Flower Obi: Near Mint ~ Mint). Bloody rare 1st original all complete Japan press issue with RARE ROCK AGE FLOWER OBI present and all is in impeccable shape. To make matters even more salacious, this is the rarely seen BLUE LABEL PROMO issue. Fantastic solo album by David Crosby and one that has been my personal favorite out of that era for many decades now. “Forgotten by rock history, and probably by most of its participants, this 1971 curio is a one-of-a-kind freak-folk apogee. It's a solo album in name only, since the Croz operates as a cosmic cruise director, bringing in pals like Neil Young, Joni Mitchell, Jerry Garcia and Grace Slick. In hydroponic jams like "What Are Their Names," you can hear each guest wander into the studio, plug in, play a few licks, sing a few harmonies ("Peace is not an awful lot to ask" -- dig it!) and raid the fridge. Garcia steals the show, and the two killer tracks are the ones where he burns on guitar, playing in a dark "Wharf Rat" mood: "Song With No Words (Tree With No Leaves)," where Garcia cuts Jorma Kaukonen in a guitar duel, and "Laughing," featuring Jerry's profoundly sad pedal steel.” (Rolling Stone) Never seen before Rock Age obi present, making this slide a minor - major rarity. Top condition promo issue and impossible to ever upgrade upon. They just do not come any better than this one here. Price: Offers!!!!
51. 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!!!!

52. CYKLE: “S/T” (Label Records – S9-261) (Record: Near Mint/ Jacket: Near Mint). Impossibly rare and impossibly clean 1st press original of US killer garage psych slide. What a great psyched out garage slide that surfs a high-crested wave of teenage snotty energy and has all the right ingredients to make it a memorable one with liberal doses of fuzz, vox organ lines, and snotty almost Sky Saxon kind of vocals thrown in the punk-psych mix. “Opinions divide on this one, some think it is an absolute monster while others are less impressed. Sure, there are 2 ~ 3 awesome fuzz garage tracks here, some of which have been comp’d but like Mystic Siva there’s also a fair share of slow numbers and poppy tunes that seem to go nowhere (although again opinions are divided on this). High point is the incredible “Lesson To Learn”, a work of sheer garage-psych perfection, with great acid lyrics to boot. Drummer/ band leader Jimmy Sossamon is about 3 times as good as any other band member, with amazing fills and grooves that contrast with the rather primitive songwriting. The production is unusually clear for a garage band and makes liberal use of stereo liberation, which isn’t always to the Cyckle’s advantage as it reveals the less developed aspects of their artistry and vocals. Cool cheesy sleeve.” (PL – Acid Archives). Top condition copy and 1969 original pressing of monster rarity. They do not surface in such perfect nick as this one here so….you know how rare this one is therefore give me your best shot! Price: Offers!!!

53. DARIUS: “S/T” (Chartmaker – 1102) (Record: Near Mint/ Jacket: Near Mint). Original US pressing of this tremendous Californian full blown psych artifact by the Acid King himself. Label mates Goldenrod back Darius here. A dessert island disc for sure, Darius delivered a folky psych album stuffed with 10 amazing tracks. Gifted with a powerful voice and well-crafted songs, sprinkled over with a strong emotional spark, he didn’t fail to create a memorable statement that has yet to be rivaled. Just killer acid folk psych that never misses its effect when playing it. True killer in the true sense of the word. One of the top 5 US private press psych albums ever! Superb copy, recently high in demand and getting harder by the day to dig up. Top copy!!!! Price: Offers!!!!
54. 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!!!!!
55. 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!!!
56. DEEP PURPLE: “The Best Of Deep Purple” (Polydor – MP-2103) (Record: Near Mint/ Gatefold Jacket: Excellent/ OBI: Near Mint). Rare Japan only 1970 first original pressing all complete with first issue straight obi. Second pressing has a triangular obi and that one surfaces from time to time, but this one is genuinely hard to track down. First copy I see in over a decade. Great condition. SOLD
57. 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!!!!!

58. 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!!!!!

 

59. 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!!!!
60. 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!!!
61. 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!!!
62. 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!!!!
63. 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!!!!!
64. DON RENDELL – IAN CARR – NEIL ARDLEY: “Greek Variations & Other Aegean Exercises” (Philips – RJ-5004) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near Mint). Bloody rare Japan first original press issue, WHITE LABEL PROMO COPY and all complete with rare OBI!!!. Recorded in '69, Greek Variations & Other Aegean Exercises is irresistible on two counts. First, for its daringly conceived and brilliantly performed music, inspired by Greek folk songs and instrumental textures and deep enough to reveal all its treasures only after many repeated listenings. Second, for being recorded at the moment when the Don Rendell/Ian Carr Quintet, a major force in British straight-ahead jazz since '62, had broken up and Carr's equally influential jazz-rock band Nucleus was rising from the ashes. The first half of the album has composer Neil Ardley directing a fourteen-piece chamber orchestra featuring Rendell and Carr, plus a supporting cast of creme de la creme British musicians in "The Greek Variations," a six-part suite based on a traditional Greek folk tune. The second half features in turn a quintet led by Carr—Nucleus in all but name—and a quartet led by Rendell, on shorter suites maintaining a Greek flavour and ambience. An undercurrent of brooding turbulence surfaces at various points in the "Variations" suite, as though some sort of tidal wave might erupt from the Aegean at any moment, but at other times the mood is sunnier and vivacious (or delicately moonlit), and there are lovely solo passages, both improvised and composed, from Frank Ricotti on marimba/vibraphone, Karl Jenkins on oboe, Rendell on alto flute (on which he has a voice as distinctive as on tenor sax) and Carr on flugelhorn. Comparisons with the Miles Davis and Gil Evans collaborations inevitably spring to mind. But Carr, though strongly influenced by Davis, is ultimately his own man, and Ardley is absolutely so too, and the result is an entirely fresh approach to composed/improvised orchestral jazz. The three Carr-composed tracks are performed by Carr plus Nucleus founding members Brian Smith, Chris Spedding, Jeff Clyne and John Marhsall. "Wine Dark Lullaby" and "Orpheus" conjure up balmy Mediterranean nights, soft and lush, while "Persephone's Jive" is a wild Greek dance made ever more urgent by the sustained clatter of Afrobeat in Spedding's aggressive, staccato comping. Only a few minutes long, but still one of the highlights of the set. (All About Jazz) SOLD
65. DOORS: “Strange Days – Maboroshi No Sekai” (Elektra – SJET-8017) (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint). Rarest Doors release to seep out of Japan is their 2nd LP released in February 1968. The green Victor World Group SJET obi’s are seriously rare and the 2 first Doors releases rank amongst the rarest on the label as copies with obi just never seem to turn up. Comes on the “blue” colored Elektra guitar player logo label. First time ever I see such a pristine copy of this one. Damned rare so hit me up with your best shot. Price: Offers!!!
66. DOYLE, ARTHUR PLUS 4: “Alabama Feeling” (AK-BA Records – AK-1030) (Record: 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 of 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!!!
67. 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!!!!!
68. 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!!!!

69. 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!!!

70. EIJI NAKAYAMA: “Aya’s Samba” (Johnny’s Disk – JD-01) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint). Absolutely pristine top copy, first original press issue of magnificent private press Japanese Jazz masterpiece. Intoxicating grooves from a cool Japanese combo spearheaded by bassist Eiji Nakayama and flanked by a great electric piano and brilliant tenor sax player! Long & open-ended tracks that are not unlike the Three Blind Mice label style of the period, but blessed with an even more contemplative and spacious feel – especially on some of the piano lines that are outstretched and almost galactic in their own way. But when the tenor sax comes into the mix the whole affair gets more befringed! Aya’s Samba, released in 1978 out of a jazz café in Iwate on a label named after the owner, became the first and most sought-after release on it by far. The group created a mellow and melancholic spiritual journey, a post-bop voyage drifting on Coltrane’s avant-garde fumes and injected with a touch of Brazilian and Latin flavors to spice up the sonic outcome. The electric piano/sax-led jazz/samba fusion track feels simultaneously both extremely familiar and completely unique, floating on a tasteful mix pulling in samba vibes crossbreeding with jazzy molecules. Infectious electronic piano solos intersect with floating bass and sax lines, all underscored by some delicate and subtle drumming that always seems to restrain itself just in time before going completely out of control. Veering off with the memorable classic “Aya’s Samba”, one gets dozed into a potent mix of rhythmic Brazilian samba carried by Nakayama’s elastic bass playing, accentuating perfectly the loose and polyrhythmic funk grooves pulsating out of drummer Atsumi. The rhythm section is in perfect sync, the piano and sax glide over it all, adding a slight spiritual flavor to the already intoxicating mix. This all is driven by Nakayama’s understated molecular shifting bass, displaying his versatility in opting for the bow in his slow build up during the intro of “See Sea Town”. Emotional bowed pulls build the tension towards almost liquified heights that guide you towards the introduction of Takahashi on the sax. Takahashi’s sax runs are brimful with poetic resonance of Coltrane’s playing style around his 1961’s My Favorite Things period, but nevertheless he stands on his own plane. In all, a splendid LP but a damned tough one to unearth on these shores. One has to approach this one with caution cause once you get sucked into this sonic Valhalla, there is no way back. Killer!!! Price: Offers!!!!
71. EIN JAHR JAZZ ALTENA – ISERLOHN: “Remembering Sixty-Nine” (Private/ JG Records – JG04~05) (2 LP Record: Near Mint ~ Mint/ Fragile Gatefold Jacket: Near Mint/ Attached 8 Paged Booklet: Near Mint). Top condition German private press free jazz beast that saw the light of day in 1969 in limited run. Recorded over the course of different dates in 1969, these events would form the kickstart for the later editions of the Altena Jazz Festival. The 2 LP set here has some amazing adventurous music on display and beholds the following ear-waxing performances: Side 1 - Xhol Caravan, Wolf-Doldinger Quartett. Side 2 - Blue Note Juniors; Boogie Woogie Company, Sidewalk Hot Jazz Orchestra. Side 3 - Dave Pike Set, Jon Eardly All Stars, Joachim Kühn Group, Walter Strerath Quintett. Side 4 - Jazz Trinity (The Three), Werner Geck Quartett. Apart from the music on side 2 (according to my humble ears) all is absolutely amazing and the artists were recorded respectively live on the following dates: 09 March 1969: Dave Pike Set, Nachrodt. 26 April 1969:  Xhol Caravan, Altena. 07 Juni 1969: Boogie Woogie Company, Nachrodt. 11 October 1969: Albert Mangelsdorff Quartett, Altena. 26 October 1969: Peter Trunk Sextett, Iserlohn. 02 November 1969: Free Jazz Group Joachim Kühn, Altena. 15 November 1969: Sidewalk Hot Jazz Orchestra, Iserlohn. 22 November 1969: New Jazz Star Trio with Manfred Schoof, Peter Trunk, Cees See, Nachrodt. 06 December 1969: Dave Pike Set, Altena. 07 December 1969: Walter Strerath Trio/ Quartet/ Quintet, Iserlohn. Especially the Xhol Caravan set is amazing, hitting my nerves at all the right spots like a blast of summer lightning. Doldinger, Dave Pike, Joachim Kuhn and Jazz Trinity provide the right jazz injection descending like a swarm of wild bees aiming at my honey dripping membranes. Just deep freeze brainiac sounds that keep you begging for more. This record was only made in 1969 after Karlheinz Klüter got 100 pre-Orders and his 5-year-old son drew the cover, which fits the music on display like a warm velvet glove. The rarest of the Altena series on JG Records, rarely ever surfaces and this one is pristine and comes with the booklet. Highest recommendation. Price: Offers!!!!

72. 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!!!!

73. 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!!!
74. 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!!!
75. 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!!!
76. EMILY: “S/T” (Odeon Records – EOP-80548) (Record: Near Mint/ Jacket: Excellent/ OBI: VG++ ~ Excellent/ Insert: Near Mint). Original Japan 1st original pressing that came out in 1970. White label PROMO issue. Only released in France (rare but most easy to dig out issue but still far from cheap) and in Japan at the time in 1972. The Japanese pressing is the rarest one and never made it beyond the promo state, so only a handful of copies do exist. Comes complete with never offered before first issue obi as well. Emily started out as a teenager playing clubs in Greenwich Village, then moved to France at 16 where she recorded and released in the spring of 1972, this extremely rare album that has been acclaimed as a psychedelic folk masterpiece. With sensitive backing from local progressive rockers Dynastie Crisis, the eight self-penned songs feature delicate arrangements and lyrics that show remarkable maturity and depth. A firmly established rarity in its original incarnation. Hideously rare female acid folk LP that only was released in France and Japan at the time. TOP COPY!!!! Price: Offers!!!!
77. The ENSEMBLE AL-SALAAM: “The Sojourner” (Strata-East – SES-7418) (Record: Near Mint/ Jacket: Near Mint). Virginal US first original press issue. Sublime spiritual jazz from Strata East -- one of the label's rarest recordings, and one of its hippest too! The set has an incredibly righteous feel -- a blend of keyboards, saxes, guitar, percussion, and vocals that steps off with a very deep feel -- one that's heavy on the best post-Coltrane modes of expression in jazz, and which really takes advantage of the freedoms of the Strata setting to open up the sound in really beautiful ways! Beatrice Parker handles the vocals, with a very warm and spiritual style that's not unlike some of the early, righteous recordings by Dee Dee Bridgewater -- and other group members include Khaliq Abdul Al Rouf on saxes, Bevin Turnbull on keyboards, Mashujaa Aliye Salamu on guitar, Leroy Seals on bass, and Fred Kwaku Crawley on a host of hip percussion instruments. There's a slight undercurrent of funk on a few tunes, but most tracks are focused more in a soaring, spiritual groove. Top condition US original pressing. SOLD
78. 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!!!
79. 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 ply 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. Clean copy and still largely under-the-radar great UK folk psych that is in urgent need of mass appraisal!!! Price: Offers!!!
80. FAIRPORT CONVENTION: “Liege & Lief” (Island/ Nippon Victor – FOX-7022) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Original Japan first pressing – never offered before anywhere with first issue Obi present and in top condition. “In much the same way that punk rock was a lightning rod for militant, culturally disaffected kids in the mid-1970s, the folk boom of the 1960s attracted angry young men a decade earlier. Fired up by the Luddite rhetoric that would later inspire punks, new folk attempted to re-forge a music that spoke directly to the ordinary working man in the bedlam of the industrial age; a music that did away with the star system, that was emotionally honest and - most importantly - saw its lineage as stemming directly from its own backyard. Unlike The Stones and their ilk, salivating over the latest US blues imports, musicians such as bassist Ashley Hutchings, guitarist Richard Thompson and vocalist Sandy Denny looked to the pubs and villages of old England for the authentic voice of the underclass, tapping into a rich tradition of romantic balladry. Fairport Convention's masterful 1969 recording Liege and Lief was new electric folk's first real breakthrough. It is still an incredible document, where extended, epic jamming (with obvious nods to the sprawling west coast psychedelia of Jefferson Airplane in Thompson's absolutely stellar fretwork) meets with frail English traditionals, all lit up with plenty of magical midnight air thanks to Denny's bewitchingly beautiful vocals. While their raucous demolitions of folk standards such as Matty Groves and Tam Lin are uniformly exhilarating, it is Thompson's Farewell, Farewell that really steals the show. It may just be the most heartbreaking song of remembrance ever written.” (David Keenan for the Sunday Herald, 2001). I guess that you can catch the drift, just indispensable and if you have to won only one single folk-rock album, be sure to make it this one. Massive. Stunningly clean original 1st Japanese original pressing!!!! Top shape and with monster rare OBI present. SOLD
81. FAPARDOKLY: “S/T” (UIP Records – LP-2250) (Record: Near Mint/ Jacket: Near Mint ~ Mint – still housed in original shrink). Top copy, US original MONO pressing from 1967 of damned rare Frankhauser psych classic! “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 Hollyand 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). Long time 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. Price: Offers!!!
82. 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!!!!
83. 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!!!!
84. FLOWER TRAVELING BAND: “Satori” (Atlantic – P-8056A) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Rock Age Obi: Excellent ~ 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. SOLD
85. 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!!!
86. FLUTE AND VOICE: “S/T” (BASF/ Teichiku – UPS-549-B) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ OBI: Mint). Impossibly rare and never offered before anywhere 1st press Japanese original pressing in TOP condition all complete with first issue OBI! Never seen a copy with obi before, this is seriously rare all complete. An unusual Berlin duo, Flute & Voice were in fact much more multi-instrumental than their name would suggest! The music is a strongly ethnic concoction that was not at all easy to pin down. An understated kind of folky rock that seemed to step on from King Crimson's "Moonchild" with weird jazzy and raga touches, hinting at Kalacakra or the Third Ear Band, though totally devoid of any emotion. In fact, the whole album sounds "stoned". Top copy, impossible to ever upgrade upon and all complete with OBI. Make your best move and hold your peace forever. Price: Offers!!!!
87. FOOD BRAIN: “Social Gathering - Bansan” (Polydor – MP-2100) (Record: Excellent ~ Near Mint – top copy, has 2 small hairlines – non-sounding – on side 2/ Gatefold Jacket: Near Mint/ Gatefold Poster Insert: Near Mint/ Obi: Mint). Complete with ALWAYS MISSING OBI and the gatefold POSTER insert!! The Obi in combination with the gatefold artwork and insert is just lethal and impossibly rare. The 3rd time I could clutch my mittens around a complete copy of this one with OBI & poster insert present. Beautifully preserved stock copy. Top copy of this psychedelic psych beast from the east. Ok, for your condition freaks, here is a top shelf copy; complete with insert and high-level quality record. Poster-like insert and OBI are also present. Killer heavy psych record, with Shinki Chen wailing the ax and Yanagida Hiro torturing the keys while Luis Kabe doomsday-thick-as-blood bass lines interlock with Tsunoda Hiro’s jungle drums, forming the perfect ingredients for a psychedelic jungle shoot-out. Shinki Chen’s searing electric guitar cuts through the air here like a buzz saw. The group sweats out heavy psychedelic jams here, a peculiar mix of electric madness, high speedy snorting and pure uncut crystalline lunacy. This is one of the greatest freak-out psych fests to seep out of Japan. Killer all the way with absolutely no filler. Top original copy with all present. Just impossible to get all complete + with obi and insert fully accounted for. One of the rarest (with obi) from down here and in top condition, a one-off chance and a nice price!!!! Price: Offers!!!!
88. 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!!!

89. 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!!!!

90. 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!!!
91. 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!!!!
92. 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!!!
93. GANDALF THE GREY: “The Grey Wizard I Am” (Private – GWR-007) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Original US press copy of this magickal folk rock album with psychy touches, loud fuzzy leads and dreamy stoned vocals. The whole album breathes out an innocent and stoned feeling that is nothing short of being utterly bewitching. So beautiful with a compelling basement vibe simmering throughout. The innocent dopey feel of the track “Here On Eight Street” is nothing short of ear shredding beautiful, making it one of my all time favorite songs ever to be put down on wax. Killer slide. Original US private press copy in top condition! SOLD
94. The Michael GARRICK SEXTET: “Promises” (Argo – DA-36) (Record: Near Mint/ Laminated Jacket: Excellent ~ Near Mint). Rare UK 1st original 1965 pressing in TOP condition. This is the damned rare MONO pressing of a wicked, wicked British Jazz album, a modal monster!!! Promises is certainly one of the very best recordings within the Garrick canon and sports some equally legendary names including Joe Harriott (alto), Ian Carr (trumpet & flugelhorn) and Tony Coe (Tenor & clarinet). Regular Garrick sideman Shake Keane was scheduled to appear but shortly before the recording session left for Germany to join Kurt Edelhagen’s radio band, hence Ian Carr stepping in. The end result is just jaw-dropping awesome, a true modal jazz monster that bops around loose polyrhythmic grooves that will leave you bruised and hungry for more and hopelessly begging for more. MONO pressing in outstanding condition, I do not believe they come any better than this one here. Price: Offers!!!
95. GASLINI, GIORGIO QUARTET: “New Sound Jazz” (Cinevox Record – CJ-02) (Record: Near Mint/ Jacket: Near Mint). Pristine condition 1967 Italian first original press issue. Surely one of the hardest to track down Italian jazz slides out there – especially in such a virginal condition as this copy here. This is one fantastic record, blessed with addictive cool cine-jazz sounds combined with some slightly freer & fragile avant outings but overall drifting into marginally melancholic sound sphere. Originally composed as a soundtrack, the music is endowed with beauty, extremely well balanced in its execution, creating a music brimful with poetic resonance but still floating on an intuitive approach lead by Gaslini’s liquid piano playing and Eduardo Volonte’s unique and translucent sax lines that engulf the aural landscape, succeeding in both sounding forlorn one moment and sprightly, displaying poise, concentration and inventiveness the next, without ever skipping a single beat! Deceitfully skeletal, yet deceptively intense, casual in feel, yet meticulously in its musical detail and lyrical economy, that is the scope of this cinematic slide, injecting an austere intimacy through sound right into your pulsing brain. Just a total jaw-dropper of a record and one of the finest to seep out of Italy. Just about never surfaces – especially in such a perfect condition as this one here. No defects at all and the record comes housed in a fantastic thick laminated cardboard sleeve that screams perfection! Highest possible recommendation. Price: Offers!!!!
96. GENTLE SOUL: “S/T” (Epic – BN-26374) (Record & Jacket: MINT = SEALED ORIGINAL). Promo issue – has on back the “For Demonstration Use Only – Not For Sale” sticker!!! "The Gentle Soul were the singing-songwriting duo of Pamela Polland and Rick Stanley, and made one LP for Epic in 1968 that bridged the folk-rock and singer-songwriter/soft rock eras. The self-titled album, despite coming out on a major label, is extremely rare, and has never been issued on CD. Produced by Terry Melcher (the Byrds, Paul Revere the Raiders), it had quite a stellar supporting cast of session musicians, including Ry Cooder on guitar, Van Dyke Parks on harpsichord, Paul Horn on flute, and Larry Knechtel (later a founding member of Bread) on organ, plus noted arranger Jack Nitzsche. A nice, though not major, effort, it was indeed a gentle record, usually paced by the close male-female harmonies of Polland and Stanley; they also wrote most of the songs, usually but not always as a team. The folky and acoustic-flavored, but not totally acoustic, ambience and harmonies recalled the Stone Poneys. The balance between male and female vocals, however, was naturally far more even than it was with the Stone Poneys, who were dominated by Linda Ronstadt even on the numbers with harmony lead vocals. Another reference point, though far more obscure, would be the Bay Area folk-rock duo Blackburn and Snow, although the Gentle Soul were more subdued, in fact foreshadowing the soft rock of the early 1970s.” (Richie Unterberger). Much in demand LP, especially in decent condition as most copies are suffering from either heavy storage & ring wear or have been trashed completely. Unearthing one in top condition is not an easy feat, let alone a sealed PROMO one like this copy here. One off chance to wheel in the perfect copy. Price: Offers!!!!
97. 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!!!
98. GILSON, JEF & HAL SINGER: “Soul of Africa” (Le Chant Du Monde – LDX-74556) (Record: Near Mint/ Gatefold Jacket: Near Mint – small pen marking inside gatefold upper right corner). Bloody scare 1974 French first original press issue. During the 1960s, pianist and composer Jef Gilson was at the epicenter of all things jazz that happened and passed through Paris, at least in terms of discovering and promoting young talent and the way he initiated his groups. He interacted with just about every key French jazz musician of his era and would regularly enter the orbit of visiting American musicians as they came through Paris. And on one of those occasions, he hooked up with expat & Oklahoma born tenor Hal Singer. Singer himself also was no lightweight and he had already earned his spurs through playing alongside Duke Ellington, Roy Eldridge, Billy Holiday and Earl “Fatha” Hines before moving to Paris in the late 60s. So, teaming up with Gilson was only a matter of time, in who he found a musical kindred spirit. The combustion of this head on collision between the two resulted in the staggering 1974 album ‘Soul of Africa’. A true chef-d'oeuvre of a record, regarded as one of the key documents of the Afro-Parisian jazz scene and very deservedly so as it floats largely on African-influenced jazzy vibes. Heavily thriving on percussion and mutating in a variety of modes, it makes each composition stand out proudly on its own and exhibiting its own characteristics. Ranging from rhythmic modal jazz to groovy soul jazz, all the compositions are impregnated with a warm and deeply resonating black spiritual sensibility, creating sonic pleasures and astonishments with every turn the music takes. The percussion is a dominant throughout the whole set, an overload jumble of animated strive, colorful and full with animated strive, singlehandedly almost responsible for delivering an arresting listening experience. The complex upright basslines, courtesy of Henri Textier provides the perfect counter-balance while Singer cuts through the chaos with his clarion tenor lines and giving its soul to this lethal Afro-Parisian jazz masterpiece. Absolutely a killer slide! Price: Offers!!!
99. 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!!!
100. 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!!!
101. The GOW-DOW EXPERIENCE: “Prof. James Benson – A New Dimension In A Black Musical Art Form” (The Gow-Dow Experience Productions – JB-77707) (Record: Near Mint/ Jacket: Near Mint – still firmly housed in original shrink/ Insert: Near Mint). 1973 US first original pressing in top shape & complete with insert! Seriously deep and super groovy LA spiritual jazz / funk private press burner that kinda stayed under most people’s radar for quite some years. Prof. James Benson was a lecturer/ professor at the Black Studies Department at Cal Poly Pomona. While listening to this slab of jazz-funkiness, it becomes in a way clear that the music cannot be judged solely as entertainment because the record itself was just one part of Benson’s so-called Gow-Dow philosophy of Black unity and empowerment. As he states in the liner notes, the adhoc assembled group form a sense of “Black Functionalism”, which he explains is “doing some consistent kind of activity in the community to show our concern and responsibility as black students, brothers and sisters … within a few weeks we went into action – free public concerts, prisons, festivals, churches, school, educational TV, radio, weddings, etc.” The LP is the result of those community efforts that took place between 1969 up until 1973. Most of the music here is not studied or composed as Benson states on the back cover “these students had very little (if any) formal training”. The whole affair dives deep into the jazz funk territory with the aid of then Cal Poly Pomona student and ace studio session singer Josie James (Jazz Crusaders, Bert Bacharach) and guitarist Roy Gaines (Stevie Wonder, Gladys Knight) amongst others. Benson, who had played with lots of heavyweights such as Harold Land, Ndugu Chancler, Alphonse Mouzon, Freddie Hubbard and even Sun Ra, can be heard on flute, alto & soprano sax and (spoken word) vocals. Heavy percussion, scattered chants, saxophone and flute overblows, cries and active dialogue – it is all here! The whole album is a true delight thriving on loose polyrhythmic funk grooves coming straight down from some Gospel apocalypse against a cauldron of liquid guitar lines, flute vibrations, ecstatic cackles of chanting and liquid jazz vibes, a truly irresistible mix of everything you’d expect of a record with a name, sleeve and title like this one here. It all gets topped off by a nice, free-form private / DIY feel that only adds to its overall appeal. It’s a complete miracle why this head twister is still relatively obscure, although quite difficult to catch in pristine shape. Top copy, still housed in shrink, next to impossible to ever upgrade upon. Price: Offers!!!
102. GRAHAM BOND: “Holy Magic” (Philips Japan – SFX-7313) (Record: Near Mint/ gatefold Jacket: Near Mint/ Obi: Near Mint, has a folding crease). Hopelessly rare Japan 1st original pressing all complete with the “vertigo – Do It Rock” obi. Quite an unusual little album from Graham Bond – quite spiritual, almost supernatural at times – very much what you'd expect from the cover and title! The record's light years away from Bond's British beat group work of a few years before – and has a quality that almost mixes headier rock influences with the spiritualism of the post-Coltrane generation – as the record almost goes farther in a direction that was somewhat initiated by Albert Ayler's more rock-like leanings at the end of his life. Many numbers have chorus vocals rising up behind Bond's lead – and while his own work on alto sax is somewhat displaced by strong use of guitar on many tracks, there's still a fair bit of jazzy elements going on in the mix – particularly on side two, which features Graham laying down some strong lines on the Hammond. Never seen before a copy with the obi present as they sold next to nothing when it was released in Japan back in the day. Price: Offers!!!
103. 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!!!!!
104. 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!!!
105. 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 – PROMO ONLY RED WAX issue. 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 ONLY & PROMO ONLY red wax with obi, what’cha gonna do about it??…. Price: Offers!!!
106. 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!!!!
107. 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!!!!
108. 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!!!
109. GURYAN, MARGO: “Take A Picture” (Bell Records – BELL-6022) (Record: Near Mint/ Jacket: Near Mint – still housed in original shrink). Top condition US original press issue of Margo Guryan’s sole album. Once you hear the sweet, delicate strain of gently kaleidoscopic music on the sole album from Margo Guryan, you are lost. It is the soft pop of which gauzy dreams are made, full of the hazy changes and transitory variations of autumn, a sonic marvel that you invariably want to wrap up in. Better than most similar efforts from the time, the little oddity maintains a vibrant resonance outside the milieu in which it was created because the songcraft is not only infectious but also highly intelligent, and because Guryan’s performance is so delicious. Quiet hard to track down in perfect condition, first copy I encounter that is virginal and still housed in original shrink. Hard to improve upon!!! Price: Offers!!!!
110. 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!!!
111. 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!!!!!
112. HAPPENINGS FOUR: “Classical Elegance Baroque ‘N’ Roll” (Capitol – CPC-8008) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ OBI: Mint). Rare 1st original pressing on red wax complete with hideously rare first issue obi. Never had a complete copy with obi before until now… This is the 2nd album by the Happenings Four, the brainchild of Kawauchi Kuni (later of Kirikyogen and others), officially released on May 10th, 1968. Like all of their 4 albums, each one sounds completely different from the others and this one is no exception at all. Influenced by Baroque art, Kawauchi went on and tried to apply this baroque aesthetic on some tunes, blending them instead into a soft pop/ easy listening/ cheesy psychedelic masterpiece that it totally laid back in nature. Ranging from some original tunes to cover versions of the Eleanor Rigby, Scarborough Fair, Hey Jude, Love is Blue and other standards of that time, Kawauchi proofed that is was an excellent arranger, rendering new life to those classics and creating a mind numbing listening experience. Some people tend to hate this album; I myself am totally in love with it. Fragile and beautiful, still at the same time lysergic in nature this album is an all time classic on my list. Forget about scoring an original with obi, because they tend to torpedo your savings. Until now, first copy ever for sale all complete with obi and disc comes on gloriously blood red wax. TOP all complete first original pressing and bloody fucking rare… Price: Offers!!!
113. 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!!
114. 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!!!!!

115. 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!!!

116. 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!!!!
117. 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!!!
118. 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

119. HUMAN BEINZ: “Human Beinz in Japan” (Capitol – CP-8737) (Record: Near Mint ~ MINT/ Gatefold Jacket: Near Mint/ OBI: Near Mint) Bloody rare WHITE LABEL PROMO issue. One of the rarest Japanese releases, MINT copy with NEVER offered before OBI, all in NM condition, like now, record is a promo copy, rarest version of them all! Archival copy, all is perfect. Here you have it, the rarest Human Beinz record, one that just never seems to surface, Japan only release from back in 1969. Japan only late 1969 original release of this subliminal New Zealand garage psych combo. Seen the levels of popularity the band attained in Japan, a tour was called for and the Human Beinz touched down in the land of the rising yen for a couple of live dates. This disc sees them live in action at the Shibuya Kokaido, a concert that took place on March 29th, 1969. The Beinz blaze out some of the most brilliant tracks, all buried in a fuzz drenched and wah-wah infested setting, scorching out popular songs such as “Mr. Soul”, “Nobody but Me”, “Foxey Lady”, Turn on Your Lovelight” and a bunch of other throat slashers. Especially their rendition of the classic “Foxey Lady” is creepy and chilling to the bone like voices and detuned howling guitars making it out from beneath the grave. This disc is like impossible to score these days. Mega rarity in MINT condition, copies with obi just DO NOT exists – complete copy, all is in Mint condition, which is nothing short of a miracle. Highest recommendation. SOLD

120. HUSEYIN ERTUNC TRIO with COSMIC MICHAEL & PHIL MUSRA: “Musiki” (Intex Sound – 4051-12) (Record: Excellent ~ Near Mint – one faint hairline on side A/ Hand Pasted Jacket: Excellent). Released in 1974 as a private press LP on Intex Records, this cosmic free jazz improvisation by this legendary trio guided by Hüseyin Ertunç - on drums - with his then-regular partners Michael Cosmic and Phil Musra - on saxophones and additional percussion - reveals a primitive and physical approach into free improvisational sound, where Ertunç's massive cymbals drumming resembles a carpet-bombing raid steers into a trance-driving vibe where the reeds can freely dance without any retardance by structural curtailment. In 1969, Hüseyin Ertunç was barely 20 years old when he touched down in arrived in Boston. He enrolled in art classes and studied painting while all the time keeping a keen interest in music, which eventually got him acquainted with Michael Cosmic and Phill Musra a couple of years later down the line. The two brothers were on the lookout for a drummer, one with an adventurous enough mindset to interlock with their musical vision and creative approach towards free improvisation. As a trio, they would record three self-released albums, all adorned by Ertunç’s drawings, who had developed in a talented visual artist fluent surrealist noodles that would eventually grace the covers of their classic batch of LPs. “Released in 1974 as a private press LP on Intex Records, this cosmic free jazz improvisation by this legendary trio guided by Hüseyin Ertunç - on drums - with his then-regular partners Michael Cosmic and Phil Musra - on saxophones and additional percussion - reveals the primitive and physical approach of the trio, with Ertunç's massive cymbals drumming building a carpet of trance-driving vibe where the reeds can freely dance without any structure. A new world of improvisational freedom opened up for me when I first heard drummer Huseyin Ertunç's LP "Musiki" bwith reedmen/ multi reedmen/multi-instrumentalists/brothers Phil Musra and Michael Cosmic. Creator Spaces is a bit more spacious than Ertunç's date, though both are quite intense documents of self-produced and spiritually-directed improvisation. Knotty and weird, there's a folksy unhinged-ness that really spoke to me in a way quite different from Albert Ayler, the AACM, and other music I was spending time with when I dropped the needle on the trio's debut album. Ertunç's percussion work really shocked me and it's still absolutely fascinating, and Cosmic's organ playing behind/around Musra's tenor is just...something else” (Clifford Allen – Ni Kantu). Unique document of Boston’s free jazz scene, privately released in a tiny run, these artifacts rarely turn up. Great copy, even better music that descends like a swarm of wild bees on the open soars on a dogs neck, killer art work, this one is bound to make you moving around like a cannonball… Price: Offers!!
121. IMADA MASARU TRIO + 1: “Maki” (Victor Records – SMJX-10106) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Excellent – lower middle seam split & wrinkle on back). Freakingly rare and impossible to dig up 1970 Japan 1st press original with OBI! Copies without obi do surface from time to time and almost always the sleeve has serious issues. This copy here is the never seen before WHITE label Promo complete with never-offered-for-sale OBI. A minor miracle and in amazing condition. Released on the legendary Victor Records “Ni Hon Jazz Series”, Imada Masaru’s “Maki” is one of the rarest & most revered Japanese jazz slides to see the light of day. The line-up consisted out of: Imada Masaru – piano, Mimori Ichiro – Tenor Sax, Mizuhashi Takashi – bass and Ozu Masahiko – drums. The trio & quartet on this recording gels together like a cohesive and steady unit, moving forward in a poetic, be it a slightly introspective fashion, guided by Imada’s intuitive piano playing. Nothing hollow and out of focus here, these lads execute the job in a beautifully painful manner, floating on polyrhythmic modal grooves and driven by Imada’s understated molecular shifting piano-lines, sparsely adorned with minimal talking drums, straightjacketed demonic bass riffs and the occasional sax howl. They manage to create a hypnotic and arresting listening experience that only seasoned scenesters can achieve by dissecting all of their movements into fractious pieces floating on an intuitive approach, a system of Dickensian severity that results in a bewitchingly eargasmatic modal groove that is brimful of poetic resonance. Therefore, it stands shoulder to shoulder with the best recordings of that golden age but unfortunately sales were back in 1970 depressingly low, making that this maverick here is one of the most sought after Japanese modern jazz slides to seep out of Tokyo’s underbelly. Especially all complete copies with obi are virtually nonexistent and to make the whole deal even more mouthwatering, this baby here is a white label PROMO issue. Top condition but damned oh so elusive with the obi present. Obi has a wrinkle on back and a 1cm lower seam split, for the rest perfection all round. It is nothing short of a miracle that the obi is here to begin with so…. Only know of a couple of people owning a complete copy of this beast so…you need to go to periscope depth in order to wheel this white whale of Japanese jazz into your collection. Price: Offers!!!
122. 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!!!
123. 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!!!
124. 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!!! 
125. INTERNATIONALES NEW JAZZ MEETING AUF BURG ALTENA: “S/T” (Private – JG Records – JG21 ~ 22) (2 LP Record: Near Mint ~ Mint/ Paste-on Gatefold Jacket: Near Mint/ Attached 4 Paged Picture Booklet: Near Mint/ Poster: Mint). Top notch condition German private press free jazz monster that saw the light of day in 1970 and comes all complete with booklet and with the always-missing poster present! Hardly ever turns up, let alone in such virginal nick as this baby here. Killer 2 LP set of recordings from the first festival of New Jazz Meeting in Altena. Music was recorded at the festival but there seems to have been no special agreements with the musicians at the time about releasing the material. JG (Jazz Groove) records did a whole bunch of spectacular releases. Jampacked with creative music of astonishing quality such as the Eje Thelin/ Joachim Kühn group out for example — ass-kicking free jazz with very creative solo works of guest Rolf Kühn and Swedish trombone maestro Thelin. The John Surman Trio is another highlight here and finds the group at its creative peak! Fireworks like interaction, highlighted by propulsive bass and drum head collision that demonstrated the luminous energy and cohesiveness of this particular rhythm sections, turning it into a beacon in the history of freer jazz! Soprano sax lines bulldozing itself to the surface like thick liquid lava but defined and articulate which could only be done by the TRIO! Next up is the Wolfgang Dauner Trio making a sidelong sonic statement with Eberhard Weber at helm, playing the bass in a way that we wished that he never would have changed to the smaller sized cello later in his career… but who is playing the ripping guitar? Quite a confusing side but challenging nevertheless. A massive sonic document of an extremely active and creative period in the developments in creative music in Europe that makes you feel like being afloat on a shipwreck of nonconformity, that proves the summer of 1970 was an all scorching one! The whole affair comes housed in a beautiful handmade red cover complete with eye-popping photobook, displaying shots of both audience and musicians. Massive! Price: Offers!!!!
126. 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!!!
127. 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!!!
128. J.A. SEAZER: “JASHUMON” (Victor Records – SF-1021) (Record: Near Mint/ 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 NEAR MINT 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!!!
129. 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!!
130. JACKSON C. FRANK: “S/T” (Columbia – SX-1788) (Record: Excellent ~ Near Mint/ Flip Back Jacket: Excellent). Original 1965 UK pressing, MONO issue. “Jackson C. Frank's original 1965 album, produced by Paul Simon, is a lost classic, daringly complex and honest, filled with virtuoso playing that is all the more impressive for the offhanded way that Frank and company (including a young Al Stewart on one track) make it look so easy. There is a convergence elements here that may confuse the uninitiated, because of their seeming contradictions -- a flashiness and assertiveness on the acoustic guitars and the approach to singing on numbers like "Don't Look Back" and "Yellow Walls" that are byproducts of Frank's early history as a rock & roller, a depth and complexity of blues playing that derives from life as much as from talent and dexterity; and the meld of American and English folk sounds is like nothing that any listener has heard from either side of the Atlantic anywhere else. Some of these elements paralleled characteristics of Simon's work -- he, like Frank, had been a devotee of rock & roll before he turned toward folk music, and also assimilated American and English folk influences while staying in London -- but Simon's resulting work was smoothly commercial and mostly comforting and upbeat, and even playful, whereas Frank's music seems laced with and pointed toward an overpoweringly serious and sad take on life and living. "Blues Run the Game," "Yellow Walls," "My Name Is Carnival," and "You Never Wanted Me" all help make album kind of overpowering -- but it's the downbeat nature of those same songs that likely would have prevented Jackson C. Frank from being anything much more than a major cult favorite at the time. Today it's just a brilliant piece of essential listening, (All Music Guide). Awesome condition UK original pressing, record is totally clean, sleeve is EX with no defects or damages, small creases in the lamination and humidity stain on back. Hard to improve upon. Price: Offers!!!
131. 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!!!!
132. JADIG, BENT: “Bent Jadig 1967” (Debut – DEB-1149) (Record: Near Mint/ Jacket: Near Mint – on back white on white indentations of Bent Jadig’s signature – no ink, only indentations in sleeve that can be read when holding at right angle – it can be read as follows: “To My Man Red Mitchell, Bent Jadig”). Impossibly rare Danish 1st original pressing on the highly collectible Debut label and in pristine condition! Well, if you know this one, you know how rare this baby is, especially in virginal condition. Often regarded as the “Ghost” of European Jazz, a record that you just never see, the original Debut pressing is a bloody shy bird to say the least. Even without being able to obtain or behold a copy, the record has been shrouded in mystery and mystique since the day it came out, often regarded as the high-water mark, the pinnacle of European hard-boiled cool jazz! The high expectations however are firmly rooted in the music’s unexpected impact endowed with lyrical beauty. Right from the start with “B’s Waltz”, the harmony of Jadig’s flute and Allan Botchinsky’s trumpet take you straight for the deep waters, intense and meticulously executed. Bent’s flute solo’s dainty and frivolousness in conjunction with the pulse-heavy bassline of Niels Henning Orsted and Bent Axen’s masterful piano lines create an austere sensation of consummate art. For the rest of the album, Jadig switches to sax, breathing out cool thematic melodies, not deprived of a certain melancholic feel that burst open into all-engulfing flames at all the right moments. Jarring and soul-stirring, authentic and galvanic, provocative and nerve-shaking, Jadig enshrouds all of these sentiments on his Debut recording, his tenor breathing out a muddied machismo romance, trying to safeguard a mysterious euphony that evaporates as soon as it drifts into the air, towards infinity. Just one word does this record justice – a discourteous masterpiece! Freakingly rare first press Danish original from 1967 in absolutely TOP condition. One of the rarest high-quality jazz slides out there. Price: Offers!!!!
133. 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!!!!
134. 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!!!!
135. 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!!!!
136. 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!!
137. 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!!!!
138. 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!!!

139. JEFFERSON AIRPLANE: “Surrealistic Pillow” (Victor – SHP-5640) (Record: Near Mint ~ MINT/ Gatefold Jacket: Near Mint ~ MINT/ 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 so serious offers invited for this one. SOLD

140. 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 never seen/ never offered before 1st issue OBI present. This is only the 2nd time ever I can have an all complete copy with obi. 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 soar 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. Copy with obi has never been offered for sale anywhere before. SOLD
141. JOUJOUKA: “Brain Jones Presents the Pipes of Pan at Joujouka – The 4000 Year Old Rock & Roll Band” (Rolling Stones Records – COC-49100) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Promo Only Outer Jacket: Near Mint/ Promo only kit containing booklet + Brian Jones Promo B&W Picture + Promo Only 3 Paged Insert + Promo Only 4 sized booklet + promo Only 4 paged Insert: Near Mint). Rarely seen 1971 UK original all complete with PROMO ONLY outer sleeve and complete PROMO KIT! Outer Sleeve has “The 4000 Year Old Rock & Roll Band” imprinted on embossed outer. And contains apart from the record and gatefold sleeve the complete PROMO kit. Top condition. Long out of print since its 1971 release on Rolling Stones Records, 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. Damned rare with all promo gimmicks attached, a true gem of a disc, never seen one offered for sale before. Of course, it comes with the highest possible recommendation. SOLD
142. 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!!!
143. 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!!!
144. 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!!!!
145. 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!!!
146. The KINKS: “Kinks Part I Lola Versus Powerman And The Moneygoround” (Pye/ Columbia Records Japan – YS-2456-Y) (Record: Near Mint ‾ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Insert: Near Mint ~ Mint/ Obi: Mint). Stupidly rare original Japanese pressing all complete with rare obi. The whole affair is in stunning condition, gatefold sleeve is virginally white with no blemishes, obi is like new and the record looks untouched. Probably the best copy around in this galaxy. Price: Offers!!!
147. KLUSTER:Klopfzeichen” (Schwann ams Studio – ams-studio-511) (Record: Near Mint/ Gimmick Jacket: Excellent with no defects but only some minimal hazing/ Poster Insert: Excellent as it has a folding crease and a few wrinkles). Original 1st pressing out of 1970 in top condition housed in hard plastic relief jacket. Really a nice condition copy without any defects. Sole defect is some barely visible hazing on bottom of hard plastic sleeve!!!! I guess you know the drill and deal about this record so I am gonna cut it short. This beauty was released in a tiny run of only 200 copies back in 1970 and all-complete and clean copies are such a bitch to dig up these days. Top copy, record is near Mint all the way, the always-missing poster is also present and has a folding crease but no pinholes. The hard plastic sleeve is clean without defects only has some minor hazing. Really a very clean copy out there, EX〜NM all the way and next-to-impossible to upgrade upon this one. Music is a real head-caving brain sucker that keeps on resonation through the deserted canyons of your vacant mind!!! SOLD
148. 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!!!!!
149. 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!!!!!
150. 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!!!!
151. 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!!!!
152. 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!! 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! SOLD
153. LACY, STEVE: “Steve Lacy Solo at Mandara” (ALM Records – AL-5) (Record: Near Mint ~ Mint/ Jacket: Mint/ 2 Inserts: Mint). Top copy that comes with always missing TWO inserts. 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. 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!!! Price: Offers!!!!
154. 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!!!!
155. 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!!!!
156. 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!!!!
157. LACY, STEVE: “Solo Concert” (Nippon Columbia – YX-7552-AX) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Maybe the rarest Japanese press issue of a Steve Lacy, just never surfaces with obi and the 1st time in 15 years I see an all complete copy. The UK issue on Emanem is easy enough and cheap enough to walk home with but sounds awful. The Japanese press issue is a tough one and more difficult to find than “The Wire”. Price: Offers!!!
158. 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!!!!
159. The LAUNCHERS: “Oasy Ookoku” (Toshiba Records – TP-7345) (Record: Near Mint/ Jacket: Near Mint/ Obi: Excellent). Bloody rare Japan first original pressing all complete with rare obi. White label & red wax pressed PROMO issue. The second, final and rarest Launchers album, following their “Free Association” LP, was released on September 1st, 1969. Although their debut was quite nice, the Launchers surpassed themselves with “Oasy Ookoku”, turning their sound into a fully fledged Japanese pop psych masterpiece, that rubs shoulders with the best recordings that seeped out of the UK at that time, maybe even surpassing most of them!! Bold statement maybe but upon diving into this one, you get hit by an abundance of ideas that get shaped into a perfectly executed sonic language. Spearheaded Osamu Kitajima, whose alter ego is Justin Heathcliff and later becoming the spin doctor of Fumio & Osamu (Shin Chugoku), the Launchers surpass on this one the straight jacket of being a mere GS (Group Sounds – Japanese garage) band and mutated into a hybrid sonic marvel that balances – successfully - the tightrope in between garage/ pop psych and sheer psychedelia. The record is blessed with an intoxicatingly kaleidoscopic and exploratory sound, lysergic in its sonic vocabulary and is busy with folding and manipulating space and morphing it all into highly accomplished consummate art endowed with eye and ear-filling beauty! Orchestrations, swirling vox, brilliantly executed instrumental jams, intoxicated fazed out vocals, Sgt Pepper induced eloquent ornamentations and cosmic phrasing, jungle shoot-outs, soaring fuzzed out guitars that pop in and out of the mix, and other assorted sounds acting like acupuncture darts aimed at your aural pleasure spots, it is all here. Brilliant and largely undetected and overlooked masterpiece. And for those who care about stuff like rarity scales, Pokora's book lists this one for only 2 stars, but sadly I have to inform you that this one is so much rarer than merely 2 stars! Especially all complete with OB and white label promo on red wax in top condition. In all these years, it is the first time I have a copy of this gem all-complete. Top condition and so bloody awesome!!! Price: Offers!!!!
160. LAURELIE: “S/T” (Triangle Productions – BE-920249) (Record: Near Mint has one tiny barely visible hairline on side one/ Jacket: Near Mint). Top condition for one of Belgians scarcest LP’s to dig up in perfect nick. This copy is perfect all the way. Released on the legendary Belgian "Triangle" label in 1970. Together with Irish Coffee and Waterloo one of the most sought after progressive groups from the early seventies Belgian rock scene. 1970 psych progressive rock from this Belgian group in the vein of Jethro Tull, Traffic, Cressida, Moody Blues and the like. This minor psych-prog masterpiece (with plenty of nice flute parts) was still rooted in the late 60's songwriting tradition, when condensed tracks were preferred over improvisations. On the other hand, an amazing (and 10-minutes long) opening track was typical progressive offering - with ever-changing moods and lots of guitar, Hammond organ, fuzz guitar and flute interplay. Next to impossible to score in Mint condition, this copy is just perfect all the way. Price: Offers!!!!
161. LIMBUS 3: “New Atlantis” (CPM – S-001) (Record: Near Mint/ Flimsy Gatefold Jacket: Excellent, has some few faint mildew stains against white background). Original German private pressing out of 1969. Heralding from Karlsruhe and Heidelberg, sub-titled “Cosmic Music Experience, Limbus 3 (later down the line, they would rename themselves as Limbus 4 and record the more avant-garde oriented “Mandalas) was conceived in 1969 and originally released as a private pressing in tiny numbers. University students at the time, Limbus 3 musical voyage dwelled into the realms of ethnic induced psychedelic maelstrom improvisations while touching on ad hoc avant-garde elements and tumbling down instrumental excursions into deep cave man territory. With track titles such as “One-way Trip”, “Breughel’s Hochzeitstanz”, “Valiha” and the sidelong “New-Atlantis”, you can hardly go wrong. Excellent mind bender and hard to come by these days. Original German private pressing in top shape. Price: Offers!!
162. LIMBUS 4: “Mandalas” (Ohr – OMM-56001) (Record: Mint/ Gatefold Gimmick Jacket: Mint/ Attached Imprinted Original Balloon: Mint). Original German pressing in TOP condition (like new) with the 56 number. Comes with gimmick gatefold jacket with opening door in middle that housed balloon. Has also the earliest matrix numbers printed into the dead wax ending in S-1 and S-2!!!! First LP by the Limbus 4 combo but their second recorded outing if you include their previous incarnation as Limbus 3. As their newly appointed name insinuates, this once three piece collective has invited Matthias Knieper to join the band. As a quartet, the combo goes into overdrive and spins out an ethno-free-form psychedelic communal jam that quickly gathers momentum due to the addition of the glorious and highly addictive but infamous Kazoo as an instrument to their sound palette. While jamming away, the group manages to blow into an intriguing interplay of squawking and bleating spectrum from numerous species of woodwind/ string with the monotonous, almost throbbing tribal percussion. It gets further spiced up with the ever-present swirling organs, texturing a surreal backdrop to give a little warmth to the otherwise harsh reality. The whole affair comes over like one massive cosmic ethnic improvisation. A unique album that ranks amongst the most adventurous ever released by Ohr. In all it is a quite trippy affair that is on display here and one of the best Krautrock discs to have seen the light of day on the Ohr label. Fantastic!! Bloody rare 1st press with gimmick jacket with the imprinted balloon attached. It is said that only 50 copies of these came with the balloon complete so – a bitch to dig up an all-complete original. TOP COPY 1st original pressing in pristine shape. Price: Offers!!!!
163. 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!!!!
164. 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!!!!
165. 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!!!
166. MAHER SHALAL HASH BAZ: “January 14th 1989 Kyoto – Maher Goes to Gothic Country” (Org Records – ORG006) (Record: Near Mint/ Jacket: Near Mint/ Inserts: Near Mint). This record I see on everyone's want list but due to its ultra limited pressing of 100 copies the disc just never turns up. I got my personal copy about 20 years ago and only now I am able to offer my 2nd ever-spare copy. Like Idiot O'Clock's 100 copies only ltd LP on the same label, Maher's album is about a zillion times harder to get. Idiot O'Clock's disc I have seen for sale about 5 times in the past 6 years. Maher's first I have seen never ever offered for sale until now in these pages. Go figure its scarcity. But that is not all. The music on Maher's first LP is what made headz turn counter clockwise in disbelief. The naïf psychedelic collective seemed to have the gutsy determination to head for the holy ground of rock music's final and last moments, a burial ground of rock as we know it with its ragged take on chords, detuned instruments and child-like displayed primitivism of a pre-musical level. Needles to say not many people were ready or interested at the time in Kudo's joyous kindergarten epiphany, until he met up with Org Records' Shibayama Shinji in the late eighties, who agreed to release the first album of his band. Released in a tiny edition of 100 copies, “January 14th, 1989, Maher Goes to Gothic Country” was actually a live recording of a gig in Kyoto as being part of Shibayama's Nashikuzushi no Kyôwakoku concert series. On here, Maher's sound had become for this concert more compact and well rehearsed as opposed to their previous outings, as displayed on their first gig concert tape. Their micro instrumentals were for this once rather well rehearsed according to their primitive standards. Seemingly utterly simplistic upon first hearing, Maher however delicately concealed to a certain extent the craftsmanship underlying its compositions, against which gauzy demarcated improvisations infuse the whole mixture, igniting it into a hot boiling pot of steamy rockin' and rollin' naïf kindergarten no-wave. Again, Kudo's slowly surfacing deconstructing and disassembling take on rock and recreating it with the scattered basic core parts approach became more visible to those who wanted to see and hear it. Like Syd Barrett's one chord riffing style, Kudo ventured slowly more into the realms of creating substance out of dissected technical skills and dismantled rock basics, generating a charming and new type of naïf rock. Highest possible recommendation and bound not ever to turn up again…or do you think otherwise? Mega rarity. Price: Offers!!!!!
167. 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!!!!
168. 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!!!
169. 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!!!
170. 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!!!!
171. MARLEY, BOB & THE WAILERS: “Catch A Fire” (Island Records Japan/ King Records – ICL-58) (Record: Excellent ~ Near Mint/ Gimmick Zippo Lighter Jacket: Near Mint/ Obi: Mint/ Insert: Near Mint). Bloody rare top copy 1st original Japanese press as released by King Records and complete with stupidly rare very first issue OBI. WHITE label PROMO issue. Never seen the first issue obi before and I have been looking for it for over 15 years. The 2nd pressing released by Toshiba does pop up from time to time but this one is a whole different affair. Bloody rare Japanese 1974 original of one of the greatest LP’s of all time, every track is a killer, brimming over with revolutionary intoned lyrics. The band is massive, Marley at helm, Peter Tosh, Bunny Livingston and Aston "Family Man" Barrett guiding Catch a Fire through loping guitars and attitude and occasional fury. Everything on the record moves hearts and feet. Marley's not the only lead singer; this is very much a group. Slavery's legacy was covered in the lurching "400 Years" and then there was the growing urban alienation that lit up the driving "Concrete Jungle" like a Molotov cocktail, making it the ultimate urban reggae anthem, with its howling guitars and impassioned neo-political lyrics. There was humor in the deadpan "Kinky Reggae," and quality love songs -- like the dynamite "Stir It Up," This original 1st Japanese pressing comes with OBI and is housed in the gimmick Zippo lighter cover. The whole affair is in clean condition, which is nothing short of a small miracle. This is an item you don’t see too often in Japan, top copies with very 1st obi/ pressed by KING records before the switch to Toshiba are nearly inexistent. Major rarity!!! Price: Offers!!!!
172. MASABUMI KIKUCHI SEXTET: “Matrix” (Victor – SMJX-10078) (Record: Near Mint ~ Mint/ Textured Gatefold Jacket: Near Mint ~ Mint). First original pressing in top condition and one of the greatest Japanese spiritual jazz slides ever put down on wax. 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 Kikuchi Hideyuki and assisted on ivory keys by Kikuchi Masabumi pounding out cascading molten chunks of lava, butt-shaking and vitriolic bass licks of Takitani Hironori and the percussive tribal freak outs by master drummer Moriyama Takeo. Original 1969 pressing in pristine condition – probably the best copy around. This is truly a wonderful album, balancing in between AACM inspired spiritual mellow free jazz interplay and intoxicating groovy interplay. “Matrix” line-up consisted out of the crème of the crème of the Japanese spiritual jazz scene at that day – Futami Tetsuo (tp), Kikuchi Hideyuki (as), Nishimura Akio (ts), Kikuchi Masabumi (p), Takitani Hironori (b), Suzuki Takahiro (dms) – “Matrix” became one of the few Japanese spiritual jazz slides to come out so early that brimmed over with originality. With this line-up, Kikuchi Masabumi strived for recreating or injecting his own compositions with some fire-breathing interplay that drove on a lyrical economy and meticulous musical detail that is deceptively intense. The sextet 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 spiritual 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, warm sound clusters of groovy interplay. But it isn’t before long they divert again into percussive shakers and intuitive atmospheres of swing-vibe interplay that is not bound to be categorized easily. Hideously rare but sadly undetected piece of Japanese Jazz History. Highest possible recommendation. Top copy original pressing and essential to anyone trying to get firm grasp on Japanese late 1960s spiritual jazz. Price: Offers!!!!
173. MATCHING MOLE: “S/T” (Epic – ECPL-45) (Record: Near Mint/ Textured Jacket: Near Mint – still in shrink/ 6 Paged Insert: Near Mint/ Capsule OBI: Mint). Bloody rare Japanese first original pressing complete with illustrated booklet. Never before have I encountered a Japanese high quality original. To top things off, this one comes all-complete with mega rare capsule obi, only the first time in 15 years I see a copy with obi!!! These babies sold next-to-nothing back in the day and if one surfaces, the obi is always missing. Highly sought after with all complete, here is a mint original with obi. Amazing sound quality but sadly impossibly rare, so nice bids are invited for this one….Price: Offers!!!!
174. 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!!!!
175. 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!!!
176. MATSUKAZE KOICHI TRIO Plus TOSHIYUKI DAITOKU: “Earth Mother” (ALM Records – AL-5001) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Killer Japanese spiritual jazz slide that is sadly hopelessly rare and obscure, especially in such a nice nick and all complete. Regarded as one of the most sought-after yet elusive albums from a pivotal era in Japanese jazz, Earth Mother was originally issued in 1978 on Kojima/ ALM, a private label home to some of the most innovative jazz, contemporary classical and free improvisational music released during the late 70s and early 80s with on its roster Takayanagi Masayuki, Abe Kaoru, Suzuki Akio, Somei Satoh and other musical mavericks that defied conventional approaches into sound and music. It was here that Matsukaze Koichi’s Earth Mother found refuge amongst the aforementioned string of experimental and transgressive thinkers. Although that ALM released some groundbreaking jazz slides, most of their output was sadly destined to remain in obscurity for decades because they trailed the fringes of the musical landscape. So it wasn’t until decades after its release that the album found a new audience. Apart from a handful of diehard jazz heads, it were some Tokyo DJ’s that fell in love with its muscular, bass-driven title track with semi-loose polyrhythmic funk groove, attributing to Earth Mother’s new lease on a second life. The album sees saxophonist Matsukaze teaming up with legendary jazz drummer Furusawa Ryojiro, flanked on bass by Tamio Kawabata, cementing the core trio that was augmented by Daitoku Toshiyuki on acoustic piano and Fender Rhodes. The end feels like setting up in the calm eye of a hurricane, morphing into a mythical spiritual jazz slide, seen and heard by very few; often among the top wants for even the most hard-core jazz collectors. The album ranges from heavyweight spiritual jazz and post-bop burners, to Dolphy-esque experimentation that makes it just a perfect one to put on your headphones and get away from the public’s every day agony, guiding you towards the rising edge of a spiritual awakening trip, like acupuncture darts disguised as liquid sound and aimed at your pleasure spots. Top shape original first pressing all complete with insert and rare obi. SOLD
177. MATSUMOTO HIROSHI & ICHIKAWA HIDEO QUARTET: “Megalopolis” (Victor Records – SMJX-10071) (Record: Near Mint/ Textured Gatefold Jacket: Near Mint/ Obi: Mint). Killer Japanese free jazz slide from 1969. This is IT!! Rarest of the RARE Japanese Jazz LP’s and one of the cornerstones of Japanese spiritual bop jazz!! Mega rare Original first pressing in TOP condition and all complete with bloody rare original obi. The music on the other hand is a sort of crossover, simmering with hypnotic spiritual vibrations, balancing between an improvisational interplay and bare-knuckle group play, hypnotic jazzy vibes popping out of the smog filled skies, ethnic rumbles and space jazz all fusing into one colorful amorphous mass of sonic bliss. Staring off with a distant mesmerizing vibe, the sound gains momentum and slowly builds up towards an entrancing mass of spiritual intoned interplay that makes the ground under your feet swell and become a liquid mass. Free spirited, yet improvisational challenging as well as funky and soulful at the same time, the Quartet proved to be a force to be reckoned with. This was the birth of true Japanese intoned jazz, bridging the gap between group interplay and free improvisational reign without ever loosing direction and steering towards higher planes. A true killer and butt shaker, rich in trance-inducing qualities and hypnotizing/ hallucinatory sonic interplay spiced up with top shelf improvisational interplay. Dead on classic and without a doubt one of the finest spiritual jazz albums to seep out of Japan. Ultra rare and never offered for sale before all complete dead mint original pressing all complete with obi!!!! Massive!!!! Top copy so need some serious offers for this one off chance here. Virginal condition!!! never surfaces with obi complete until...now!!! SOLD
178. 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!!!
179. MC 5: “Kick Out The Jams” (Elektra/ Victor Japan – SJET-8153) (Record: Near Mint/ 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, it looks pristine but has some very minor shelving marks (being some rubbing against the white background but this is almost hardly worth mentioning). 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!!!
180. 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!!!
181. McCHURCH SOUNDROOM: “Delusion” (Pilz – 20.21103-7) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Pilz Sticker Insert: Mint). Top copy German 1st original pressing that comes with seldom seen original Pilz sticker as a bonus which was tucked away inside the gatefold!!!. Extremely beautiful and near mint copy of this obscure and extremely rare kraut rock classic. Housed in a stunningly “Skull w/ dripping wax” gatefold cover, this is a vicious psychedelic/progressive masterpiece, with sneering leads, vocals sax, mellotron and wiling guitar riffs that will leave your mind all over the place. Completely vanished and here you have a top-notch copy. They certainly do not come cleaner and more perfectly. Act now and hold your peace forever. So far the only all complete copy I know of that comes with the PILZ sticker included!!!! Price: Offers!!!!
182. CARSTEN MEINERT KVARTET: “To You” (M.S. Records – S-1001) (Record: Excellent – has 2 or 3 hairlines visible under a bright light so EX~NM/ Jacket: Near Mint) Original privately released 1st Danish pressing, 2nd press issue came out later on the Spectator label. Record is first press on M.S. Records but as often comes housed in the Spectator sleeve. Bewitchingly beautiful Coltrane inspired Danish jazz quartet whose privately released LP ranks amongst the finest jazz LP’s to seep out of the Scandinavian highlands. This is the original 1st pressing with 2nd sleeve Spectator noted on the lower right corner of the jacket. Utterly clean & top condition for both record and jacket, hard to upgrade upon this beast.SOLD
183. MIDORI TAKADA: “Through The Looking Glass” (RCA – RCL-8369) (Record: Excellent ~ Near Mint/ Jacket: Near Mint – faint mildew spot a little visible/ Obi: Near Mint). Bloody rare 1983 Japan original 1st pressing all-complete with obi. One of the highly sought-after minimal music masterpieces to seep out of here, originals just never pop up. Midori Takada is a Japanese composer and percussionist who combines influences from African and East Asian traditional percussion music with American jazz, new age and avant-garde practices. The Looking Glass, her first solo recording, was released in 1983 and became almost instantly unavailable. Recorded in January 1983, she went into the studio for two days. The album was an arduous process, with Takada composing, producing, arranging the microphones and playing everything on it, from marimba to drums, harmonium to Coke bottle. The end result is a fascinating mix of contemplative ambience and childlike wonder, building up to the intensifying polyrhythm’s at its thunderous climax. Entrancing recorder and marimba melodies are slowly overtaken by disquieting, throbbing bongos, which eventually give way to harmonium drone. Takada's work shows an understanding of such varied traditions as Balinese gamelan, African mbira and marimba, Japanese traditional music and the works of such 20th century composers as Glass and Reich. All those elements are grounded by Takada's compositional personality resulting in an album that is at the pinnacle of Japanese ambient music. Marketed as a modern classical recording, it did not sell well at the time and Ms. Takada would not record another solo album until 1999. So original copies – especially all complete with the fragile obi – are far and few…and hardly ever surface. Still it is a delight being able to listen to an original pressing the way it was intended to be. Quite a fetishists dream item, top condition. SOLD
184. 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!!!
185. 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!!!
186. MIHO KEITARO & JAZZ ELEVEN: “Kokezaru Kumikyoku" (MCA Records – JMC-5026) (Record: Near Mint/ Jacket: Near Mint). Bloody rare stock copy (promo copies are around, stock copies are so scarce) and cleanest copy ever to have crossed my eyes, close to perfection!!! Bloody rare album by the under-documented Miho Keitaro & Jazz Eleven, an acidic psyched out jazz combo featuring luminary scenesters such as Sato Masahiko (Amalgamation fame), Ishikawa Akira (Uganda), Takeru Muraoka (Uganda), Inomata Takeshi (swing beast par excellence), Suzuki Takehisa, Kawasaki Ryo (lysergic psyched out and blessed in guitar hired gun slinger), Arakawa Yasuo (bass, see albums with Sato Masahiko such as Palladium, Penetration and Deformation & his contribution on Mizutani Kimio’s “A Path Through Haze” album), Muraoka Minoru (Shakuhachi crossover exploitation free form blower), koto manglers Hideaki Kusumoto and Kazuo Kojima, Kukutada Katada and spaced out female vocalist from beyond our solar system Masuda Mutsumi. Although vaguely similar in its construction as the Sato Masahiko & Soundbreakers “Amalgamation” album, this one is although less known and a zillion times harder to track down. First time ever I have a copy to offer. Following his adventure with the Soundbreakers (creating the exhilarating "Amalgamation" disc), Sato Masahiko steered together with Miho Keitaro further into the crossover pollinated regions of free-jazz, lysergic lounge, psychedelic music, rock and cinematographic sonics. Released in 1971, Kokezaru is a disc that never resurfaces which is a shame since the music is such a forceful experience that will amaze you once you get sucked into it. Opening up is a tune that is similar to the opening notes to the first Dirty Harry film, although that Sato's masterwork preceded that soundtrack with several years. After that there is no stopping or slowing down whatsoever, pulling you into its ever-swirling vortex of cocktail lounge, eerie almost ghost-like female scat vocalizations popping up out of the hybrid fog of psyched-out insomnia, free jazz and pure adrenaline infused improvisation. If the Soundbreakers was to your liking, well than this one has written YOU all over it. This is one of those lost gems out of the seventies Japanese underground that foreigners fail to detect. So here you have a chance to considerably broaden up your horizon. Top condition!!!! Price: Offers!!!
187. 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!!!
188. 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 – stock copy. 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!!!!
189. 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!!!!
190. 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!!!!
191. 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!!!!
192. MOONDOG: “The Story Of Moondog” (Prestige Records – PRLP-7099) (Record: Excellent ~ Near Mint / Jacket: Excellent). 1957 US 1st original deep groove pressing in great condition. The third Prestige effort is a tad less accessible than his previous ones, going heavy on percussion numbers utilizing instruments of his own invention: the oo, trimba (a triangular-shaped drum), and tuji (a series of mounted sticks of graduated lengths). There's also a soft shoe dance, a nice piano solo improvisation, and the usual bit of random street noise and quotations of poetry. It's still unpredictable Moondog -- "Wildwood" is reminiscent of Native American chants, and spooky organ underlies the shuffle-shakes of maraca and clave on "Organ Rounds." "Up Broadway," by contrast, is a jubilant jazz/swing cut that would have made a great opening number over the credits of any number of 1950s inner-city crime dramas. This album is made up of percussive jams, usually on instruments of his own creation, street sounds, poetry and Far East melodies, despite opening with a swinging number that is, oddly, the most bizarre thing on the album. Another classic from Moondog graced with original artwork by no one less than Andy Warhol. Price: Offers!!!
193. MORWELLS: “Dub Me” (Morwell Esq. – MW002LP) (Record: Excellent ~ Near Mint/ Jacket: Excellent – small marking on back and some faint ring-wear. No splits or damages). Stupidly rare 1975 Jamaican 1st pressing in outstanding condition, never surfaces this clean! If a copy surfaces at all it is mostly always in G, G+ or VG condition so no small feat to bring such a pristine copy up to the surface. Very heavy King Tubby dub companion to the vocal album Presenting The Morwells, originally released in 1975, which features some of the first uses of non-musical sound effects such as thunder claps and aeroplane take-offs. Recorded at Channel One and the Black Ark. “By 1975, the Jamaican dub had evolved from being a mere instrumental version of a singer's hit to a unique creative force. Instruments began dropping in and out of the mix unexpectedly, vocals appeared only to be frozen in time by heavy doses of echo and reverb, and filtered drums started changing shape before listeners' ears. The first shots had been fired two years earlier, with the near-simultaneous release of Lee Scratch Perry’s Blackboard Jungle Dub, Herman Chin Loy's Aquarius Dub, and Clive Chin's Java Java Dub opening the floodgates. Lost in the shuffle during the years that followed was this 1975 encounter between King Tubby and the Morwells. Formed in 1973 by Maurice Wellington and Eric Lamont, the duo soon began releasing music on their own MOR-WELL ESQ label. For Dub Me (1975), Tubby draws heavily upon the Morwells' debut album, Presenting the Morwells, on ten mixes, the engineer Tubby is in top form. For the most part, the mixes are more reserved than usual, which is possibly the reason this disc was given a mixed reception upon reissue in 1997. As reggae fans know, however, the presence of the dub master alone makes this worthy of consideration, and there's much to enjoy here. Horn lines and guitar chords hang suspended, high above the drum and bass, Eric Clarke's drum patterns slip and slide across Errol Holt's bass on "Bald Head," and Tubby expertly teases listeners with enticing snippets of vocal on the infectious "Pegasus Rock.” (All Music). Stupidly rare in decent condition, this is one of the top 5 dub slides to tuck away into your suitcase when you bugger off towards that idyllic island in the sun. SOLD
194. MOTHERS OF INVENTION: “We’re Only In It For The Money – Okashi Na Sekai” (Verve Records Japan – SMV-1115) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ OBI: MINT). ABSOLUTELY PERFECT COPY - impossible to ever upgrade upon!!! 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. This is the ultimate copy in virginal MINT condition. 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. Price: Offers!!!!!!
195. 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!!!
196. MOTHERS OF INVENTION: “Uncle Meat” (Reprise/ Victor Records – SJET-8151~2) (2 LP Record Set: Near Mint/ Gatefold Jacket: Mint/ Outer Jacket Cut-Out Obi: Excellent ~ Near Mint/ Insert: Mint). September 1969 released original Reprise/ Victor 2 LP set by the Frank Zappa & Mothers of Invention “Uncle Meat”, all complete with the never-seen-before cut out wrap around obi!!! Complete edition 1st pressing is next to impossible to dig up on these shores. Amazing condition!!!! The actual records jacket is total mint as well as the actual record, which I would grade near mint, no flaws or defects whatsoever. The wrap-around-cut-out-obi sleeve I would conservatively grade at Excellent 〜 near mint and has no defects apart from a slight yellowing patina due to age The whole die-cut is in excellent condition and intact and has no defects. These wrap around die cut obis came out in a series of about 15 albums that next to The Mothers of Invention held artists such as Jethro Tull, The Doors, Paul Butterfield Blues Band, MC5, Tim Buckley’s “Goodbye & Hello”, Pentangle 1st LP, The Loving Spoonful, Rhinoceros, Sweetwater, Ansley Dunbar Retaliation, Joni Mitchell and Noel Harrison. 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. Top copy of maybe the rarest Zappa related artifact out there. Price: Offers!!!

197. MULATU ASTATKE & HIS ETHIOPIAN QUINTET: “Afro-Latin Soul” (Worthy Records – W-1014) (Record: Excellent ~ Near Mint – shiny and glossy surface with a few harmless sleeve lines/ Jacket: Near Mint – Promo Stamp on back). Damned nice condition 1966 original pressing. Pure insanity from the mighty Mulatu – one of his few American albums from the 60s! The record's an incredible blend of New York Latin and some of the more Afro-styled grooves Mulatu explored more freely on his Ethiopian recordings – served up in a jazzy style that has plenty of vibes in the mix, and lots of percussion at the bottom! The record is a treasure throughout – other-worldly, yet still very hip and swinging – a mysterious bridge between Latin America and Africa, suspended on waves of wonderful sound! The LP was the first experiment in his pioneering sound, fusing Ethiopian cultural music with Afro Latin and jazz forms. “I have always felt a deep connection between Latin and African music,” he explains. “I travelled to Cuba and listened to their musicians; the tempo, rhythm and feeling was very similar to different African forms. In the mid-‘60s, I formed a band called The Ethiopian Quintet in New York comprising Ethiopian, Latin and Afro-American musicians - the band included trumpeter and pianist Rudy Houston who later played with Yambu and Felix Torres who played with La Sonora Poncena.” Supported by Worthy Records’ Gil Snapper who offered to record the quintet, Astatke began to experiment during two separate sessions: “We created a different feel and different arrangements. On the first recording, I played an adaptation of an ancient Ethiopian warrior song, ‘I Faram Gami I Faram’ - the lyrics were translated so that the singer could sing it in Spanish. Some compositions were important steps for me: ‘Mascaram Setaba’ (‘Summer Is Coming’) ‘Shagu’ and ‘Almaz’. With the second album, a personal favorite is ‘Girl From Addis Ababa’ which worked very nicely as a fusion of Ethiopian modes and R&B rhythms.” Astatke would start to perfect his Ethio jazz sound on his later album for Worthy. A pioneering sound that would become his trademark, brimming over with Cuban influences, South American cumbia grooves and Ethiopian rhythms. Clean 1966 original pressing. Price: Offers!!!!

198. MULATU ASTATKE & HIS ETHIOPIAN QUINTET: “Afro-Latin Soul Vol. 2” (Worthy Records – W-1015) (Record: Near Mint/ Jacket: Excellent) Damned nice condition 1966 original pressing. These records stand as important foundational documents of Astatke’s Afro-Latin groove consciousness. The fusion is complete from when the needle hits the groove. This is rare early work from Mulatu – material recorded in America, in the years before Mulatu returned to his Ethiopian homeland, and really set the scene on fire! The style here is a mix of Latin jazz with some more exotic elements – played by a combo that features Mulatu on vibes, alongside bass, congas, and timbales – plus a bit of trumpet and piano! The main groove, though, is heavy on vibes – handled with a very sharp tone, in a way that makes the music groove like some of the best 60s Latin Jazz albums by artists like Louie Ramirez or Pete Terrace. This volume contains a burning boogaloo in "The Panther," whose dancefloor vamp, played in unison by piano and vibes, complements the rhythm section in full with the tune's dancefloor grooves. "Soul Power" is pure African jazz with Rudy Houston's trumpet duetting with the percussion section with only bass underscoring the beat. "Love Mood for Two" offers a lithe melody -- that would not have been out of place on a Motown record -- before the piano's montuno shuffle intertwines with the rhythm section. "The Girl from Addis Ababa" is the first version of Astatke’s most famous tune. Its cooking percussion and punchy vibes harmonically accent the driving piano vamps. This is essential for anyone interested in the early fusion of African and Latin popular music with the improvisational flare of American jazz. Rarely surfaces in such nice nick as this one here, 1966 original 1st pressing! Price: Offers!!!
199. 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!!!
200. MURAOKA TAKERU: “Takeru” (Philips – FX-8502) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Insert: Near Mint/ Obi: Mint). Absolutely perfect condition 1970 original pressing, red label PROMO issue all complete with freezingly rare obi and insert. One of the best Japanese spiritual jazz slides ever? Yes, definitely but sadly overlooked since the day it came out and as of recently deliriously high in demand and fetching some decent prices – but that is understandable once you sucked your teeth into these addictive sounds. What a mouth-watering line-up with George Otsuka (drums), Takeru Muraoka (tenor sax), Masabumi Kikuchi (electronic piano) and Yoshio Ikeda (bass), recorded at the Victor Recording Studio on February 23rd, 1970. First of all the spacious sounds of the electric piano on Takeru are almost hypnotic in its nature, emitting a groovy, bubbling vibe underscored with a rain forest-kind of stripped down percussion, creamy electric bass, wah-wah licks and punctuating horn lines. A transcendent approach to the sounds that blows towards the heavens with a throaty sax sound and razor-sharp rhythmical breaks. Otsuka conjures a whole world of rigid tribal-esque rhythms and the liquid sounds seem to flow effortlessly from Kikuchi’s electric piano, towards Ikeda’s bass lines and the omnipresent eloquent and cosmic phrasing of Takeru Muraoka’s sax. These dynamic percussion work-outs propel Muraoka’s sax along with the band at full pelt. The whole affair goes from epic modal compositions towards heavy, churning all-incinerating grooves, Muraoka’s saxophone scorching above the volcanic rhythm section, exhorting its mesmerizing quality. This is poetically superstitious music to my ears, beautifully painful and a civilizing force that inhabits an animated strive creating an arresting experience. Upon blasting this one, I always do find my new religion, the one where suicidal novelists rule and acupuncture darts aimed at the pleasure points provide viable escape routes from today’s music’s formulaic gridlock. You thought you had a grip on obscure spiritual jazz and thought your collection was “state of the art” but never had this one? Well go fuck yourself, once you play this magickal slide all evaporates into Australian post-bush-fire ash, confirming the nullification of your musical preconceptions. ‘Nuff said, this one rules, one of the greatest! Best condition imaginable with obi present!!! No defects and virginally white gatefold sleeve with NO blemishes, pristine obi, so do go HEAVY!!! The music demands it!! Price: Offers!!!!
201. 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!!
202. NAOJI KONDO TRIO: “Live At The Tarupho” (Taruho Farm – 1001) (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint). 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!!! Price: Offers!!!!
203. 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!!!!
204. NIGHT SHADOW: “The Square Root of Two” (Spectrum - #2001) (Record: Near Mint/ Jacket: Mint – still housed in Shrink/ 7 Inch Single Record: Near Mint). Was sealed, cracked it open to verify that there were no pressing issues and to check if the single was present. This 1968 original comes with the bonus 45 that contains the band risqué songs “Hot Dog Man” and “Hot Rod Song” on Banned Records and which in most cases is always missing. “Night Shadow is another longtime legend and was usually known as Little Phil & The Nightshadows and has roots in the pre-Beatle era, but changed their name due to legal complications at the time. Unlike many garage-psych era LPs I think this really is as great as the old-skool myth-boosters would have you believe, in particular side 1 which is like listening to a comp of killer fuzz acid-punk 45s. Beyond Phil’s showmanship and the blatantly druggy lyrics and sound effects, the superb songwriting puts many Nuggets classics to shame, and the band is completely at home in a sound that was unusual for the deep south. Some silly songs close the LP but all over this must rank among the top early garage psych albums.” (PL – Acid Archives). Super clean 1968 US original pressing of classic garage psych that’s been rare/ searched for since the late ‘70’s. Genuine psych rarity this is! Super condition, next to impossible to upgrade upon seen this baby was sealed when I wheeled it in but cracked the seal to verify the 45 was included. Price: Offers!!!
205. 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!!!
206. 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!!!
207. NIRVANA: “New Folk Sound” (Metromedia/ Nippon Columbia – YS-2348=MD) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). 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. Top condition and a real though one with obi. Price: Offers!!!
208. NORD: “LSD” (LSD Records – LSDl-001) (Record: Near Mint/ Jacket: Near Mint) Freakingly rare to only 100 copies. This is the 2nd copy I can actually see with my own eyes in over 12 years time, just insanely hard to come by. L.S.D. features rough hewn sheets of ominous yet trippy pulsating textural electronics with an obvious debt to the stark Teutonic sound-worlds of Kluster and (especially) Seesselberg. Any glimmers of transcendence are immediately offset by a deadzone ambience that reeks of Maurizio Bianchi. Hiroshi Oikawa's solo explorations of the galactic void seem considerably more enticing to these set of ears than the more formalized quotidian post-industrial constructs he was fabricating under the Nord moniker with Satoshi Katayama on their Pinakotheca label debut LP from three years earlier. If this is cosmic, than it's the cosmos as viewed from the vantage point of a burned out cinder drifting into entropy. Gripping stuff! Price: Offers!!!
209. NORDSTROM, BENGT: “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!!!!
210. NORDSTROM, BENGT: “Sounds Of Life” (Bird Notes – BNLP2 – MATRIX NUMBERS: 5B/ 5D) (Record: Near Mint/ Jacket: Near Mint). Nordstrom’s Bird Notes label is the only label in the whole wide world that justifies the reading and inspection of matrix numbers. Bengt was notorious for re-using the only sleeve art he ever made for his own music but inserting it with different sonic marvels he recorded all by himself. So although the jacket art is the same, the music it beheld was always entirely different. Next to that was the tiny miniscule pressing quantity he applied to release his high-quality music, in most cases not exceeding a run of 5 to maximum 20 copies!!! Of this one here there were no more than 10 copies ever pressed. This is again a free-floating; free-roaming live recording of Bengt Nordstrom solo saxophone improvisations that took place somewhere in 1968! Wyld, lyrical, warm-toned, this is prime Bengt in action, at times extremely furious and unleashing a deep subterranean vibe and in the blink of an eye shape-shifting into a lyrical but nevertheless lethal sax howl, the music is nothing short of an arresting experience. As if engaged in a prison riot, Bengt’s playing deliriously hurtles in and out of focus without ever losing its violent fit of deliriously intoxicating madness. This is some of the most beautiful free saxophone playing ever to have caressed my earlobes!!! At times, Conny Lundin joins in on contrabass and evoking images not unlike of Yoshizawa Motoharu, although Lundin’s playing is a more civilized and droned out force. Sadly Lundlin is totally under-recorded and this is one of the few recordings he is actually on! He stopped playing near the end of the 1960’s and shifted to painting and died at a young age. Here tracks include Lundin playing solo bass somewhere recorded in 1964 and Bengt blowing a solo plastic alto sax, also recorded in 1964, Followed by Conny Lundin solo bass in 1964/ “bird notes” solo plastic alto sax 1965, “the bass player” Conny Lundin solo bass in 1964. Talking about obscure late 1960’s privately run free jazz labels, well you do not have to look any further, we have a winner right here. Again an ultra rare private issue, released in an edition of between 10 copies maximum, again housed in the one sleeve he had but with different matrix numbers and hand stamped labels. Rare for eternity, this shit just never gets offered. Wanna fix of maniac sax fury of the highest order? Well this is it right here, take no substitutes!!! Price: Offers!!
211. NORDSTROM, BENGT: “Natural Music” (Bird Notes – BNLP2 – MATRIX NUMBERS: 8B/ 9D) (Record: Near Mint/ Jacket: Near Mint). More dysfunctional but highly inflammable free jazz weirdness for you, coming from the most exciting privately run label there ever was!!! Another ultra rare Bird Notes issue and again – you could have guessed it – released in late 1968 in a run of only 30 copies!! Another animated strive out of the dark woods of Sweden. Comprised out of solo soprano sax recorded in 1968 and "the horn song” - solo soprano sax recorded in 1967. Bengt again blows out a weird hell-broth of incendiary sax tones, creating a high-tension music that just bounces of the walls and comes back at ya. Lethal, quelling the darker side of solitary free improvisational playing where the tiniest gestures trigger apocalyptic waves of sound. Bengt succeeds in dissecting all of his fire-breathing movements into fractious pieces of sound, resembling almost a methodical surge towards a Dickensian severity in tonal color. He solitarily creates an utterly compelling panoramic sound, an intuitive approach setting off a tornado of dusty note clusters that engulf the aural landscape. Highly addictive free improvisational solitary sonics that leave you gasping for air! Again ultra limited small private pressing from 1968…you can count on one had the people who have an actual copy and I am afraid this situation ain’t going to improve ever. Probably the smallest run ever of a private label! So rare for eternity but luckily enough filled with some of the best music ever put down on wax. Highest recommendation!!! SOLD
212. NORDSTROM, BENGT: “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 iat 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!!!!
213. NORDSTROM, BENGT: “Sounds Of Life- BNLP4C” (Bird Notes – BNLP7A/ 7B) (Record: Excellent ~ Near Mint/ Generic Sleeve: Near Mint). Another hideously rare Bird Notes LP - again issued in a minuscule run of only a handful. The matrix number side 7A --> consists of a sidelong Bengt Nordstrom saxophoine free improvisation ride that ranks - at least to these ears as one of his best, covering all the bases from well-carved meadering slow tempo breatheing exercises up to wyld volcanic eruptions that tilt the seismic scale towards the gospel acpocalypse. The matrix number 7B is a whole different affair with a great Conny Lundin demonic bass solo all complete with manic cackles and liquid pacing. Again damned rare, hardly - if never offered up for grabs so make your best move. Rare for all eternity and ear-bleeedingly great sounds. If free improvisation and free jazz is your thang, then how can you surpass on Nordstrom, you just need all he ever recorded. Highest recommendation!!! Price: Offers!!!!
214. OPEN SKY UNIT: “S/T” (Duchesne – DD-8001) (Record: Near Mint/ Jacket: Near Mint – still housed in shrink!). Rare Belgian original pressing in top condition, first time I could encounter such a pristine copy, sleeve still housed in original shrink. Damn, Belgians can be funky and jazzy (and even groovy) all at the same time! Who would have guessed it but after spinning Open Sky Unit, I became convinced we are the sexiest race on the planet. Beyond legendary funky jazz private press LP out of the Lowlands featuring Belgian alto sax legend Jacques Pelzer with his group Open Sky Unit. A typically Belgian story of unlikely meetings and collaborations, the band showcases pianist Ron Wilson's compositions (whose voice lends soulful vibes to the otherwise funky cuts), rhythmic soulful Fender Rhodes and vocals in unison with Pelzer & Steve Houben (reeds), Janot Buchem (electric bass), Michel Graillier (percussion) and Pelzer's daughter Micheline on drums Recorded live in Liège’s Jazzland back in 1974, it was initially limited private pressing released in a small run. Copies dried up and vanished; the band became a footnote in the otherwise quite dull Belgian’s musical heritage (apart from Babs Robert, Univers Zero, Kamikaze Records etc) and disappeared into oblivion. But a good thing cannot be hidden for too long and Open Sky Unit’s music began to seep out, be it decades after the band ceased to exist. The music is a groovy jazz/ deep modal with a spiritual twist/ funky soul heater that delves deep into a black jazzy vibe territory they had not yet seen in white men’s land Belgium. The band’s vibe is laid back and its leisure playing gorgeously winds through the six compositions ever so gracefully. Just lovely and the perfect record to put on late at night when your cozying up next to your loved one or decide to venture into Wonderland with Alice. Truly bewitching music. Best copy around for light-years! Never seen a copy in the shrink before and it is a must as the sleeves are as fragile and whimsy as can be. Top notch all way round. They never turn up this clean and virginal so… Price: Offers!!!
215. 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!!!
216. GEORGE OTSUKA QUINTET: “Sea Breeze” (Union Records – ULP-2002) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint). Heavy duty shit here – next-to-impossible to get first press issue all complete with damned rare “Hangaku” OBI! 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. Absolutely virginal condition and with obi…making this baby rare as a hen’s teeth. SOLD
217. 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!!!
218. 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!!!
219. PENTANGLE: “S/T” (Globe – SJET-8143) (Record: Near Mint/ Jacket: Near Mint/ DIE CUT Outer Jacket Cut-Out 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 fairly 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!!!
220. 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!!!!
221. 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!!!!!
222. 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!!!!
223. 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!!!!!
224. PHAROAH SANDERS: “Pharoah” (India Navigation Records – IN-1027) (Record: Near Mint – faintest trace of handling/ Jacket: Excellent ~ Near Mint). Rare US 1977 first original pressing in amazing condition. After 10 years of the death of his mentor John Coltrane and a fruitful collaboration with Impulse Records, Pharoah Sanders appears with a new line-up and a refreshed sound. The fact of having been one of the most neglected works, added to the negativity on its assessment by critics, resulted in one of the most underrated records of the artist’s career. With only three tracks and just over 20 minutes on each side, the album starts with “Harvest Time”, full of melancholy and spirituality, with the guitar and the organ conferring a spatial sound and a floating rhythm, marked by the bass of Steve Neil who gradually reveals himself as the great helmsman of the rhythmic section. It is 20 minutes long, are filled with a contagious and innovative sound. The B-side begins with “Love Will Find a Way” in which Sanders, even without being an experienced vocalist, manages to perform reasonably well. By his charisma and rhythm, this track was later re-used (especially on compilations), becoming one of the “hymns” of the solo career of this musician and composer. In addition to the organ by Jiggs Chase, the percussion by Lawrence Killian and the drums by Greg Bandy, the excellent guitar played by Munoz gives this song its main identity. The Afro-Latin influences in the style of Santana, seem to raise some reminiscences from the Woodstock period. The shortest song - “Memories of Edith Johnson” - closes the album with a tribute to this pianist, singer and songwriter of blues, which is performed like a prayer, a spiritual ritual that even has an organ, choirs and bells. The three tracks that comprise it denote an enormous originality and honesty. Its diversity is complemented with a regular and uniform quality throughout the recording. Getting so sought-after US original pressing and a bitch to dig up in good condition, this baby here will cater just to your nerdy needs! Price: Offers!!!!
225. PINK FLOYD: “See Emily Play b/w Scarecrow” (Odeon Records – OR-1785) (EP Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Bloody rare Pink Floyd’s first ever Japan released single with Japan only picture sleeve that was released and came out on October 5th, 1967!!! Top copy and needles to say extremely rare!!! Especially in such a nice condition as this baby here. Price: Offers!!!

 

226. PINK FLOYD – JEFF BECK – ERIC CLAPTON – LOVE SCULPTURE – CLIMAX CHICAGO BLUES BAND – MANFRED MANN Featuring Paul Jones – The YARDBIRDS – PRETTY THINGS: “This Is The British Scene “Heavy” (Odeon – OP-8798) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Excellent ~ Near Mint). Japan only compilation LP housed in great acid-leaking artwork and covering a wide range of UK heavy psychedelic acts. Just about never ever surfaces with obi and this copy here is as pristine as a virgin in a whorehouse. Price: Offers!!!!

227. 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!!!!

228. 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!!!!

229. POSICOES with EQUIPE MERCADO; MODULO MIL (Modulo 1000); SOM IMAGINARIO & A TRIBO: “S/T” (Odeon – BR-XLD-12044) (Record: Near Mint/ Jacket: Near Mint and still complete with plastic outer attached to sleeve). Damned rare 1971 original Brazilian pressing in outstanding condition. Comes housed in original sleeve art where the sleeve is still enshrined it its original attached plastic outer sleeve. Most copies floating around have a Xeroxed and fake sleeve but this one here is the real deal! Although the LP combines 4 different bands and has the allure of being a compilation album, all tracks on display here are only available on this LP and do not appear on any of the band’s output, making it a highly unique album. Amazing mixture of spaced out/ experimental freak folk/ acid soaked Brazilian acid folk and psych, it features heavy organ driven psych hitters Modulo 100, A Tribo which is basically Joyce and Nelson Angelo brain freeze doped up project, Equipe Mercado and Som Imaginario. This compilation sounds like a coherent release and not like some amalgam project. The overall vibe is a more underground take on Tropicália. Two of the bands - Modulo 1000 and Som Imaginario went on to release albums that are cornerstones of the scene, but the other two - Tribo and Equipe Mercado - only managed to appear on singles and other compilations later down the line. Bloody dope record, every track is a winner and so damned hard to get in decent nick, it was Brazil and 1971 after all. But here you have the best possible copy you could ever want. Hard to find this clean… and the perfect spin to get all wasted by….when you fly me to the moon, this one will be by guiding star! KILLER!!! Price: Offers!!!!
230. PRETTY THINGS: “Parachute” (Odeon – OP-80058) (Record: Near Mint/ Gatefold Jacket: Excellent/ Obi: Excellent). Rare WHITE label PROMO issue on RED wax. Comes with mega rare obi as well. Parachute didn’t swan off with Rolling Stone magazine’s Album Of The Year garlands in 1970 for nothing: there’s a marked cohesion to it, a gratifying oneness which reveals the band to have still been occupying the same zone of inspiration which made SF Sorrow such a hearty repast. Very dark work from The Pretty Things – an even more complicated, heavier-sounding album than SF Sorrow! The album's hardly got the lightness you might guess from its Parachute title – and instead, really shows the band moving into darker corners – both musically and lyrically, as they work in a heady brew of sophisticated guitar lines and adult song themes. And although former leader Dick Taylor's left the group, the other members are still holding down the fort nicely – hardly missing a beat here as they step onto a new level in their incredible stretch of growth. Given that Parachute is essentially a sustained and rather poetic discourse expressing disillusionment with the 60s dream, in sonic terms it’s an exemplar of Abbey Road lushness. Grass, The Good Mr Square and the title track wouldn’t sound out of place on Dark Side Of The Moon, even. Price: Offers!!!!!
231. 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!!!
232. RAGLAND, LOU: “Lou Ragland Is The Conveyor – He Says Understand Each Other” (SMH Records – S.M.H. A-1001) (Record: Excellent/ Jacket: Near Mint – still housed in shrink). WHITE label promo issue, 1977 original press issue. For a lot of reasons, He Says “Understand Each Other” sounds like the result of one long, relaxed jam session. It’s there in how the melodies always sound unstructured and free. It’s there in how the bass player drives everything from the back with some stunning performances. It’s there in the way every song outstays its welcome, ever so slightly (with the possible exception of “It’s Got To Change”, the album’s most blissed-out song), yet the whole thing still seems to be over too soon. But mostly, it’s there in just how low down and murky the recording is. Honestly, it’s like Lee Perry showed and blew smoke over the tapes. What with the sound quality and the dominance of the bass work, you half expect it to turn into a reggae album whenever the electric organ shows up. The only soul album I can come up with off the top of my head that sounds like this is There’s A Riot Goin’ On, though this doesn’t go to quite the same extreme. The criticism that’s most obvious when it comes to this album is the lack of a stand-out song, but it’s not really a criticism at all – the reality is that you expect a song like that because every other soul album of this quality has one. An implicit comparison to You’ve Got My Mind Messed Up, Hot Buttered Soul, Let’s Get It On, Superfly, and Innervisions – how many more compliments are higher? Deep, and deeply soulful, the album falters only once, on an instrumental reprise that is actually not all that bad. This is just a quality slab of soul. Price: Offers!!!!!!
233. RANELIN, PHIL & WENDELL HARRISON: “A Message From The Tribe” (Tribe – TRCD-4003) (Record: Excellent/ Jacket: Near Mint – still in shrink). US first original pressing!! Genius work from the Detroit underground of the 70s – one of the greatest records ever on the now-famous Tribe Records label, and a masterpiece of soul, jazz, and righteous spirit! Tribe stamped “Made in Detroit” deeply into every bar of music it made. There were bebop lines up top, perched on a big funk bottom. In between were all sorts of freewheeling jazz with enough edge to grind the chrome off a Cadillac. There were echoes of Bitches Brew in what Tribe and other Detroit bands of the era were putting onto vinyl. But only echoes-Tribe’s sound was miles away from the increasingly slick sounds dominating the national jazzscape. These Detroiters eschewed tons of technique in favor of in-your-face expressions of deep feelings, ranging from peace and love to unabashed political rage. After all, the city was still trying to get its footing back after the notorious 1967 riots. The session’s headed by tenor player Wendell Harrison – and it’s got an all-star Motor City lineup that includes Marcus Belgrave on trumpet, Phil Ranelin on trombone, Jeamel Lee on vocals, Charles Eubanks on electric piano, and Charles Moore on flugel horn. The tracks have a spacious spiritual approach that recalls some of the later Archie Shepp on Impulse – a blend of soul jazz with slight touches of electric instrumentation, some vocals, and a very progressive spirit overall – stepping proud in the new freedoms of the 70s, yet still swinging and very groovy. Nice copy, sleeve still housed in shrink. The record itself is very nice, not the cleanest pressing as you know, slightly cloudy and a couple of faint lines that do not affect the playing quality at all. Really nice. SOLD
234. 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!!!!
235. 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!!!!
236. 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!!!
237. 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!!
238. ROCKADROME: “Royal American 20th Century Blues” (Sound Canada – SC-7701) (Record: Near Mint/ Jacket: Excellent ~ Near Mint, small drill hole in upper right corner). Original Canadian copy of much beloved acid bluesy psych rarity. Great songs, strong vox, tripped-out lysergic guitars... Real great album and rare as hell!!! Recorded in a time when creativity counted for more than commercial appeal, the album was recorded for the eclectic Sound Canada label. It sold poorly, but was rediscovered as part of the revival in interest in psychedelia; the only problem-copies of the original album are damned rare. Killer album, that throws in the mix some psychedelic elements combined with a trashy garage sound. A deadly mix! Exciting guitar playing, faded vocals, fuzzy leads popping up all over and an unbridled creativity make almost every song a solid winner. Without a doubt one of the best garage records of that era. Sadly, originals are as rare as a hen’s teeth but here is a nice Near Mint copy for you…Price: Offers!!!
239. 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!!!!!
240. 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!!!
241. 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!!!!
242. SAMURAI: “Kappa” (Philips – FX-8511) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Insert: Near Mint). TOP COPY, First original pressing, it has been a while since I could score an original, these babies getting scarcer by the second. The fist record to see the light under Miki Curtis new born Samurai banner, originally released on April 1971. Ok tyme to strap yourself in because it is going to be a wyld ride. After having played all over the hotel lounge scene during the mid and late sixties, Mickey Curtis and his samurai band returned home, disbanded and disintegrated only to rise as a phoenix out of their ashes, be it in a slightly altered form, both music wise and member wise. So although two lounge albums appeared under the Samurai banner previously, one can safely state that this was their debut as a group merging hard rock, jazzy moves, organ driven swirling psych and prog rocking dementia into one coherent and addictive sonic wash. To put it very bluntly, side one can be considered the “song side” although that is in a way an overstatement ‘cause the band mainly exploits the word “song” to embark on freefalling spun out excursions into the darkest corners of your perverted mind. The second side is totally instrumental and swings in between freak-out acidic jams towards tribal percussive driven ethereal freeform evocative music. Juggernaut brooding organ riffage fuses with heavy amplified rock moves that at times even approaches Sabbath levels of intensity. Just massive and one of the cornerstones within the early seventies Japanese psych pantheon. Totally essential. SOLD
243. 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!!!!
244. 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!!!!
245. SATO MASAHIKO & SOUNDBREAKERS: “Amalgamation – Kokotsu no Showa Genroku” (Liberty Records – LTP-9018) (Record: Near Mint/ Jacket: Excellent). TOP COPY!!!!! White label promo on RED WAX!!!! Original totally mint copy. This is definitely one of the weirdest, oddball Japanese sound artifacts of all times, being “Kôkotsu no Shôwa Genroku”, also known under the title “Amalgamation”. The album was composed, arranged and conducted by Sato Masahiko for which he got backed up by The Sound Breakers, a loosely assembled collective consisting out of the crème elements of the that day free jazz and New Rock scene. He teamed up with guitar slicker Kimio Mizutani, Louis Haynes on drums, Terakawa Masaoki (Love Life Live + 1) pumping the bass, free jazz drummer Toyozumi Tozaburo (Takayanagi Masayuki & Abe Kaoru free jazz team mate) and the free blasting sax howler Mototeru Takagi. Except for the vicious rock-jazz-beat interplay on this record, slashes of radio phonic sound sources, genuine Japanese music, classical intersections and sound infusions of field recordings and environmental sounds get patched on top of one another. The kind of collage – musique concrète compositional touch resulting out of this all was, even for those times, rather audacious. The other element that made the stupefaction complete, by adding a taste of schizophrenic angst to it all, were the radio edit insertions containing pieces of speeches by Hitler addressing an assembled mob of hysteric Nazis and spoken word interpellations by Emperor Hirohito, backed up by machine gun pumping and sound bites of air raids, which reflects clearly on the radical atmosphere of student upheaval that was omnipresent in the years 1969-1970 as part of the Anpo Tôsô. This all, fueled up with jaw dropping Hammond organ-guitar improvisatory interplay by Yanagida and Mizutani. During the second part of the “Amalgamation” composition the overall pace is set by dense duo interchange between the squealing sax eruptions of Mototeru Takagi and the propelling percussive rattles of Tozaburo Toyozumi, interspersed by descending angelic voices and inserted street sounds. Overall a ground breaking and, sadly enough, an almost completely vanished and forgotten historical milestone, which attempted clearly to bridge the gap between rock, avant-garde and free jazz by creating an hybrid-like masterpiece, light-years ahead of its time. In short, this record is a monster and listening to it comes over as sitting in a pool of liquid LSD and suddenly feeling your nuts on fire!! Best aural experience ever, I can tell you that much. Price: Offers!!!!
246. SATO MASAHIKO: “Transformation ‘69/ ‘71” (Express – ETP-9041) (Record: Near Mint/ Jacket: Mint/ Obi: Mint) Very rare promotional white label copy with OBI!!!!. I do not know what it is with Japanese free jazz these days but discs documenting that scene are rising quicker than a high tide on a full moon and next to that it seems almost completely impossible to dig them up anymore, like there is a great stock-before-famine-comes tide washing through the archipelago as far as rare records are concerned. And this disc is no exception; it has been years since I could lay my hands upon a copy of this classic masterpiece. Sato Masahiko’s classic trio where he gets flanked by Yasuo Arakawa and Masahiko Togashi. One freakingly heavy sidelong track and one two track side grace this disc, both highlighting a different side of the trio in action. Side A opens up with “Tigris” a soft free floating lyrical seven minute excursion that showcases Sato as a golden boy on the ivory keys while Arakawa and Togashi provide the perfect backbeat. Free but smooth as silk, just perfect. The second composition “On a Clear Day” almost sees Sato meandering into Monk like influenced waters that begins slow paced before venturing of into a high gear accelerated speed up frenzy that remains an artfully structuralized berserker. There is much solo space for each of the three players and the spacious mix buts each of the three upfront on different occasions. It is a stunning showcase of three gifted players at the top of their game. Both of these tracks were recorded on March 17th and 20th, 1969. The B Side sidelong track is a whole different affair. Being recorded two years later on March 2nd, 1971, the trio sounds here like being on fire. From the opening notes on, one can feel and hear a different mood set, a tad introvert and dark but when 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 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 electronic sounds and prepared piano moves while Arakawa scrapes his bass snares and Togashi cooks up a storm of muffled brushes and strokes. Still like most true inventive Fire Music it is also an exhausting and equally rewarding listening experience. These cats had it all down; gracious free-floating grandeur that touches divinity while creation unfolds itself. Just massive and highly important recording. Getting extremely rare these days. Price: Offers!!!!!
247. SATO MASAHIKO TRIO: “Deformation” (Express – EP-8005) (Blood Red Wax Record: Mint/ Gatefold Jacket: Near Mint ~ MINT/ Obi: Excellent). Rare WHITE LABEL PROMO red wax Express label copy. Comes with always missing OBI!! WHITE label PROMO Copy!! Copies with Obi are fucking seriously rare – haven’t had a copy on red wax with obi for over 5 years now and this is only the 2nd time evr I have seen a copy with obi, so go figure. OK, if obscure and hard to track down Japanese avant-garde and free jazz is your thing then look no further. This disc, released in 1969 is a hard nut to come by since due to extremely poor sales only a handful of copies and some promo copies are known to have hit the streets, making it now one of the hardest free jazz documents to track down. This one comes on bloody red wax. But all this idle talk aside, it's the music that really counts. And it burns hard…hardcore trio line-up consisting out of Sato Masahiko on piano, Arakawa Yasuo on bass and Togashi Masahiko on drums. Together they are responsible for unleashing a jaw-droppingly great amalgam-sounding explosion of disruptive energy. They trash out an entirely new Japanese free jazz methodology by incorporating enka and minyo tapes into the performance, rendering it into an otherworldly, if not almost eerie listening experience. Loud percussive crashes collide with rattling piano rolls that get underscored by blood-thumbing bass riffage. When all interaction gets mineralized into a minimalist excursion the minyo tape insertions dwarf into the foreground, making it all sound like rural traditions going bananas through a intravenous fix of avant-garde that gets nuked right into the bloodstream of the national subconscious. Chilling, lysergic, stupefying and outward bound, this is some of the best freeform junk that came out of the archipelago. Comes on BLOOD RED WAX and with the never seen always-elusive OBI!! Highest recommendation. Price: Offers!!!
248. 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!!!!
249. The SAVAGES: “Live ‘N Wild” (Duane Records – DUANE ELP-1047) (Record: Excellent ~ super clean disc – has a tiny scuff on side 2 that causes a few clicks but nearly inaudible due to loud track/ Jacket: Excellent ~ Near Mint – with no splits or damages, faint yellowing due to age only). Bloody rare 1966 US original pressing of all-time garage classic. Without a single doubt, this is one of the finest garage artifacts ever put down on wax and also one of the rarest, especially in such a nice condition as this one here. All killer and no filler, every single track is a winner to my humble ears. The jacket is exceptionally clean with only minor hardly visible yellowing of the sleeve due to age, so it gets a EX grading, a dash away from full frontal perfection. There are no splits, tears, writing or any blemishes!! The record itself is also top notch, not the best audiophile pressing out there with only a couple of light minor sleeve lines that do not sound, so again EX~NM for this one as most copies are completely trashed and this one is one step away from NM. No audible defects – apart from one mentioned above that causes a few faint ticks that are buried in the music. Impossible to find a copy as clean as this one here for a record that – if it surfaces and which is rare in whatever condition – is mostly always trashed. This could be your only chance to get such nice copy falling into your mittens. The Savages formed in 1965 in Bermuda. The band played teen functions and eventually were able to gain a residence at the Hub, a nightclub at the Princess Hotel where this album was recorded. It’s rare for a private press garage album to mainly consist of originals, let alone good originals (9 of the 12 songs). In all an aggressive, trebly mess with angry, tormented screams and teenage angst. Recorded live at the Hub Nightclub in the Princess Hotel in Bermuda on February 6th 1966, and pressed up by a local music impresario, this raging blast of garage punk hipness brought the world the ultimate nihilist glory of the teenage punk anthem “The World Ain’t Round It’s Square”. “To my ears this is one of the best local garage LP's, an authentic live recording from a hip Bermuda teenage hangout...original copies of this LP are hardly ever offered and even the old vinyl bootleg sells for good money these days, although it loses a bit of clarity and depth from the original pressing." (Acid Archives) One of the few ultra-rare garage albums that lives up to the raves you'll come across in specialist fanzines by one of the few groups of the genre that were equally capable of garage raunch and moody, melodic ballads Price: Offers!!!!
250. 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!!!!!
251. The SEEDS: “In Concert” (King Records – SLC-219) (Record: Mint/ Jacket: Near Mint ~ Mint/ Insert: Mint/ Circular Obi: Mint). Bloody rare Japan only jacket design issue all complete with even rarer obi – white label promo copy as issued in November 1968. Top condition and monstrously rare! Impossible to upgrade upon, the perfect copy with obi & promo!!! 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!!!

252. SEIKATSU KÔJYÔ IINKAI: “S/T” (ALM Records – AL-10/ Ski No.1) (Record: Near Mint/ Jacket: Near Mint ~ Mint – still housed in original shrink/ Obi: Near Mint). Second time ever I can offer such a pristine copy complete with always elusive OBI!!! The first time I had a copy with obi was over a decade ago. This is ultra-rare stuff. With obi, this disc does NOT surface at all, let alone in such top shape as this one here. Hyper rare Japanese free jazz monster that was privately released but imported and prepared by the illustrious Kojima – ALM Label. The disc was pulled out the cloud of obscurity and granted with a re-appraisal by no-one else but SY7s own Thurston Moore, connoisseur par excellence who brought the existence of this gem back into view by listing it in his illustrious free jazz top 10 list of records you have to lend your ears to. “FREE JAZZ of course made a strong impression on the more existential-sensitive populace of Japan. Some real masters came out of the Japanese scene and were influential to some of the more renowned noise artists of today (Boredoms, Haino Keiji). One such Jap-cat is alt-saxist Dr. Umezu who has mixed it up with NYC loft-dwellers on more than one occasion. On this completely obscure, underground release he unleashed some pretty free shit with the likes of William Parker (bass), Ahmed Abdullah (trumpet), and Rashid Shinan (drums). Parker is possibly one of the most important FREE musicians working in NYC. He's got his own constant writing/performing schedule as well as gigs with anyone from Cecil Taylor to Charles Gayle.” (Thurston Moore) In short a killer disc, hopelessly obscure and almost impossible to obtain with mage rare obi present, until now, almost a virginal copy. With always elusive OBI intact and virginal – best condition copy for lightyears!!! Highest recommendation. SOLD

253. SHIRAKI HIDEO:“Plays Bossa Nova” (Teichiku – SKJ-1007) (Deep Groove Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Obi: Near Mint). Impossibly rare original 1963 1st pressing in absolutely TOP condition – one of the rarest Japanese jazz slides out there. And in this condition + all complete with obi? Yeah, you might be tripping your head off as this is hardly possible but then again…here it is, the fucking real thing, the beast, the cornerstone that shaped the whole Japanese jazz scene from here on to come. And what a head twister this is, viciously sampled by Tokyo hip DJ’s, hunted down by break beat aficionados, cooked down by jazz heads, shot straight up intravenously by terminal addicts and devoured salaciously by swing vibe ejaculating hip cats, Hideo Shiraki’s 1962 “Plays Bossa Nova” is one of those – hyperbole fully gratified – “hyper rare and drop-dead killer awesome” - albums that causes seismic tremors of excitement to vibrate through Japan’s deep jazz music loving community. First of all – to put it into some perspective – the past 2 years I had 2 copies of Khan Jamal’s “Drum Dance To The Motherland” and three copies of Jan Garbarek’s 1st LP “Til Vigdis”  (& was offered a 4th copy which I declined because it did not excite me much anymore) to name but a few but never had I seen an original with obi in Near Mint condition of Shiraki Hideo’s “Plays Bossa Nova” in over 20 years’ time. This one made my hearth skip a beat, made me reach out to my oxygen tank and suck myself back to the land of the living. Now that is excitement!  A complete copy with obi so far, I know of only 2 soul’s owning a copy. So I guess that it puts the meaning of rare towards another dimension. The LP itself “Plays Bossa Nova” was one of those legendary discs rumored about but very few had actually ever heard or seen an original copy since they are virtually non-existent and skyrocketing towards stratospheric heights after the hip Tokyo break beat samplers and deep groove DJ’s sniffed up the existence of this butt shaker. The opening track sets the mood with its loose polyrhythmic funk grooves and is a real swinger, after the first snippets of carefully caressed brush sounds fade out, Hideo Shirakiand cohorts fall in, shifting into a swinging hard bop/ manic Latin vibe induced tunes that sets the pace for the remainder of the album to slide into. Brushing sticks, shuffles, ruffles and rattles that get underscored by a bristling trumpet to flower upon and a thubbing bass to set the pass. This bat swings like Josephine Baker on steroids, it puts the major capital “S” back into swing with a twist and make your balls contact violently & crawling straight up into your belly because this baby is on FIRE! And it is hard to believe that this beast was recorded and released in 1962 in one session, since it surely doesn’t sound like it. Late night fume infested big city vibes that bring out the alley cats, pushers and pimps; this is an awesome slide that deserves to be reckoned with. Teeth-grindingly rare original in Top shape and all complete with mega rare OBI in such a beautiful condition it makes me press my eyeballs back into their pockets after they hit the pavement in disbelief. A classic beyond any doubt. Brilliant and so butt shaking awesome. But sadly – impossibly rare, never ever offered before in such condition (without the perforated whole in sleeve) and the original OBI present. You want a truly great record that is genuinely rare? Well – here ya have one…deal with it! Price: Offers!!! 
254. 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. Both Siloah albums are milestones from the München burgeoning underground scene. Pristine condition! Price: Offers!!!
255. SMALL FACES: “Ogden’s Nut Gone Flake” (Immediate Records/ Toshiba Records Japan – IP-80135) (Record: Near Mint/ Jacket: Near Mint). Hyper rare Japan original 1st press issue that comes housed in Japan only sleeve art. Promo ONLY red wax vinyl pressing. Just never turns up!!!! 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 Odessey and Oracle), their masterpiece was their swansong and like that album it remains a pinnacle of British 60s pop. SOLD
256. 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!!!!

257. 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/ 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!!!

258. 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 flshing its colors so.....Price: Offers!!!!
259. 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!!!
260. 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!!!!
261. 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!!!!
262. SPRING: “American Spring” (Toshiba Liberty – LLP-80537) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: MINT). Japan only issue & white label promotional copy. First time ever I can lay my hands on a copy of this one, just never surfaces on these shores. And to make things even more insane, this one comes all complete with OBI – making it one of the rarest domestic releases!!! Spring consisted of two sisters Marilyn and Diane Rovell, formerly of The Honeys. Marilyn was married to Beach Boy Brian Wilson who had a ghostly production role in this 1972 LP. It was released under the “American Spring” banner for the European market. As albums go, it’s a shimmering delight. Tennessee Waltz gets us off to a rustic start before Thinkin’ Bout You Baby (composed by Brian Wilson and David Sandler) floats off in a cloud of soft pop magnificence. The second Wilson / Sandler effort is the blissed-out Sweet Mountain which sounds like it belongs on 1968s Friends. Wispy and ethereal harmonies make for a hazy but rewarding listening experience. Spacey and fragile versions of Awake and Superstar enhance the gold-star quality of side one. Familiarity breeds extreme contentment on side two. This Whole World is the first in a run of three Beach Boys tracks from the Sunflower era. It’s transformed into something approaching Smile-like status – extended coda and an amazing instrumental breakdown. Dennis’ Forever is sung with the right amount of exquisite emotion while Good Time (not released on a Beach Boys album until 1977s Love You) is a kaleidoscope of fuzzy melodies and the classic late 60s surf vibe. The album concludes with a brace of Carole King numbers – the resigned tone of Now That Everything’s Been Said and the heart-heavy Down Home. Bloody rare Japan only jacket issue, the Japanese original pressing just never surfaces, first copy to cross my eyes that is all complete with obi, making it one of the rarest Japan releases all complete. TOP all the way. Price: Offers!!!
263. 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!!!
264. 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!!!
265. SUMMER JAZZ IN TOKYO: “V/A with Sato Masahiko Trio + 1/ Sawada Shungo Quintet/ George Otsuka Trio + Sugimoto Kiyoshi/ Yamashita Yosuke Trio/ Hara Nobuo & His Sharps and Flats/ Kosuke Mine Quintet/ Terumasa Hino Quintet + 1” (Canyon – CAJ-1002 – 1003) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint/ Attached Fold Out Insert: Near Mint/ OBI: Near Mint). BEAST FROM THE EAST – all complete with MONSTER RARE OBI. Freakingly rare and obscure 1970 release throwing together the crème de la crème of the Japanese freewheeling jazz community. This is the first copy I ever encountered all complete with MEGA RARE OBI + this is a PROMO issue to boot! The whole affair here on display was recorded live one hot summer day in the open-air arena of Hibiya Yaon Ongakudo on August 28th & 29th, 1970. 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. 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. 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, instead hoping to remain moving to its asymmetric groove. Just a fantastic disc, allowing you a peak at the Japanese jazz scene one sunny day in August 1970. Just brilliant! And in case you are wondering….No copies with obi just about never surfaces….making this one a come on like a wet dream. Price: Offers!!!!
266. SUMMER JAZZ IN TOKYO: “V/A with Sato Masahiko Trio + 1/ Sawada Shungo Quintet/ George Otsuka Trio + Sugimoto Kiyoshi/ Yamashita Yosuke Trio/ Hara Nobuo & His Sharps and Flats/ Kosuke Mine Quintet/ Terumasa Hino Quintet + 1” (Canyon – CAJ-1002 – 1003) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint/ Fold Out Insert: Near Mint). Freakingly rare and obscure 1970 release throwing together the crème de la crème of the Japanese freewheeling jazz community. The whole affair here on display was recorded live one hot summer day in the open-air arena of Hibiya Yaon Ongakudo on August 28th & 29th, 1970. 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. 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. 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, instead hoping to remain moving to its asymmetric groove. Just a fantastic disc, allowing you a peak at the Japanese jazz scene one sunny day in August 1970. Just brilliant! SOLD
267. 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!!!
268. 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!!!!
269. 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!!!!
270. SUN RA & HIS ARKESTRA: “Some Blues But Not The Kind That’s Blue” (El Saturn – 1014077) (Record: Excellent ~ Near Mint/ Paste on Sleeve: Near Mint). Original 1978 US pressing in top shape. A nice 1977 date that's heavy on standards. Ra’s work is generally remembered as being rather "out-there," but Some Blues helps remind listeners that he had learned all the rules well before setting out to break them. Aside from the two Sun Ra tunes, this is a pretty inside date with some major statements from Ra on piano and John Gilmore on tenor. The title track (one of only two originals) opens the record with a minute and a half of chaos from Ra’s stripped-down, bass-less Arkestra, until suddenly he pounds out a brief piano motif that stops the band in its tracks. The jam strides on confidently, showcasing an amazing interplay between Ra’s groove-heavy piano playing and the swagger of John Gilmore’s tenor sax. For the most part, the other standards follow suit, with the exception of a bewildering reading of "My Favorite Things," that begins with Ra mostly ignoring the chord-changes of the original and instead focusing on the piano as a solely percussive instrument, allowing his band mates ample solo time to hint at the original melody. Everyone gets a bit of solo room, and the flutes and bass clarinet add some really nice colors, especially on "My Favorite Things," a song so closely identified with the John Coltrane Quartet hat this version is almost startling in its contrast to Coltrane’s myriad versions. Midway through he explores the melody in various keys and tempos, and in that moment you can actually hear the confusion on the rest of the band’s faces. SOLD
271. SUN RA & HIS OUTER SPACE ARKESTRA: “A Fireside Chat With Lucifer” (Saturn – 1984SG-9) (Record: Near Mint/ Hand Painted Touched Jacket: Near Mint, still housed in original Shrink). Top condition US original press issue. Like many Sun Ra albums, Fireside Chat offered stylistic random shuffle, as was the artist's intent, reflecting his eclectic, seemingly irreconcilable approach to compositional extremes. With Sun Ra you get everything except consistency and predictability. Side B consisted of the inscrutable 21-minute title track, while Side A consisted of three unrelated, shorter works (the wryly apocalyptic "Nuclear War," a languid, atmospheric ballad titled "Retrospect," and the soul groove "Makeup"). Fireside Chat was pressed in limited quantities, with hand-made Xeroxed covers (sans personnel or credits but at least two different art work versions do exist), and sold at concerts. Some were re-touched by adding some hand painting, like this one here. Original copies are incredibly rare. This one is in top shape, housed in shrink and sounds stellar! Price: Offers!!!
272. 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!!!
273. 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!!!!

 

274. 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!!!!
275. 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!!!!
276. 13th FLOOR ELEVATORS: “Easter Everywhere” (International Artists – IA-LP-5) (Record: Near Mint/ Jacket: Excellent with a faint trace of ever-present ringwear/ 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”. 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. Great copy, very hard to find this clean so… Price: Offers!!!
277. TAGUCHI KUMI: “Emmanuelle Fujin” (Victor – SJV-868) (Record: Near Mint/ Jacket: Excellentt/ Obi: Excellent ~ Near Mint). Hideously rare pink Iroke artifact – way rarer and tougher to dig up than the Ike Reiko LP, one that of late surfaces on a regular basis. Taguchi Kumi however remains the elusive white whale, this is only my 2nd copy ever in over 10 years. This time we could dig up a totally mint copy of this rarely seen erotic record, Taguchi Kumi’s sole recorded LP, following her instant fame after starring in some of Nikkatsu’s finest Roman Porno celluloid dreams such as “Tokyo Emmanuelle Fujin” (July 1975), “Tokyo Deep Throat Fujin” (1975) and “Aru Kôkyû Callgirl no Shôgen: Roshutsu” (June 1976). Compiled out of tracks that appeared in the aforementioned porn flicks, the disc is a stunning artifact and will especially appeal to those who were already enthralled by Ike Reiko’s erotic mumblings. Taguchi’s effort dwells into similar erogenous eras but is more mid-seventies discoed-down and funked-up. Hot dance floor how-downs spiced up with erotic moaning and hissings. In short it is a stunning and historical Iroke gem of oblivious times, an item that gets offered almost never. Stunning disc, Linda Lovelace’s “Deep Throat” vanished into nothing compared to this one, just brilliant. Price: Offers!!!!
278. TAJ MAHAL TRAVELLERS “August 1974” (Columbia – OP-7147~8-N) (2 LP Record Set: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ Obi: Near Mint/ Additional Taj Mahal Travellers Live Concert Insert: Mint). ORIGINAL COPY! 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 scuffs or scratches. Amazing complete 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!!!
279. 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. Pressing quantities upon its release were 300 copies, so rare as a hen’s teeth. 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 an edition of 300 copies on the ALM records label in 1975. Slowly attaining super rarity status. Comes cheap as the obi is missing and sleeve has some very minimal signs of slight wear. Highest recommendation. Price: Offers!!!
280. 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!!!
281. 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!!!!!!!!!
282. 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!!
283. 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!!!!
284. 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!!!

285. TAYLOR, JOHN: “Pause, And Think, Again” (Turtle – TUR302) (Record: Near Mint/ Fragile Gatefold Jacket: Near Mint). 1971 Top condition, Original 1st UK pressing of very rare UK jazz slide that came out on a tiny micro press label. With an all-star line-up consisting out of John Taylor (piano), Kenny Wheeler (Trumpet), Chris Pyne (trombone), Stan Sulzman (alto sax), Chris Laurence (bass), Tony Levin (drums), John Surman (Soprano sax) and Norma Winstone (voice), the group oozes out one of the finest UK jazz slides ever to be put down on wax. Inhabiting its own style, John Taylor guides the group through a well-balanced repertoire that is neither too free form nor too modal, in return excavating a highly unique sound. The whole affair is in top condition. Never before did I have a copy like this, record looks virginally clean, fragile gatefold sleeve that is always prone to some sort of storage wear is flawless and in NM~M condition, just perfect. Next to impossible to ever upgrade upon! SOLD

286. TAYLOR, MIKE: “Trio” (Columbia – SX-6137) (Record: Near Mint ~ MINT/ Jacket: Near Mint ~ MINT). Top copy of bloody rare cornerstone UK jazz slide, original 1967 pressing released in the legendary Lansdowne series. RAREST version MONO pressing in impossibly clean shape. Mike Taylor went from being the true genius of 60s British jazz to it’s great lost enigma after his body was washed up at Leigh-on-Sea, Essex, in January 1969. The pianist’s status then became likened to that of Syd Barrett after the years of LSD use (often in the company of fellow doomed legend Graham Bond) which had rendered him homeless and practically abandoning the promising career which had seen him support Ornette Coleman at his 1965 UK debut. Taylor was never filmed or interviewed and left just two remarkable albums; 1965’s Pendulum and 1967’s Trio, plus three tracks he co-wrote with his friend Ginger Baker for Cream’s Wheels Of Fire in 1968 and contributions to the New Jazz Orchestra’s Le Dejeuner Sur L’Herbe that year. This, his 2nd and final recording with Hiseman and bassists Jack Bruce and Ron Rubin, geared more towards a temperate free jazz style. Released in early 1967, without anybody really taking notice of it, making it sink quickly to the murky bottom of obscurity. Cream was off and running at this point and Bruce’s involvement only added to the minor interest that surrounded the release. Taylor, however, had no intention whatsoever of promoting the record, refusing even to be interviewed in case that might delay his return to his LSD-shaded universe. Neither were there any live shows; Taylor’s only musical activities, at what should have been his moment of greatest visibility, were a series of jams with an equally disheveled Graham Bond. It took the intervention of Ginger Baker to pull Taylor back on track; the pair penned Cream favorites "Pressed Rat and Warthog," "Passing the Time," and "Those Were the Days" together, while Taylor also set to work composing "Horn Gut and Skin Suite," a piece of music designed for three drummers – Baker, Hiseman and Phil Seaman. “Trio” is a fantastic slice of UK jazz, sadly immensely rare and hard to track down and a way tougher pull as opposed to Dusk Fire or Shades of Blue. Hardly ever surfaces and this copy here is just in stunning condition. MONO press!!!! A one-off chance!!! Final upgrade copy! SOLD

287. 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!!!
288. 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!!
289. 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
290. TERASHITA MAKOTO: “Great Harvest” (Union Records – GU-5014) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition copy of freakingly rare and obscure but legendary Japanese jazz slide that saw the light of day in 1979. Copies just never turn up, especially with obi present. This is one killer and awesome modal jazz album that never fails to astonish.. Wonderful album from the Japanese pianist Makoto Terashita featuring Makoto Terashita – piano, Bob Berg - tenor saxophone, Errol Walters – bass, Jo Jones Jr. – drums and. Yoshiaki Masuo – guitar. This one-off outfit crafted out an excellent slide, consisting of 3 excellent originals from Terashita plus a couple of standards. The Harvest album was made in NYC. and breathes out a laidback fee, floating on a warm pulsating base with Terashita's lyrical piano playing taking you towards the stratosphere, without ever batting an eye and loosing that addictive swing that bubbles up from underneath. One of the nicest and most beautiful modal Japanese jazz slides ever recorded. Each time I play this, it makes me feel glad to be alive! Highest possible recommendation. SOLD
291. TERRY RILEY: “Reed Streams” (Mass Art Inc. – M-131) (Record: Near Mint ~ Mint/ Jacket Near Mint). Freakingly rare Sweden only released private press original from 1966. Released in an edition of 200 copies only. Top mint copy. Psychedelic minimal masterpiece that rarely surfaces in its original form. “Riley's untitled piece for organ is a series of four- and eight-note patterns, exchanged and interchanged without standard modulation over a series of fluid musical "events" in which they interact with one another but contain their own identities. While the music may have been regarded as "simple" by the tired leftovers of serialism's last gasp for a while, the physicality of it is just plain rigorous. Riley moves through this 20-minute work of hypnotic interval and repetition with a fluidity that is nothing less than remarkable. Even today, nearly 46 years later, the piece sounds fresh, original, and not a little off-putting in its intensity. "Dorian Reeds" is a similar work that employs a different method to move into similar territory, employing the soprano saxophone and a small bevy of tape recorders -- since the reed instrument is not capable of producing the same multi-toned streams as an organ. Here four-, eight-, and 12-note streams are played and looped over one another via tape recorders -- no editing was done, as this was all recorded as performed -- and a long soprano saxophone deviates and acts as a percussive and thematic anchor for the streams of sound coming forth from the tape boxes. Here, modulation both happens and doesn't as everything is fixed around the notion of a non-fixed interval. The single-note horn that punches through the streamed mix is notable for its ability to play accents and create the sensation of rhythm from a solo instrument.” (All Music Guide). Riley's organ work never ceases to amaze me, and he shows an incredible ability to conjure up mantra-like rhythms from repeating organ phrases, which are occasionally manipulated with the reel-to-reel machines. The rhythmic clatter of the keys, which sounds a little like bones clinking underwater combined with the pulsating sound of the organ are utterly hypnotic and totally captivating, you almost don't hear the sound moving yet you're very aware that it is - like watching the sea from an airplane window. When he incorporates the tape recorders, which gives Riley more space to experiment with the sound, and he layers over noises and reverberations to come up with a piece that could just as easily be devotional music from an undiscovered African country. Bewitchingly intense and psychedelic as hell. Original 1966 private pressing in top condition. Price: Offers!!!

292. 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!!!

293. 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!!!

294. 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!!!!
295. 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!!!
296. TOGASHI MASAHIKO & SUZUKI HIROMASA: “Variation” (Columbia Records – Takt Jazz Series – XMS-10014-CT) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). First original press issue from May, 1969 in impeccable condition. Bloody rare very first original pressing in top condition and all complete with impossibly rare very first obi. Another vital cornerstone out of the Japanese late 1960s jazz underground. Hiroshi Suzuki (tb) and Togashi Masahiko (ds), two veterans of the scene, get flanked by Tetsuo Fushimi (tp), Yuji Ohno (p), and Jun Suzuki (b). Together as a quintet they create a highly unique signature sound that balances perfectly the razor’s edge between free improvised interplay and structured modal jazz moves surfing an intuitive approach, creating in its wake an arresting experience of bewitching asymmetric grooves. Free form dialogues interlock with exotic percussion pieces, creating a fascinating mixture of discipline and freedom, kinetic kaleidoscopic compositions. The quintet exhibits a same thought pattern as they circle around a theme, moving then far afield and returning eventually to the starting point when you least expect it, moving away again, creating highly innovative jazz for that space in time. Just a stunning and highly unique recording. It has been over the past decades reissued in various forms and shapes but the first pressing of this one remained almost unfindable as sales at the time were depressingly low. Only in the years thereafter a re-appreciation emerged, pushing the LP out of obscurity. But for me, it is the very first time I can offer an all-complete first press issue with original obi. Just stunning and sadly silly-ass rare. Price: Offers!!!!
297. TOGASHI MASAHIKO & TAKAGI MOTOTERU: “Isolation” (Columbia Records – JDX-49) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Excellent ~ Near Mint) PROMO COPY/ TEST PRESS Issue White label in TOP condition!!!! First original pressing of 1969, complete with 1st edition gatefold jacket and always missing obi!!! This disc is a real brain ripping free jazzing blast from the past. Togashi Masahiko may be a name you have already encountered if you are a bit acquainted with Japanese free hardcore blowing jazz. He was the man responsible for churning out Japan's first free jazz disc being “We Now Create” for which he got assisted by Takayanagi Masayuki and Yoshizawa Motoharu amongst others. The following year in 1969, he teamed up with another hardcore blowing spirit, Takagi Mototeru - one of Japan's most unique sax howlers and Sato Masahiko. Together they embarked on another free blowing trip, creating a hurricane of sound and a chunk of unrelenting power that leaves no stone unturned. Takagi is stellar as usual and he certainly deserves more attention. This disc is utterly fantastic, killer material and indispensable in any collection that cares even a bit about Japanese underground, hardcore jazz and adventurous sounds. Great Japanese hardcore blowing fire music collision between alto howler Mototeru Takagi and vicious rolling thunder like heavy hitting drum beast Sato Masahiko. To put it simply, this is a clash of two titans, both in the prime of their creative power. If free jazz is your thing, well look no further. Takehisa Kosugi once told me this was his all time favorite free jazz disc and upon listening to it, it is easy to understand why. 1st original press complete with obi is next to impossible to dig up on these shores. TOP copy, never seen before test pressing with obi, seriously rare so... Price: Offers!!!
298. TOKYO KID BROTHERS: “Kaette Kita Kiiro Bat – Returning Golden Bat” (King Records – KR-7055‾6) (2 LP Set: Mint/ Gatefold Jacket: Mint/ 4 paged attached Insert: Mint/ Obi: Mint) TOP COPY complete with OBI. Hideously rare monster Japanese cult underground experimental/ theatrical rock album released on the legendary King News series way back in 1971. This was one of Tokyo Kid Brothers earliest albums. Almost all of the albums they churned out during the late seventies and eighties are completely crap, but their initial period from 1968 till 1973 is just great. After his retreat in 1968 from the Tenjôsajiki troupe (which he had co-founded with Terayama Shûji in 1967), Azuma Yutaka assembled the musical group Tokyo Kid Kyôdai Shôkai, only to shortly thereafter renaming it Tokyo Kid Brothers. Assisted by his friend and fellow Tenjôsajiki collaborator Shimoda Itsurô. The Japanese media, who at first largely ignored the ambivalent nature of the troupe, was quick to pick up on the commotion created by the New York press following their performances in the States. Following their return, the troupe faced an extremely busy period. The Japanese media stalked the troupe practically day after day while at the same time the Kid Brothers were preparing the staging of a new play entitled “Kaettekita Kiiro Bat” at the Kôrakuen Hall, where it would run for ten successive days with the musical support by the Yanagida Hiro Group. The sound material that was recorded culled from various performances became, once the final ceased to an end, edited and compiled to make up the likely named double album issued by King Records who advertised it as a “Theater Rock Musical”. Psychedelic Dada-ism, theatrical lysergic pleasures, demented fuzz intersections, wild keyboard playing by Hiro Yanagida (Food Brain, Sato Masahiko & Soundbreakers, Milk Time, etc) demented choruses, female wailing crescendos, rural esoteric fertility rite like incantations, exorcist ritualistic tribal stomping, totally insane one liners, heavy bass shifting, heavy guitar licks, psychedelic mayhem, crazy stage action etc, just one great psyched out cabaret/rock opera recorded live in concert in 1971 and released that same year. Content-wise this album wouldn’t even sound strange in a post 9/11 climate, criticizing American popular culture, taken a piss with the grandeur and the unrelenting post-colonial attitude of dissolving non-Western cultures the largest powerbase in the world got famous for. The Kid Brothers already tackled this madness in 1971. But apart from that the music is stellar. If you like the psyched out dementia of Jashumon era Tenjosajiki and J.A. Seazer madness than this jewel has written you all over it – be it that some knowledge of the Japanese language will make you appreciate it even more since the dialectic intercourse is quite important on this disc. Extremely rare since these babies sold very poorly at the time. Comes housed in a great red-gold fold out jacket. Highest possible recommendation if you are into demented wild Japanese psychedelia of the early seventies spiked up with a theatrical feel, like sitting through an acid trip and trying to keep your senses nicely lined up without getting lost in the dissolving canyons of your mind. Still undetected by a most and almost impossible of digging up one of these gems with obi in mint condition, so…give me your best shot and be exposed to a psychedelic sonic world you never even thought existed. Price: OFFERS!!
299. 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’s 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!!!!
300. 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!!
301. 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!!!!
302. 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!!!
303. 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!!!
304. 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!!!!!
305. 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!!!!!
306. 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!!!!
307. 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!!!!
308. TUSQUES FRANCOIS: Intercommunal Music” (Shandar/ RCA RECORDS – RCA-6097) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint/ Insert: Mint). Rare first original JAPANESE pressing – all complete with never offered before & mega rare OBI - in top condition. Those Shandar slides seem to have evaporated into thin air completely and first time ever I see a Japanese press original – pressed on high quality wax – all complete with the very first obi present. Strap yourself in for this one because you are in for a bloody wild ride, a whirlpool of frantic improvisational hardcore interplay that will make your head twist and turn. How could it be other wise with a line-up consisting out o the crème de la crème of intercommunal interplay. Spearheaded by Tusques himself on guitar, maracas and piano, he surrounds himself with such heavyweights such as Sunny Murray (drums), Louis Armfield (percussion), Alan Silva (Violoncelle), Beb Guerin & Bob Reid (Bass), Alan Shorter (Trumpet) and Steve Potts (alto). As a result you are treated to a blow-out tour de force that will make your head sizzle and dazzle for days – hell weeks even – on an end. Rare record on the highly collectible Shandar imprint run by Daniel Caux who passed away some years ago. His recordings will live forever. Massive!! The obi is so scarce these day, it only took me 14 years to find one…top condition. Price: Offers!!!!

309. 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!!!

310. 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!!!!
311. 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!!!!
312. 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 & 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!!!
313. 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!!!!!
314. VAN MORRISON: “Astral Weeks” (Warner Bros. Japan – BP-8790) (Red Wax Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Impossibly rare and never offered before Japan original 1971 TEST PRESSING with white stamped labels and pressed on RED WAX. Comes with hideously rare very first press issue OBI as well!! “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 time you spin it. Never offered or seen before Japan first original white label with stamped catalogue numbers test pressing on red wax. Comes with the OBI as well so….Price: Offers!!!!
315. 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!!!!!
316. 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!!
317. 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!!!!
318. 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!!!!!
319. 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!!!
320. YAMAMOTO HOZAN & SAWAI TADAO e.o.: “Jazz Rock Koto – Ni Hon No Minyo” (RCA Records – JRS-7234) (Record: Side A is Near Mint & Side B is Excellent – has a couple of visible but inaudible hairlines/ Gatefold Jacket: Excellent ~ Near Mint/ Obi: VG++ ~ Excellent – has a small tear and some wrinkles). Freakingly rare groovy & funky jazz slide out of the Far East that just about never-ever gets offered for sale as copies just remain hidden deep in the muddy banks of the Tokyo Bay. For starters sales were virtually non-existent when this one got released as not a dog was interested in another seemingly exploitation slide that fused – as the title suggested – jazz with traditional Japanese Minyo or folk songs. However, it turned out to be quite an explosive and highly addictively volatile sonic mixture, unequalled by hardly anyone! SOLD
321. 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!!!!
322. 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!!!!

323. 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!!!!

324. YARDBIRDS & SONNY BOY WILLIAMSON: “S/T” (Philips Japan – SFL-7375) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Obi: Near Mint ~ Mint). Original Japan 1st press issue of 1967, comes complete with never seen obi. Top condition, most perfect copy to ever cross my eyes, all complete with rare-beyond-believe OBI. The whole affair is in NM condition, a small miracle and to make things even more salacious, it has the never present obi. Comes in Japan only jacket design. Hideously rare item & in TOP condition, in short a museum piece. SOLD
325. YASUAKI SHIMIZU: “Kakashi – 1982” (Better Days – YF-7061-BD) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare first press original all complete with OBI and Insert. A wonderful, rare record wrapped in a mysterious yet playful ambiance. Or maybe it’s just the impression that the Japanese language often gives me. ‘Suiren’ is an odd jazz-fusion-wave tune that sounds like its boiling, waiting to burst but somehow manages to stay in control. Like the nervous tick of a leg fidgeting under the table of a restaurant on a first date. Yasuaki Shimizu is a Japanese composer, producer and saxophone player born in 1954. He worked with Ryuchi Sakimoto on certain arrangements, with the South Korean artist Nam June Paik on art+sound installation pieces and even DJ Towa Tei (of Deee-Lite fame). “Suiren” was released in 1981 and is the opening title on the sought-after “Kakashi” album and is my personal favorite on this overall brilliant record. It weaves behind new wave, jazz, fusion, ambient and experimental music. Repetitive and hypnotizing, punctuated by exclamation marks on most first measures, the muted triangle percussion hits me straight in the heart. About 90 seconds into the song, the saxophone makes its appearance and the song goes from “this is cute” to “oh, this is some serious shit!”. Shimizu’s saxophone frees the song from the rest of the elements which are more calculated and repetitive. A joyful, mysterious slow-moving train ride led by the artist’s mellow voice that rocks us with this calming but funky lullaby. Every phrase is punctuated by the xylophone there to energize the piece, albeit very subtly. Price: Offers!!!
326. YASUI KAZUMI: “Zuzu” (Polydor – MR-3129) (Record: Excellent/ Gatefold Jacket: Near Mint/ Attached Insert 4 Paged Booklet: Mint/ Obi: Mint). Mega rare first original press issue complete with never offered for sale before original OBI. To make things even more salacious, WHITE label PROMO issue! One of the best, totally under the radar female vocal albums to ever seep out of Japan is this 1st album by poetess Yasui Kazumi. She only made two albums, both borderline crazy rare items and this one here was her first recording, released on October 1970. The music is just breathtakingly beautiful, softly hushed Bossa Nova/ Enka/ Kayokyoku inspired female vocal trash, delicately orchestrated without being blatantly over the top, the whole album is an eargasmatic affair that will hush your demons to sleep. Impregnated with those late sixties/ early seventies vibe, sparsely orchestrated, creating a very laid-back atmosphere. Yasui’s voice is completely relaxed, free and easy; it is as if she isn’t even trying! But then again it is far from perfect and accomplished and it is exactly there where lies her charm and intoxicating quality. Surely, she is a gifted singer without being a great vocalist. She was a poetess after all and her fragile, at times fractured and broken vocals add only to the melancholic nature of this disc. Still the arrangements are top shelf, strings, tropical piano and guitar lines that only add to the sensation of feeling that afternoon summer sunshine warming your face while a soft breeze heralding a tropical storm is telling you to better take shelter soon. Although that the overall feeling of the LP is just breathtaking and disquieting, there is nevertheless an omnipresent hearth-stirring and overpowering endomorphic and schizoid sadness that impregnates it all. You just cannot shake it off and it pierces right through to the deepest canyons of your soul. And then on the other hand it is simultaneously softly upbeat, sultry and thermically thrilling, erotically charged with a choleric vibe that is almost mythical, casting out an echo that reverberates somber melodies injected with intermittent burst of hopeful and beautiful naive vocals. Yasui’s vocals aren’t virtuosic, yet they are intimate and at times disconcertingly seductive, which results in bursts of electrifying moments as if she is struggling to breathe out music that is slightly beyond her immediate grasp. This just adds more to her spellbinding charm, making it all fragile, sexy, painfully deficient and offering you the listener in return a redemptive ascent to heaven. Don’t say you haven’t been warned, once this record sucks its claws into your skin, there will be no return and you will be haunted by Yasui’s charm and melancholy. Earbleedingly beautiful, hideously rare and so essential it just makes me cry blood when thinking about her, let alone listening to her music…..that would be a too devastating experience. Mega rare WHITE label PROMO all complete with never offered before OBI! Make your best move… first cpy with obi to surface and up for grabs in over 15 years’ time. SOLD
327. 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!!!!
328. YOKOTA TOSHIAKI & PRIMITIVE COMMUNITY:Genshi Kyoudoutai” (Toshiba Records – TP-8066) (Red Wax PROMO Record: Near Mint/ Jacket: Excellent, has some mild edge wear but nothing serious & lower right corner crease). All hyperbole aside, this is one of the all-time rarest records to seep out of Japan together with Ceremony – Buddah Meets Rock. Top condition, red wax PROMO issue. Killer 1971 Japanese psychedelic jazz gem. One of Japan's best psychedelic hoedowns that put Ceremony almost to shame. Original copies just never ever turn up, this is the first copy I could claim in over 15 years of looking for a copy. The music on the other hand is brain ripper that will lead all of you heavy psych freaks to the best ear-gasm you had in years! Super fuzz wah guitar by master mind Mizutani Kimio and organ jamming stoner/ ethnic/ psych-prog filled with raw, heavy experimental twists and turns all interwove by Yokota’s spell-casting flute playing, this disc has made all those moves their trademark sound. Non-stop lethal assaults of fuzz guitar and overdriven organ workouts Just a beast of a disc, composed out of monstrously long freak out tracks that are filled with ear blistering volcanic melt down psychedelic burn out tracks, every one a winner, long spun out tribal jams, fuzz drenched wah-wah, ritual and tribal drumming. This LP is a genuine monster and listening to it feels like sitting in a pool of LSD-25 and suddenly feeling your nuts on fire. A teeth-grinding frenzy of a recording that has all the proper ingredients for an outrage, filled with ethnic smash 'n' grabs, jungle shoot-outs, a sheer lust for raw sounds that buffer dilution beneath a riptide of Western influences, all injected with searing fuzzed out electric guitar that cut through the air like a buzz-saw. In short, you heard nothing even remotely good as this one. Insanely rare, copies just do not turn up, let alone one with obi (only once saw a copy with obi changing hands for over 9K and that was over a decade ago). So much better as Yokota’s “Flute Adventure” which is mediocre at best, Primitive Community transgresses styles and genres without dropping a beat and blasting you away…this is the dope shit, sadly rare until infinity. Killer!!! SOLD
329. 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!!!!!!!
330. 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!!!!
331. 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!!!!
332. 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-East 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!!!!
333. ZAKARRIAS: “S/T” (Deram – SML-1091) (Record: Excellent ~ Near Mint/ Laminated Jacket: Excellent ~ Near Mint/ Company Inner Sleeve: Near Mint). Great condition 1971 UK original pressing of highly regarded eclectic period piece. One of the rarest records on the Deram label since sales were depressing at the time, tanking to Titanic lows, hence the scarcity of copies floating around out there. This guy mixed folk, blues, prog and heavy psych without a blush on his cheeks and gets away with it brilliantly. Long time favorite on these shores and a top copy. Near perfection on all fronts, hardly ever turn up in such nice nick as this one here. SOLD
334. ZAPPA, FRANK: “Chunga’s Revenge” (Warner Japan – P-8045R) (Record: Near Mint ‾ Mint/ Gatefold Jacket: Near Mint ‾ Mint/ Insert: Mint/ Flower Rock Age Obi: Near Mint). Rare Rock Age Flower obi copy, which is insanely rare in Japan and just surfaces once every 10 years. Truly insanely rare with first issue OBI attached in immaculate condition. So far, I have only seen 2 copies of this beauty in the flesh….. Price: Offers!!!
335. 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!!!